Klavierübung (Busoni)

The ''Klavierübung'' (Piano Tutorial, ), by the Italian pianist and composer Ferruccio Busoni, is a compilation of piano exercises and practice pieces, comprising transcriptions of works by other composers and original compositions of his own.

Busoni worked on the ''Klavierübung'' at various times during the last seven years of his life, and with it, he hoped to pass on his accumulated knowledge of keyboard technique. The ''Klavierübung'' is not a comprehensive or systematic graduated course of study, nor is it intended for beginning or intermediate students. Instead it assumes the student has mastered standard piano technique and has reached a virtuoso level. Busoni proceeds by adding refinements, short cuts, and unusual solutions for pianistic problems encountered in a performing artist's repertoire. The included exercises and examples reflect Busoni's own special, but diverse, interests and abilities.

Assessment

Edward J. Dent, author of the first definitive biography of Busoni, had this to say about the exercises and studies in the ''Klavierübung'': "...they are all extraordinarily interesting and stimulating. They are interesting too as helping to elucidate some of Busoni's other compositions, for the studies show how certain of his harmonic devices grew out of purely pianistic principles based on definite positions of the hands on the keyboard. Every one of the studies has genuine musical originality, and even the exercises to be repeated in all keys are a good deal more musical than such forms of torture are generally made to be."

Publication of the first edition

The ''Klavierübung'' was first published by Breitkopf & Härtel in separate parts beginning in 1918. Part 2 appeared in 1919, and parts 3 and 4 two years later. The fifth, and what was to be the final part, appeared in 1922. Kindermann, who prepared the first extensive catalog of Busoni's works in 1980, refers to this "First Edition" as ''Klavierübung in fünf Teilen'' iano Tutorial in Five Parts and Breitkopf & Härtel later republished a collected edition under this name ca. 1996.Se
WorldCat
an
Edition Breitkopf Catalog
Accessed 29 July 2009.

Original plan of the work

Part 1 (''Sechs Klavierübungen und Präludien'') consists of six tutorials (numbered I - VI). Tutorials I to V were written in three days (10–12 September 1917), and tutorial VI one month later. The first piece of Part 2 was written on 7 November 1917, and the remainder from 4 to 10 June 1918. It consists of three tutorials (VII to IX).

Each tutorial begins with exercises and moves on to short original pieces and adaptions or transcriptions of excerpts from the repertory. For instance, the first tutorial starts with traditional scales (although the fingerings are unorthodox), then adds two excerpts which require power and speed: the first is from Liszt's '' Totentanz'', and the second is based on two bars in Busoni's "Turandots Frauengemach" urandot's Bedchamber(Book 4 from ''Elegien'', BV 249). This is followed by two original compositions: a 16-bar "Tempo di Valse" and a 33-bar "Preludio," both of which emphasize legato scales at moderate speed. Busoni frequently lists at the bottom one or more pieces from the repertoire as examples (in German: ''Beispiele'') suitable for further study. In the case of the "Preludio," the ''Beispiel'' is Alkan's first etude from ''Etudes dans tous les tons majeurs'', ( Op. 35).

The first tutorial exemplifies a blueprint which is used for the subsequent tutorials, each emphasizing a different aspect of piano technique. These include, in addition to the "simple" scales of the first tutorial: forms derived from scales (chords incorporated into scales); chromatic "sliding-finger" (or "sixth-finger") technique; repeated notes; arpeggios and broken chords; examples of "three-hands"; trills; examples with arpeggios; and further examples of "three hands."

Difficulties completing

Because of distractions, including ill health, and other concerns, not least being the work on his lifelong masterpiece, the opera '' Doktor Faust'' (unfinished at the time of his death in 1924), many planned components of the ''Klavierübung'' were delayed or never fully realized. For instance, the foreword was not written until July 1920, and did not appear until the publication of Part 3 in 1921. Part 2 contains material which should have been included in Part 1, in tutorials V rpeggiosand VI for three hands" Part 3 presents additional material appropriate to Part 1, as appendices. A "Chromaticon" for Part 4, mentioned in a footnote to the foreword, had to be abandoned, and was hurriedly replaced with his edition of ''Eight Etudes by Cramer'' ( BV B 53) first published in 1897. Part 5 likewise consists of already existing pieces. Perhaps, if Busoni had lived longer, he would have included much more. For example, there are no tutorials on the very important technique of pedalling, for which he was particularly well known.

Publication of a second edition

From December 1923 to January 1924 Busoni did manage to reorganize and enrich the material for a second edition of 284 pages. Entitled ''Klavierübung in zehn Büchern'' iano Tutorial in Ten Books it was published posthumously in 1925 as Volume VIII of the Bach-Busoni Edition. Only a small number of copies of the second edition were printed, and until recently, it has been a major rarity. Fortunately, it is now available online (see, for example
this page
at the International Music Score Library Project).

Significance of the second edition

The second edition is particularly important, since it contains all Busoni's last piano compositions. Two of these are not found elsewhere and are of special interest, since they were intended as source material for the unfinished final scene of '' Doktor Faust'':
# "Veloce e leggiero" [ the final piece in Book 5 ("Trills")]
# "Study for the Third Pedal" o.7 from ''Seven Short Pieces for the Cultivation of Polyphonic Playing'', #KU10.9, Book 9]

Annotated listing of contents

Busoni did not typically disclose the source of the extracts on which he based many of the pieces in the ''Klavierübung''. They are often simply titled, for example, "Nach Bach" or "Nach Schubert." Fortunately, both Beaumont and Sitsky Sitsky, pp. 162-170. have provided fairly detailed descriptions of the contents of both the first and second editions. Some of this information is inserted here as annotations between square brackets.

Klavierübung in Five Parts (First Edition)

''Klavierübung in fünf Teilen''

Part 1: Six Piano Tutorials and Preludes

''Sechs Klavierübungen und Präludien'' (''der Klavierübung erster Teil.'')
score

: I. cales''
: xercises and pieces employing unusual and unorthodox fingerings: the thumb passing under the fifth finger; the fifth finger passing over the thumb; or not using the thumb at all/small>

:: Second Edition, Book 1 (Scales)">#KU10.1.html" ;"title="he following two sections, (a) and (b), also appear in the #KU10.1">Second Edition, Book 1 (Scales)/small>
::(a) Presto, pp. 3-4.
:::[4 exercises using the thumb; 3 exercises not using the thumb]

::(b) [2 exercises with hands in contrary motion], pp. 4-5.

::[The following three sections, (c) to (e), are omitted in the Second Edition.]
::(c) (Nach Liszt.) Allegro, p. 5.
::: Totentanz'', see p. 70 of th
Liszt score
( Sitsky, p. 166)
:::[Busoni also published an edition of ''Totentanz'', [ BV B 72, which is based on an earlier manuscript of Liszt's and includes a ''De Profundis'' section.">atalog of adaptations by Ferruccio Busoni#BVB72">BV B 72, which is based on an earlier manuscript of Liszt's and includes a ''De Profundis'' section.( Sitsky, pp. 226-230)

::(d) Allegretto, p. 6.
::: cales in alternating hands, broken chords in the other hand/small>
:::[based on two measures from the final page of ''Turandot's Frauengemach'', No.4 from Busoni's ''Elegien'', BV 249
score
] ( Beaumont, p. 303)

::(e) Tempo di Valse, p. 6.

