At a time when Bach was hardly more fashionable in Italy than Beethoven’s pedantic student Carl Czerny, Busoni’s turn-of-the-century obsession with the keyboard works of J.S. The investigation begins with Ferruccio Dante Michelangelo Benvenuto Busoni, perhaps the most historically important composer you likely know only in passing, if at all. Why is this? And what is it about our understanding of classical music that has shortchanged Italian composers of the last century? More than a weekend could be devoted to these questions without reaching any definitive answers, but we will lay a groundwork with rare Italian pleasures and hopefully no small number of insights. But the idea of Italian modern music – hardly resonates. Whether it is the flash of a sleek Ferrari sports car, the gaunt humanoid spindles of sculptor Giacometti, Ferragamo’s foot-fetishizing chic, those vivid fantasies Fellini splashed across the silver screen, or even the brutal geometry of Mussolini’s 45 arches penetrating the Palazzo della Civitá Italiana’s blank facade, the idea of Italian modernism conjures up potent images for most people. Stravinsky/Dushkin) Festa by the Seaįranz Liszt – Les jeux d’eau à la Villa d’Este (1877) Igor Stravinsky – Suite Italienne (1933, arr.
Luigi Dallapiccolla - Tartiniana Seconda (1955-56)įerruccio Busoni – All’italia! (In Modo Napolitano) (1908)īerio – Chamber Music (text by James Joyce) (1953)īerio – Wasserklavier (1965) Erdenklavier (1969) Luftklavier (1985) Feuerklavier (1989)
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