Wolf Harden - Busoni: Piano Music, Vol. 10 (2018) [Hi-Res]

Tracklist
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01. Fantasia, adagio e fuga (After J.S. Bach): Fantasia. Allegro ritenuto
02. Fantasia, adagio e fuga (After J.S. Bach): Adagio
03. Fantasia, adagio e fuga (After J.S. Bach): Fuga. Allegro sostenuto e espressivo
04. Piano Concerto No. 9 in E-Flat Major, K. 271 "Jeunehomme": II. Andantino (Transc. F. Busoni for Piano)
05. Klavierübung, Pt. 4, 8 Études After Cramer: No. 1 in C Minor
06. Klavierübung, Pt. 4, 8 Études After Cramer: No. 2 in B-Flat Major
07. Klavierübung, Pt. 4, 8 Études After Cramer: No. 3 in D Major "En Carillon"
08. Klavierübung, Pt. 4, 8 Études After Cramer: No. 4 in D Major "Allegro di bravura"
09. Klavierübung, Pt. 4, 8 Études After Cramer: No. 5 in C Major "Répétition"
10. Klavierübung, Pt. 4, 8 Études After Cramer: No. 6 in A Major
11. Klavierübung, Pt. 4, 8 Études After Cramer: No. 7 in G Major "Scherzando"
12. Klavierübung, Pt. 4, 8 Études After Cramer: No. 8 in A-Flat Major "Finale"
13. 11 Chorale Preludes, Op. 122 (Excerpts Arr. F. Busoni for Piano): No. 4, Herzlich tut mich erfreuen
14. 11 Chorale Preludes, Op. 122 (Excerpts Arr. F. Busoni for Piano): No. 5, Schmücke dich, o liebe Seele
15. 11 Chorale Preludes, Op. 122 (Excerpts Arr. F. Busoni for Piano): No. 8, Es ist ein Ros' entsprungen
16. 11 Chorale Preludes, Op. 122 (Excerpts Arr. F. Busoni for Piano): No. 9, Herzlich tut mich verlangen
17. 11 Chorale Preludes, Op. 122 (Excerpts Arr. F. Busoni for Piano): No. 10, Herzlich tut mich verlangen
18. 11 Chorale Preludes, Op. 122 (Excerpts Arr. F. Busoni for Piano): No. 11, O Welt, ich muß dich lassen
19. Der Tanz in der Dorfschenke, S. 110 "Mephisto Waltz No. 1" (Arr. F. Busoni for Piano)

Busoni embodied an essentially recreative approach to the music of the past. His Bach transcriptions reveal an absolute command of intricate polyphony and a limpid clarity. Mozart stood as an aesthetic and technical exemplar while Cramer’s little-known Etudes are adapted for modern piano technique. Busoni preserved the Lutheran austerity of Brahms’s Chorale Preludes for Organ, Op. 122 whereas in the Mephisto Waltz No. 1 he augments Liszt’s heady writing with a super-virtuosity of his own.

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