::(f) Preludio. Allegro [in E major], p. 7.
:::[This piece also appears in the #KU10.9, Second Edition, Book 9, as No.1 in ''Sieben kurze Stücke zur Pflege des polyphonen Spiels''.]
:::Beispiel: Charles-Valentin Alkan, Alkan, Etudes dans tous les tons majeurs, [ Op. 35] No.1
score

: II. hords based on scale patterns''
: tep-wise movement with incorporated chords/small>
: Second Edition, Book 2 (Forms derived from scales), section (a)">#KU10.2">Second Edition, Book 2 (Forms derived from scales), section (a)/small>

::(a) xtended exercise pp. 8-9.
:::Beispiele: Weber, Sonate C dur, p. 24I. llegrobr>score

:::::Liszt, Carillon, aus " der Weihnachtsbaum" [ S.186/6]
score

::(b) Preludio: Allegro festivo, p. 10.
::: egins in D flat major and ends in C major/small>
:::Beispiel: Chopin, Fantasie p. 49br>score

: III. hromatic "sliding-finger" technique''
: sixth finger" technique of sliding from black to white key in chromatic passages/small>
: Second Edition, Book 2 (Forms derived from scales), section (b)">#KU10.2">Second Edition, Book 2 (Forms derived from scales), section (b)/small>

::(a) exercises on various double chromatics pp. 11-12.
::(b) Preludio (Andantino), pp. 12-13.
::(c) Con bravura (la mano destra sotto), p. 13.
::: lternating crossing hands: sliding one, two, three, four fingers simultaneously; both hands, similar motion, outer fingers held, inner sliding/small>
:::Beispiel: Liszt, Mazeppa ( S.139/4)
score

::(d) Preludio (Tempo di Valse moderato), p. 14.
::(e) Allegro moderato xercise, in pp. 14-15.

: IV. epeated notes''
: Second Edition, Book 2 (Forms derived from scales), section (c)">#KU10.2">Second Edition, Book 2 (Forms derived from scales), section (c)/small>

::(a) Schema with eight variants, pp. 16-18.
::: epeated note techniques, in various patterns of quarter, triplet, and sixteenth notes/small>

::(b) (Nach Schubert-Liszt), p. 18
::: xcerpt from ''Auf dem Wasser zu singen,'' tr. Liszt, ''12 Lieder von Franz Schubert'', List of compositions by Franz Liszt (S.351 - S.999)#S.556">S.558/2
score
] ( Sitsky, p 243)
:::Beispiele: Chopin, Preludes (Chopin), Prelude Gis moll [in G-sharp minor, Op.28, No.12].
score

:::::Liszt, Schuberts "Auf dem Wasser zu Singen" .558/2
score

:::::Liszt, Au bord d'une source. ( S.160/4)
score

:::::Liszt, Tannhäuser-Ouverture. ( S.442
score

::(c) Allegretto, p. 19.
::: BV 267, No.1">Catalog of original compositions by Ferruccio Busoni#BV267">BV 267, No.1( Sitsky, p 243)
:::Beispiel: Busoni, Indianisches Tagebuch, Nr. 2.
score

::(d) (Nach Auber-Liszt) Alla Tarantella. , pp. 20-21.
::: xcerpt from ''Tarantelle di bravura dàprès la Tarantelle de S.386">La muette de Portici'', List of compositions by Franz Liszt (S.351 - S.999)#S.385">S.386( Sitsky, p 243)
:::Beispiel: Liszt, Tarantella di Bravura sur "la Muette de Portici".
score

: V. [Arpeggios (broken chords)]
:[Tutorial V also appears in the #KU10.3, Second Edition, Book 3 (broken chords), sections (a) - (i)]

::(a) [5 arpeggio exercises, thumb and fifth finger passing over and under each other], pp. 22-23.

::(b) Prestissimo; stretto, pp. 23-25.
::: extension arpeggio exercises/small>
:::Beispiele: Chopin, Etude Op. 10 Nr. 1. (für die r. H.)
score

:::::Henselt, "Orage, tu ne saurais m'abattre". (für die l. H.) 2 Études caractéristiques, Op. 2, No.1br>score

:::::Chopin, Prélude Es dur. p. 28, No.19br>score

:::::Liszt, Vision. .139/6br>score

:::::Bach-Busoni, Wohltemperiertes Klavier I, Varianten zu den Präludien in D moll und B dur [Nos.6 & 21[
score

::(c) (Nach Bach), p. 25.
::: BWV 846, from the Well-Tempered Clavier">List_of_compositions_by_Johann_Sebastian_Bach#BWV846.html" ;"title="xercise based on Prelude No.1, List of compositions by Johann Sebastian Bach#BWV846">BWV 846, from the Well-Tempered Clavier, Book I] ( Sitsky, p 203)

::(d) Part 3, section (m) "Appendix to tutorial V."">#KU5.3m.html" ;"title="ee #KU5.3m">Part 3, section (m) "Appendix to tutorial V."
::(e) (Nach #KU5.3m">Part 3, section (m) "Appendix to tutorial V."">#KU5.3m.html" ;"title="ee #KU5.3m">Part 3, section (m) "Appendix to tutorial V."
::(e) (Nach Beethoven). Allegretto, pp. 26-27.
:::[exercise based an excerpt of the Piano Sonata No. 21 (Beethoven)">''Waldstein'' sonata (beginning at bar 344 of the Rondo
score
.] ( Sitsky, p 278)

::(f) [Contrary motion extension study], p. 28.
:::[this exercise includes some big stretches]( Sitsky, p 167

::(g) Allegro vivace, p. 29.
::: ontrary-similar motion combined/small>

::(h) xtended broken octaves pp. 30-31.
:::Beispiele: (for die linke Hand) Rubinstein Etüde Es dur, 6 Etudes, Op. 23, No.4 in E-flat major
score

:::::Busoni, Indianisches Tagebuch, No.4.
score

::(i) Preludio. Allegro moderato, pp. 32-33.
::: Rather charming...in , with stretches in both hands."( Sitsky, p 267)

: VI. xamples of "À trois mains"''
: Second Edition, Book 4 "For Three Hands" as sections (a) - (c)">#KU10.4">Second Edition, Book 4 "For Three Hands" as sections (a) - (c)/small>
: iano music "à trois mains" ("for three hands") combines three musical lines (written on three staves), which sounds as though it is played by three hands, but nevertheless is actually played by two./small>

::(a) Preludio. Alla Tarantella, pp. 34-35.
:::[short piece based on the middle (Allegro) section of ''All'Italia'' (no.2) from ''Elegien'', BV 249]
score

:::Beispiel: Liszt, Norma-Fantasie. [Réminiscences de Norma, S.394]
score

::(b) Nach Jacques Offenbach, Offenbach. Barcarole, pp. 36-37.
:::[transcription
score
of the ''Barcarole'' from the ''Tales of Hoffmann''] ( Sitsky, p 289; Beaumont, p. 303)

::(c) Nach Beethoven. Presto, pp. 38-39.
::: C-sharp minor ''Quartet'' Op. 131
score
, transcribed for piano; consists of the first 24 bars, jumps to the fermata at bar 45 and proceeds to the cadence at the beginning of the first ending at bar 66] ( Sitsky, p 278)
:::Beispiele: Schubert-Liszt, Das Sterbeglöcklein.
:::::: chubert song, D.871, transcribed for solo piano/small>
:::::: o.3 from Liszt's ''Sechs Melodien'' (6 Melodies), S.563/small>
:::::Liszt, Valse a capriccio sur Lucia e Parisina (Erste Fassung) .401/small>
:::::Busoni, Concerto
score

Part 2: Three Piano Tutorials and Preludes

''Drei Klavierübungen und Präludien'' (''der Klavierübung zweiter Teil.'')
score

:VII. rills''
: Second Edition, Book 5 "Trills", sections (a) to (g).">#KU10.5.html" ;"title="utorial VII also appears in the #KU10.5">Second Edition, Book 5 "Trills", sections (a) to (g)./small>

::(a) Moderato, pp. 2-4.
:::[3 extended exercises in trills, forming one "preludio"]

::(b) Nach Bach. Andante, pp. 5-7.
::: ariation 28 from ''Goldberg Variations'', Catalog of adaptations by Ferruccio Busoni#BVB35">BV B 35
score
] ( Sitsky, p 203)
:::Beispiele: Beethovens Sonaten Op. 53
score
, Op. 109
score
und Op. 111
score
.

::(c) Nach Beethoven. Allegro, pp. 8-9.
::: 'Hammerklavier' Sonata, Op. 106">ased on part of the fugue from the 'Hammerklavier' Sonata, Op. 106/small>
:::[The trills are written out and fitted with the other parts.( Sitsky, pp. 278-279)
:::Beispiel: Vergleiche die ganze Fuge aus Beethovens Sonate Op. 106.
score

::(d) Preludio (ohne den 3. Finger ithout the third finger. Moderato alla breve, pp. 10-11.
:::Beispiele: ¹⁾ ohne den 4. Finger: Chopin, Etudes Op. 25 F dur o.3br>score
,
:::::ohne den 3. und 4. Finger: Chopin, Etudes Op. 10 As dur o.10br>score
.
:::::²⁾ für die wechselnden Sekunden intervalle: Liszt's " Feux Follets" score
">ranscendental Etude No.5, S.139/5
score
/small>

::(e) Nach Gounod. Andante con moto, pp. 12-14.
::: usoni cadenza to Liszt-Gounod ''Valse de l'Opera Faust'', S.407/small>
:::[begins at bar 24 of the Andantino (p. 9) of th
Liszt score
/small>
:::[The Andantino section is based on the vision of Gretchen from Act 1.] ( Beaumont, p. 303)
:::[Egon Petri's recording of this piece uses the Busoni cadenza.] ( Sitsky, p. 240)
:::[4 measures for returning from Busoni's cadenza to the "Allegro vivace assai" of the ''Faust Waltz'' are provided by Sitsky on p 242.]
:::Beispiele: Faust-Walzer
score

:::::Die Vogelpredigt .175/1br>score

:::::Gondoliera .162/1aus: Venezia e Napoli (Liszt)
score

::(f) Preludio. Allegro, pp. 15-17.
::: an effective preludio...with straightforward trill decoration running through it"( Sitsky, p 168)

::(g) Nach Liszt. Andantino, pp. 18-21.
::: Venezia e Napoli''">heme from ''Gondoliera'' (from Liszt's '' Venezia e Napoli''br>score
with 3 variations] ( Sitsky, p 243)

:VIII. xamples with arpeggios''
: Second Edition, Book 3 "Chordal (broken chords)", sections (j) to (l).">#KU10.3">Second Edition, Book 3 "Chordal (broken chords)", sections (j) to (l)./small>

::(a) Nach Beethoven. Allegro, pp. 22-23.
::: Sonata, Op. 26 (with six example variants)">Piano Sonata No. 12 (Beethoven)">Sonata, Op. 26 (with six example variants)( Sitsky, p 278; Beaumont, p. 303)
:::Beispiel: Sonate Op. 26. onata No.12 "Funeral March"br>score

:::Beispiel: Charles-Valentin Alkan, Alkan, Etudes dans les tons majeurs: C dur Stück. [ Op. 35, No.4]
score

::(b) Preludio. Andante tranquillo, pp. 24-25.
::: xcerpt based on Busoni's Improvisation on "Wie wohl ist mir" for two pianos (Catalog of original compositions by Ferruccio Busoni#BV271, BV 271
score
, beginning at bar 10] ( Beaumont, p. 303)

::(c) Tempo di Valse, elegantemente, pp. 26-29.
:::[After 2 bars of introduction the piece is essentially identical to the 28-bar Intermezzo in A-flat major from Busoni's ''Fourth Ballet Scene'' (first version of 1892, BV 238
score
; it then modulates into a new 24-bar middle section, and finally returns to A-flat major in the 19-bar conclusion.] ( Beaumont, p. 303)
:::Beispiele: Chopin, Preludes (Chopin), Prélude Fis moll. relude in F-sharp minor, Op.28, No.8br>score

:::::Liszt, Waldesrauschen (S.145, No.1)
score

:::::Liszt, Dante-Sonate, Mittelsatz. .167, No.7br>score

: IX. A second group for tutorial VI three hands"''
: Second Edition, Book 4 "For Three Hands", sections (d) to (f).">#KU10.4">Second Edition, Book 4 "For Three Hands", sections (d) to (f)./small>

::(a) Perpetuum mobile et infinitum. Studie nach Bach (aus "an die Jugend"). Allegro non troppo, pp. 30-31.
::: n endlessly repeating 24-bar loop extracted from the "Fuga figurata" of Book 2 of Busoni's ''An die Jugend'', Catalog of original compositions by Ferruccio Busoni#BV254">BV 254
score
. The piece combines themes from the prelude and the fugue of Bach's Prelude and Fugue No.5 in D major (BWV 850) from the Well-Tempered Clavier, Book 1
score
]

::(b) Nach Schubert, pp. 32-33.
::: Erlkönig'' in ''12 Lieder von Franz Schubert'', S.558/4
score
] ( Sitsky, p 293)

::(c) Aus meinem "Concerto". Trattenuto e fantasticamente, pp. 34-35.
::: Concerto Op. XXXIX, BV 247, p. 45 of the :File:Busoni- Piano Concerto (2-po rdn) Mvt2.pdf">Egon Petri two-piano reduction

Part 3: Staccato

''Lo Staccato.'' (''der Klavierübung dritter Teil.'')
score

: Second Edition, Book 6 "Staccato".">KU10.6.html" ;"title="he following sections (a) to (j), also appear in the #KU10.6">Second Edition, Book 6 "Staccato"./small>
:(a) An die Musikschule und das Konservatorium zu Basel, p. 3
:[To the Music School and Conservatory of Basel]
::[Foreword by Ferruccio Busoni, dated Zurich, July 1920.]

:(b) Vivace Moderato, con precisione, pp. 4-7.
::["...hectic and difficult study in staccato chords...."] ( Sitsky, p 169)

:(c) Variations-Studie nach Mozart, 1, pp. 8-9.
::[transcription
score
of the "Serenade" from ''Don Giovanni'']
::[This piece was played frequently by Egon Petri as an encore.] ( Sitsky, p 264)

:(d) Variations-Studie nach Mozart, 2, pp. 10-15.
:: lightly altered versions the ''Giga'' and ''Variazione'' from Book 3 of ''An die Jugend'', Catalog of original compositions by Ferruccio Busoni#BV254">BV 254
score
; the ''Bolero'' is cut] ( Sitsky, pp. 264-266)

:(e) Motive. Allegro risoluto, pp. 16-18.
::[staccato study with alternating-hands]
:: a sequential study employing various intervals, including bars of consecutive seconds"( Sitsky, p. 169)

:(f) Preludio. Quasi presto, arditamente, pp. 19-21.
:: BV 287
score
]

:(g) Nach Mendelssohn. Vivace assai, pp. 22-23.
::[transcription of the Presto from the Mendelssohn-Liszt ''Wedding March & Elfin Chorus'', S.410
score
] ( Sitsky, p 243)

:(h) Nach Bizet. Allegro deciso, pp. 24-25.
:: onsists of the first 68-bars of Busoni's ''Kammer Fantasie über Carmen'', Catalog of original compositions by Ferruccio Busoni#BV284, BV 284
score
with 6-bars added to provide an ending] ( Sitsky, p 279)

:(i) Allegro, pp. 26-29.
::"...another fierce-looking study in staccato chords...." ( Sitsky, p 170)
::Beispiele: Weber, Momento capriccioso
score

::::Schumann, Toccata
score

::::Rubinstein, Etüde C dur p.23, No.2br>score

::::Mozart-Liszt, Don Juan-Fantasie, Finale (Ausgabe Busoni)
score

::::Liszt, La Campanella (Ausgabe Busoni)
score

::::Liszt, Galop chromatique
::::Liszt, Tarantella di Bravura
score

::::Alkan, Etüde majeur No.12
score

::::Cramer-Busoni, Etüden, II. Heft
score

::::Busoni, Fugen-Etüde, Op. 16 o.5br>score

::::Busoni, Turandots Frauengemach (BV 249, No.4]
score

::::Busoni, Indianisches Tagebuch, Nr. 2. V 267, No.2br>score

::::Busoni, IV. Ballet-Szene (Galopp). V 238a, No.2br>score

:(j) Transcriptions-Studie nach Liszt. Quasi Galopp, sempre da Capo, pp. 30-31.
:: BV B 61 (beginning on p. 27 of the complet
score
] ( Sitsky, p 243)

:[The following two sections (k) and (l) also appear in the #KU10.10, Second Edition, Book 10 "Etudes after Paganini-Liszt".]
:(k) Variations-Studie nach Paganini-Liszt, 1. ivo pp.32-36.
:: BV B 74
score
. In this edition the Liszt version is omitted, and the original tempo indication "Vivo" was inadvertently removed.] ( Sitsky, p 243)

:(l) Variations-Studie nach Paganini-Liszt, 2. Vivace moderato tutto staccato, pp. 37-44.
:: BV B 67
score
. This transcription was first published by Breitkopf & Härtel in 1914. That edition includes the two Liszt versions printed on staves above Busoni's transcription, and the Paganini original, below. In this edition the Liszt and Paganini versions are omitted.]

:[The following section (m) also appears in the #KU10.3, Second Edition, Book 3 "Chordal (broken chords" as section (d).]
:(m) Nachsatz zur V. Übung. [Appendix to #KU5.1.V, tutorial V.], pp. 45-46.
:: further arpeggio exercises/small>
:: chains of all types of 7th chords and their derivatives"( Sitsky, p. 167)

:(n) Anhang. 7 Variationen nach einem Motiv von Beethoven, p. 47.
: ppendix: Seven variations on a motive of Beethoven.:: ootnote:In verschiedenen Tonarten zu üben. Auch in Moll. o be practiced in different keys. Also in minor./small>
:: 'Emperor' concerto
score
]

Part 4: Eight Etudes by Cramer

''Acht Etüden von Cramer'' (''der Klavierübung vierter Teil.'')
score

: BV B 53). That edition is faithful to the originals, except the slow introduction of No.5 is omitted, and suggested changes to Etudes 4 to 8 are indicated with ossias. The etudes were republished in this edition of the ''Klavierübung'' without alteration. They are also included in the Second Edition, Book 7, but the versions of Etudes 4 to 8 in that edition include the ossias in the text without notification and contain musical and pianistic changes as well.">#KU10.7">Second Edition, Book 7, but the versions of Etudes 4 to 8 in that edition include the ossias in the text without notification and contain musical and pianistic changes as well.( Sitsky, p 284)

:I. Legato, pp. 2-18.
::1. Allegro non tanto
::2. Comodo. ''Behaglich''
::3. En Carillon: Moderato
::4. Allegro di Bravura
:II. Staccato, pp. 19-35.
::5. Répétition: Allegrissimo
::6. Allegro moderato
::7. Scherzando: Piùttosto moderato
::8. Finale: Molto agitato quasi presto

Part 5: Variations. Perpetual motion. Scales.

''Variationen - Perpetuum mobile - Tonleitern (der Klavierübung fünfter Teil)''
score

: Second Edition, Book 8 "Variations and Variants on Chopin"">#KU10.8">Second Edition, Book 8 "Variations and Variants on Chopin"/small>

:(a) Zehn Variationen über ein Präludium von Chopin, pp. 2-22.
: en Variations on a Prelude by Chopinbr>score

:: "Faustian" introduction (1) employs the technique of symmetrical harmony which Busoni had been developing over the previous twelve years. These four bars were so important to him that he later requested that they be played as introduction to the variations of 1888 ( BV 213)">Catalog of original compositions by Ferruccio Busoni#BV213">BV 213)( Beaumont, p. 298.)

:(b) Sechs Varianten zu Etüden und Präludien von Chopin, pp. 23-31.
: ix Variants of Etudes and Preludes by Chopin::"Erst der Spiegel der Variante vom Urbild zeigt das Interessante." (Ferruccio Busoni)

::::::: hopin's passage work is shifted to from the left to the right hand; the entire piece is transcribed and is performable./small>

: Second Edition, Book 9 as section (b)">#KU10.9.html" ;"title="he following piece also appears in the #KU10.9">Second Edition, Book 9 as section (b)/small>
:(c) Perpetuum mobile, pp. 32-42.
::[Assigned the Kindermann catalog number Catalog of original compositions by Ferruccio Busoni#BV293">BV 293
score
, this piece is a shortened version of the Scherzoso from the Concertino for Piano, BV 292. The middle section of the Scherzoso is replaced with a sequential passage.]
::Beispiele: Czerny, Toccata p.92br>score

::::Weber, Rondo aus der I. Sonate p.24br>score

::::Saint-Saëns, Étude d'après le Finale du 5 Concerto p.111, No.6br>score

::::Alkan, "Comme le vent" p.39, No.1br>score

::::Alkan, "Le chemin de fer" p.27br>score

::::Alkan, Étude pour les deux mains à mouvement semblable et perpétuel p.76, No.3br>score

: Second Edition, Book 1 "Scales" as sections (b) to (e).">#KU10.1.html" ;"title="he following four sections (d) to (g) also appear in the #KU10.1">Second Edition, Book 1 "Scales" as sections (b) to (e)./small>
:(d) Scales. 1. Allegro moderato, pp. 43-46.
::[11 connected exercises in a series of keys with variants of techniques introduced in Part 1]

:(e) (Scales.) 2. Übereinanderstellung verschiedener Tonarten. uperimposed keys pp. 47-48.
:: ootnote:"Sind von jeder Halbton stufe aus zu wiederholen." o be repeated in half-tone steps./small>
:: itonal scale exercises with different, but related keys in the right and left hand, e.g., C major and A major, etc.; hands in similar and contrary motion/small>
:: Faustian" cadence.">Doktor_Faust.html" ;"title="his set concludes with a "Doktor Faust">Faustian" cadence. Beaumont, p. 304)

:(f) (Scales.) 3. Presto volante, pp. 49-51.
::[7 single-note scale exercises on a single stave, in different keys and patterns, played by alternating hands; the 8th exercise is on two staves with scales in simultaneous octaves played with alternating hands, finishing with diverging stepwise chords in both hands]

:(g) Anhang. Terzen [Appendix. Thirds], p. 52
::[5 scale exercises: broken thirds; double thirds split between two hands; double thirds in both hands; split chromatic thirds; split chromatic thirds with sliding fingers]
::[This section should studied together with a similar section in Busoni's edition of the ''Well-Tempered Clavier'', Book 1
score
] ( Sitsky, p. 166)

Klavierübung in Ten Books (Second Edition)

Title page:
:''Klavierübung in zehn Büchern von Ferruccio Busoni. Zweite umgestaltete und bereicherte Ausgabe.''
: iano Tutorial in Ten Books by Ferruccio Busoni. Second reorganized and enriched edition.Title shown on page 1:
:''Klavierübung. Studien and Vortragsstücke.''
: iano Tutorial. Studies and Performance Pieces.

Book 1: Scales

''Erstes Buch. Tonleitern'', pp. 1–12.
score

: First Edition, Part 1, Tutorial I.">#KU5.1.I">First Edition, Part 1, Tutorial I./small>
:(a) Presto, pp. 1-2.
::[4 exercises using the thumb; 3 exercises not using the thumb; employ unusual and unorthodox fingerings: the thumb passing under the fifth finger; the fifth finger passing over the thumb; or not using the thumb at all]

:[The following sections (b) to (e) also appear in the #KU5.5d, First Edition, Part 5, sections (d) to (g)]
:(b) Allegro moderato, pp. 3-6.
::[11 connected exercises in a series of keys with variants of the same techniques]

:(c) uperimposed keys pp. 7-8.
:: itonal scale exercises with different, but related keys in the right and left hand, e.g., C major and A major, etc.; hands in similar and contrary motion/small>
:: Faustian" cadence.">Doktor_Faust.html" ;"title="his set concludes with a "Doktor Faust">Faustian" cadence. Beaumont, p. 304)

:(d) Presto volante, pp. 9-11.
::[7 single-note scale exercises on a single stave, in different keys and patterns, played by alternating hands; the 8th exercise is on two staves with scales in simultaneous octaves played with alternating hands, finishing with diverging stepwise chords in both hands]

:(e) [Thirds], p. 12.
::[5 scale exercises: broken thirds; double thirds split between two hands; double thirds in both hands; split chromatic thirds; split chromatic thirds with sliding fingers]
::[This section should studied together with a similar section in Busoni's edition of the ''Well-Tempered Clavier'', Book 1
score
] ( Sitsky, p. 166)

Book 2: Forms derived from scales

''Zweites Buch. Von Tonleitern abgeleitete Formen'', pp. 13–26.
score

: First Edition, Part 1 as Tutorial II.">#KU5.1.II">First Edition, Part 1 as Tutorial II./small>
:(a) hords based on scale patterns::(1) xtended exercise pp. 13-14.
:::Beispiele: Weber, Sonate C dur, p. 24I. llegrobr>score

:::::Liszt, Carillon, aus "der Weihnachtsbaum" [ S.186/6
score

::(2) Preludio: Allegro festivo, p. 15.
::: egins in D-flat major and ends in C major/small>
:::Beispiel: Chopin, Fantasie p. 49br>score

: First Edition, Part 1 as Tutorial III.">#KU5.1.III">First Edition, Part 1 as Tutorial III./small>
:(b) hromatic "sliding-finger" technique: sixth finger" technique of sliding from black to white key in chromatic passages/small>
::(1) even exercises on double chromatics pp. 16-17.
::(2) Preludio (Andantino), pp. 17-18.
::(3) Con bravura (la mano destra sotto), p. 18.
::: lternating crossing hands: sliding one, two, three, four fingers simultaneously; both hands, similar motion, outer fingers held, inner sliding/small>
:::Beispiel: Liszt, Mazeppa ( S.139/4)
score

::(4) Preludio (Tempo di Valse moderato), p. 19.
::(5) Allegro moderato xercise, in pp. 19-20.

: First Edition, Part 1 as Tutorial IV.">#KU5.1.IV">First Edition, Part 1 as Tutorial IV./small>
:(c) epeated notes::(1) chema and eight variations pp. 21-23.
::: epeated note techniques, in various patterns of quarter, triplet, and sixteenth notes/small>

::(2) Nach Schubert-Liszt, p. 23.
::: D 774, tr. Liszt, ''12 Lieder von Franz Schubert'', List of compositions by Franz Liszt (S.351 - S.999)#S.556">S.558/2
score
] ( Sitsky, p 243)
:::Beispiele: Chopin, Preludes (Chopin), Prelude Gis moll [in G-sharp minor, Op.28, No.12].
score

:::::Liszt, Schuberts "Auf dem Wasser zu singen" .558/2
score

:::::Liszt, Au bord d'une source. ( S.160/4)
score

:::::Liszt, Tannhäuser-Ouverture. ( S.442
score

::(3) Allegretto, p. 24.
::: BV 267, No.1">Catalog of original compositions by Ferruccio Busoni#BV267">BV 267, No.1( Sitsky, p 243)
:::Beispiel: Busoni, Indianisches Tagebuch, Nr. 2.
score

::(4) (Nach Auber-Liszt) Alla Tarantella. , pp. 25-26.
::: xcerpt from ''Tarantelle di bravura dàprès la Tarantelle de S.386">La muette de Portici'', List of compositions by Franz Liszt (S.351 - S.999)#S.385">S.386( Sitsky, p 243)
:::Beispiel: Liszt, Tarantella di Bravura sur "la Muette de Portici".
score

Book 3: Chordal (broken chords)

''Drittes Buch. Akkordisches'', pp. 27–50.
score

:[The following sections (a) to (c) also appear in the #KU5.1.V, First Edition, Part 1, Tutorial V. (Arpeggios)]
:(a) [5 arpeggio exercises, thumb and fifth finger passing over and under each other], pp. 27-28.

:(b) Prestissimo; stretto, pp. 28-30.
:: extension arpeggio exercises/small>
::Beispiele: Chopin, Etude Op. 10 Nr. 1. (für die r. H.)
score

::::Henselt, "Orage, tu ne saurais m'abattre". (für die l. H.) 2 Études caractéristiques, Op. 2, No.1br>score

::::Chopin, Prélude Es dur. p. 28, No.19br>score

::::Liszt, Vision. .139, No.6(score
::::Bach-Busoni, Wohltemperiertes Klavier I, Varianten zu den Präludien in D moll und B dur

:(c) (Nach Bach), p. 30.
:: BWV 846, from the Well-Tempered Clavier">List_of_compositions_by_Johann_Sebastian_Bach#BWV846.html" ;"title="xercise based on Prelude No.1, List of compositions by Johann Sebastian Bach#BWV846">BWV 846, from the Well-Tempered Clavier, Book I] ( Sitsky, p 203)

:[The following section (d) also appears in the #KU5.3m, First Edition, Part 3, section (m) (pp. 45-46), as "Appendix to Tutorial V."]
:(d) further arpeggio exercises pp. 31-32.
:: chains of all types of 7th chords and their derivatives"( Sitsky, p. 167)

: First Edition, Part 1, Tutorial V. (Arpeggios)">#KU5.1">First Edition, Part 1, Tutorial V. (Arpeggios)/small>
:(e) Nach Beethoven. Allegretto, pp. 33-34.
::: ''Waldstein'' sonata (beginning at bar 61 of the Rondo Allegretto
score
.] ( Sitsky, p 278)

:(f) [Contrary motion extension study], p. 35.
::[this exercise includes some big stretches]( Sitsky, p 167

:(g) Allegro vivace, p. 36.
:: ontrary-similar motion combined/small>

:(h) xtended broken octaves pp. 37-38.
::Beispiele: (for die linke Hand) Rubinstein Etüde Es dur, 6 Etudes, Op. 23, No.4 in E-flat major
score

::::Busoni, Indianisches Tagebuch, No.4.
score

:(i) Preludio, pp. 39-40.
::"Rather charming...in , with stretches in both hands."] ( Sitsky, p 267)

: First Edition, Part 2, Tutorial VIII. (Examples with Arpeggios)">he following sections (j) to (l) also appear in the #KU5.2.VIII, First Edition, Part 2, Tutorial VIII. (Examples with Arpeggios)/small>
:(j) Nach Beethoven. Allegro, pp. 41-42.
:: Sonata, Op. 26 (with six example variants)">Piano Sonata No. 12 (Beethoven)">Sonata, Op. 26 (with six example variants)( Sitsky, p 278; Beaumont, p. 303)
::Beispiel: Sonate Op. 26. onata No.12 "Funeral March"br>score

::Beispiel: Charles-Valentin Alkan, Alkan, Etudes dans les tons majeurs: C dur Stück. [ Op. 35, No.4]
score

:(k) Preludio. Andante tranquillo, pp. 43-44.
::: xcerpt based on Busoni's Improvisation on "Wie wohl ist mir" for two pianos (Catalog of original compositions by Ferruccio Busoni#BV271, BV 271
score
, beginning at bar 10] ( Beaumont, p. 303)

:(l) Tempo di Valse, elegantemente, pp. 45-48.
::[After 2 bars of introduction the piece is essentially identical to the 28-bar Intermezzo in A-flat major from Busoni's ''Fourth Ballet Scene'' (first version of 1892, BV 238
score
; it then modulates into a new 24-bar middle section, and finally returns to A-flat major in the 19-bar conclusion.] ( Beaumont, p. 303)
::Beispiele: Chopin, Preludes (Chopin), Prélude Fis moll. relude in F-sharp minor, Op.28, No.8br>score

::::Liszt, Waldesrauschen (S.145, No.1)
score

::::Liszt, Dante-Sonate, Mittelsatz. .167, No.7br>score

: he following section (m) does not appear in the First Edition./small>
:(m) nmarked arpeggio study pp. 49-50.
:: BV 297
score
]

Book 4: "For Three Hands"

''Viertes Buch. "À trois mains,"'' pp. 51–62.
score

: iano music "à trois mains" ("for three hands") combines three musical lines (written on three staves), which sounds as though it is played by three hands, but nevertheless is actually played by two./small>

: First Edition, Part 1, Tutorial VI. Examples of "three hands"">#KU5.1.VI">First Edition, Part 1, Tutorial VI. Examples of "three hands"/small>
:(a) Preludio. Alla Tarantella, pp. 51-52.

:(b) Nach Offenbach. Barcarole, pp. 53-54.
:: ranscription of the ''Barcarole'' from the ''Tales of Hoffmann''br>score
( Sitsky, p 289; Beaumont, p. 303)

:(c) Nach Beethoven. Presto, pp. 55-56.
::: C-sharp minor ''Quartet'' Op. 131
score
, transcribed for piano; consists of the first 24 bars, jumps to the fermata before the "a tempo" at bar 44 and proceeds to the cadence at the beginning of the first ending at bar 65] ( Sitsky, p 278)
:::Beispiele: Schubert-Liszt, Das Sterbeglöcklein.
:::::: chubert song, D.871, transcribed for solo piano/small>
:::::: o.3 from Liszt's ''Sechs Melodien'' (6 Melodies), S.563/small>
:::::Liszt, Valse a capriccio sur Lucia e Parisina (Erste Fassung) .401/small>
:::::Busoni, Concerto
score

: First Edition, Part 2, Tutorial IX. A second group for tutorial VI">#KU5.2.IX">First Edition, Part 2, Tutorial IX. A second group for tutorial VI/small>
:(d) Perpetuum mobile et infinitum. Studie nach Bach (aus "an die Jugend"). Allegro non troppo, pp. 57-58.
::: n endlessly repeating 24-bar loop extracted from the "Fuga figurata" of Book 2 of Busoni's ''An die Jugend'', Catalog of original compositions by Ferruccio Busoni#BV254">BV 254
score
. The piece combines themes from the prelude and the fugue of Bach's Prelude and Fugue No.5 in D major (BWV 850) from the Well-Tempered Clavier, Book 1
score
]

:(e) Nach Schubert, pp. 59-60.
::: Erlkönig'' in ''12 Lieder von Franz Schubert'', S.558/4
score
] ( Sitsky, p 293)

:(f) Aus meinem "Concerto". Trattenuto e fantasticamente, pp. 61-62.
:: Concerto Op. XXXIX, BV 247, p. 45 of the :File:Busoni- Piano Concerto (2-po rdn) Mvt2.pdf">Egon Petri two-piano reduction

Book 5: Trills

''Fünftes Buch. Triller'', pp. 63–88.
score

:[The following sections (a) to (g) also appear in the First Edition, Part 2, Tutorial VII. Trills">#KU5.2.VII">First Edition, Part 2, Tutorial VII. Trills/small>
:(a) Moderato, pp. 63-65.
:: extended exercises in trills (forming one "preludio")/small>

:(b) Nach Bach. Andante, pp. 66-68.
:: ariation 28 from ''Goldberg Variations'', Catalog of adaptations by Ferruccio Busoni#BVB35">BV B 35
score
] ( Sitsky, p 203)
::Beispiele: Beethovens Sonaten Op. 53
score
, Op. 109
score
und Op. 111
score
.

:(c) Nach Beethoven. Allegro, pp. 69-70.
:: 'Hammerklavier' Sonata, Op. 106">ased on part of the fugue from the Piano Sonata No. 29 (Beethoven), 'Hammerklavier' Sonata, Op. 106/small>
::[The trills are written out and fitted with the other parts.] ( Sitsky, pp. 278-279)
::Beispiel: Vergleiche die ganze Fuge aus Beethovens Sonate Op. 106.
score

:(d) Preludio (ohne den 3. Finger ithout the third finger. Moderato alla breve, pp. 71-72.
::Beispiele: ¹⁾ ohne den 4. Finger: Chopin, Etudes Op. 25 F dur o.3br>score
,
::::ohne den 3. und 4. Finger: Chopin, Etudes Op. 10 As dur o.10br>score
.
::::²⁾ für die wechselnden Sekunden intervalle: Liszt's " Feux Follets" score
">ranscendental Etude No.5, S.139/5
score
/small>

:(e) Nach Gounod. Andante con moto, pp. 73-75.
:: usoni cadenza to Liszt-Gounod ''Valse de l'Opera Faust'', S.407/small>
::[begins at bar 24 of the Andantino (p. 9) of th
Liszt score
/small>
::[The Andantino section is based on the vision of Gretchen from Act 1.] ( Beaumont, p. 303)
::[Egon Petri's recording of this piece uses the Busoni cadenza.] ( Sitsky, p. 240)
::[4 measures for returning from Busoni's cadenza to the "Allegro vivace assai" of the ''Faust Waltz'' are provided by Sitsky on p 242.]
::Beispiele: Faust-Walzer
score

::::Die Vogelpredigt .175/1br>score

::::Gondoliera .162/1aus: Venezia e Napoli (Liszt)
score

:(f) Preludio. Allegro, pp. 76-78.
:: an effective preludio...with straightforward trill decoration running through it"( Sitsky, p 168)

:(g) Nach Liszt. Andantino, pp. 79-82.
:: Venezia e Napoli''">heme from ''Gondoliera'' (from Liszt's '' Venezia e Napoli''br>score
with 3 variations] ( Sitsky, p 243)

: First Edition, Part 3, section (n)">he following section (h) also appears in the #KU5.3n, First Edition, Part 3, section (n), p. 47./small>
:(h) 7 Variationen nach eimem Motive von Beethoven, p. 83.
: ppendix: Seven variations on a motive of Beethoven.:: ootnote:In verschiedenen Tonarten zu üben. Auch in Moll. o be practiced in different keys. Also in minor./small>
:: 'Emperor' concerto
score
]

:[The following piece is not included in the First Edition]
:(i) Veloce e leggiero, pp. 84-88.
::[This extended piece, composed 1–3 January 1924, is Busoni's last piano composition
score
. The music was also intended for Busoni's unfinished opera Doktor Faust, and Antony Beaumont used it for his completion of the opera.] ( Beaumont, p. 305)
:: A sinister five-page essay in Busoni's best spectral style..."( Sitsky, p 168)

Book 6: Staccato

''Sechstes Buch. Lo Staccato'', pp. 89–117.
score

: First Edition, Part 3 "Staccato", sections (a) to (j).">#KU5.3.html" ;"title="he material in Book 6 also appears in the #KU5.3">First Edition, Part 3 "Staccato", sections (a) to (j)./small>

:(a) Vorwort zum Sechsten Buch, p. 89.
::[Foreword by Ferruccio Busoni, dated Zurich, July 1920.]

:(b) Vivace Moderato, con precisione, pp. 90-93.
::["...hectic and difficult study in staccato chords...."] ( Sitsky, p 169)

:(c) ''Variations-Studie nach Mozart'', 1, pp. 94-95.
::[transcription
score
of the "Serenade" from ''Don Giovanni'']
::[This piece was played frequently by Egon Petri as an encore.] ( Sitsky, p 264)

:(d) ''Variations-Studie nach Mozart'', 2. Allegro, pp. 96-101.
:: lightly altered versions the ''Giga'' and ''Variazione'' from Book 3 of ''An die Jugend'', Catalog of original compositions by Ferruccio Busoni#BV254">BV 254
score
; the ''Bolero'' is cut] ( Sitsky, pp. 264-266)

:(e) Motive. Allegro risoluto, pp. 102-104.
::[staccato study with alternating-hands]
:: a sequential study employing various intervals, including bars of consecutive seconds"( Sitsky, p. 169)

:(f) Preludio. Quasi presto, arditamente, pp. 105-107.
:: BV 287
score
]

:(g) Nach Mendelssohn. Vivace assai, pp. 108-109.
::[transcription of the Presto from the Mendelssohn-Liszt ''Wedding March & Elfin Chorus'', S.410
score
] ( Sitsky, p 243)

:(h) Nach Bizet. Allegro deciso, pp. 110-111.
:: onsists of the first 68-bars of Busoni's ''Kammer Fantasie über Carmen'', Catalog of original compositions by Ferruccio Busoni#BV284, BV 284
score
with 6-bars added to provide an ending] ( Sitsky, p 279)

:(i) Nach Liszt. Quasi Galopp, sempre da Capo, pp. 112-113.
:: BV B 61 (beginning on p. 27 of the complet
score
] ( Sitsky, p 243)

:(j) Allegro, pp. 114-117.
::"...another fierce-looking study in staccato chords...." ( Sitsky, p 170)
::Beispiele: Weber, Momento capriccioso
score

::::Schumann, Toccata
score

::::Rubinstein, Etüde C dur p.23, No.2br>score

::::Mozart-Liszt, Don Juan-Fantasie, Finale (Ausgabe Busoni)
score

::::Liszt, La Campanella (Ausgabe Busoni)
score

::::Liszt, Galop chromatique
::::Liszt, Tarantella di Bravura
score

::::Alkan, Etüde majeur No.12
score

::::Cramer-Busoni, Etüden, II. Heft
score

::::Busoni, Fugen-Etüde, Op. 16 o.5br>score

::::Busoni, Turandots Frauengemach (BV 249, No.4]
score

::::Busoni, Indianisches Tagebuch,Nr. 2. V 267, No.2br>score

::::Busoni, IV. Ballet-Szene (Galopp). V 238a, No.2br>score

Book 7: Eight Etudes after Cramer

''Siebentes Buch. Acht Etüden nach Cramer''
score

:[Busoni's edition of the Cramer etudes was originally published in 1897 by Schlesinger ( BV B 53). That edition is faithful to the originals, except the slow introduction of No.5 [''recte'' No. 6] is omitted, and possible changes to Etudes 4 to 8 are indicated with ossias. The etudes republished in the ''Klavierübung'' (#KU5.4, First Edition, Part 4) are identical to those in the Schlesinger edition. However, in this edition Etudes 4 to 8 include the ossias in the text without notification and contain musical and pianistic changes as well.] ( Sitsky, p 284)

:Acht Etüden nach Cramer, pp. 118-150.
::1. Allegro non tanto
::2. Comodo: ''Behaglich''
::3. En Carillon: Moderato
::4. Allegro di Bravura
::5. Répétition: Allegrissimo
::6. Allegro moderato
::7. Scherzando: Piùttosto moderato
::8. Finale: Molto agitato quasi presto

Book 8: Variations and Variants on Chopin

''Achtes Buch. Variationen und Varianten zu Chopin''
score

: he material in Book 8 also appears in the #KU5.5, First Edition, Part 5 "Variations. Perpetual motion. Scales.", sections (a) and (b).]

:(a) Neun Variationen über ein Präludium von Chopin, pp. 151-167.
::[The same as ''Zehn Variationen über ein Präludium von Chopin'' (Catalog of original compositions by Ferruccio Busoni#BV213a, BV 213a, except the "Fantasia" section is omitted
score
] ( Sitsky, p 57)
:: he variations are played without pause; they are not numbered in the score, but are numbered here according to Sitsky./small>

:::(1) Sostenuto ntroduction:::(2) Largo hopin Prelude:::(3) ar. 1Sostenuto (alla breve)
:::(4) ar. 2poco più vivo, legg. scherzoso
:::(5) ar. 3(En Carillon)
:::(6) ar. 4continuando. dolce
:::(7) ar. 5sotto voce e poi sempre aumentando
:::(8) ar. 6 o marking, begins on p. 159, 4th beat of first measure::: he ''Fantasia'' section is omitted here; it is included in the 1st edition of the ''Klavierübung''.:::(9) ar. 7deciso. measures serving as introduction to var. 8:::(10) ar. 8Scherzo finale - (Vivace misurato) ugue-like:::(11) ar. 9(Hommage à Chopin) Tempo di Valse, tranquillo moderato.
:::(12) Tempo dello Scherzo. onclusion based on var. 8
:: "Faustian" introduction (1) employs the technique of symmetrical harmony which Busoni had been developing over the previous twelve years. These four bars were so important to him that he later requested that they be played as introduction to the variations of 1888 ( BV 213)">Catalog of original compositions by Ferruccio Busoni#BV213">BV 213)( Beaumont, p. 298.)

:(b) Varianten zu Etüden und Präludien von Chopin, pp. 168-177.
: ix Variants of Etudes and Preludes by Chopin::"Erst der Spiegel der Variante vom Urbild zeigt das Interessante." (Ferruccio Busoni)
:: Etudes Op. 10
scores
and Preludes Op. 28
scores
">Preludes (Chopin)">Preludes Op. 28
scores
( Sitsky, p 282)

:::(1) nmarked Etude, Op. 10 No.1 - broken chords in both hands">Étude Op. 10, No. 1 (Chopin)">Etude, Op. 10 No.1 - broken chords in both hands:::(2) Moderato Etude Op. 10 No.2 - chromatic figure played by thumb and second finger">Étude Op. 10, No. 2 (Chopin)">Etude Op. 10 No.2 - chromatic figure played by thumb and second finger:::: ollowed with a page of suggested variants (not found in the First Edition):::(3) Agitato Op. 10, No.9 - broken figures in the right hand">Étude Op. 10, No. 9 (Chopin)">Op. 10, No.9 - broken figures in the right hand:::(4) Moderato vivace Etude Op. 10, No.7 - begins more simply than Chopin, ends more difficulty, with both hands playing sixteenth-note chords">Étude Op. 10, No. 7 (Chopin)">Etude Op. 10, No.7 - begins more simply than Chopin, ends more difficulty, with both hands playing sixteenth-note chords:::(5) Allegro Etude Op. 10, No.8 - Chopin's passage work is extended">Étude Op. 10, No. 8 (Chopin)">Etude Op. 10, No.8 - Chopin's passage work is extended:::(6) Vivace Prelude Op. 28, No.3]
score

:::: hopin's passage work is shifted to from the left to the right hand; the entire piece is transcribed and is performable./small>

Book 9: Seven Short Pieces for the Cultivation of Polyphonic Playing

''Neuntes Buch. Sieben kurze Stücke zur Pflege des polyphonen Spiels''
score

:(a) Sieben kurze Stücke zur Pflege des polyphonen Spiels, pp. 178-202.
::[Nos.1 and 7 were added to extend ''Fünf kurze Stücke zur Pflege des polyphonen Spiels auf dem Pianoforte'', Catalog of original compositions by Ferruccio Busoni#BV296">BV 296. The pieces follow a cycle of keys of ascending fourths.] ( Sitsky, p. 170)
::1. Preludietto. Allegro n E major::: First Edition, Part I, Tutorial I, section (f)">#KU5.1.I">First Edition, Part I, Tutorial I, section (f)/small>
::2. Sostenuto n e minor::3. Andante molto tranquillo e legato n A minor::4. Allegro egins in D minor; ends in D major::5. Preludio. Andante tranquillo n G major::6. nach Mozart. Adagio n c minor::: ootnote:*) "Zwei geharnischte Männer" (die Zauberflöte)
::7. Mit Anwendung des III. Pedals (Steinway & Sons Sostenuto-Pedal.) Andante tranquillo. n F major::: his piece is written on 4 staves, two for the ''Hauptstimme'' [principal part">Hauptstimme.html" ;"title="his piece is written on 4 staves, two for the ''Hauptstimme">his piece is written on 4 staves, two for the ''Hauptstimme'' [principal partand two for the ''Liegende Töne'' [Held notes]. Busoni finished it on 13 November 1923 in Paris. It is dedicated to Leonhard Tauber, who was his host while he was in Paris. The music was intended for the moment of Faust's death at the end of the final scene of his unfinished opera '' Doktor Faust''.] ( Beaumont, p. 306.)

: First_Edition,_Part_5.html" ;"title="he following piece also appears in the #KU5.5, First Edition, Part 5">he following piece also appears in the #KU5.5, First Edition, Part 5 as section (c)/small>

:(b) Perpetuum mobile (nach des Concertino II. Satze), pp. 203-213.
::[Assigned the Kindermann catalog number Catalog of original compositions by Ferruccio Busoni#BV293, BV 293
score
, this piece is a shortened version of the Scherzoso from the Concertino for Piano, BV 292. The middle section of the Scherzoso is replaced with a sequential passage.]
::Beispiele: Czerny, Toccata p.92br>score

::::Weber, Rondo aus der I. Sonate p.24br>score

::::Saint-Saëns, Étude d'après le Finale du 5 Concerto p.111, No.6br>score

::::Alkan, "Comme le vent" p.39, No.1br>score

::::Alkan, "Le chemin de fer" p.27br>score

::::Alkan, Étude pour les deux mains à mouvement semblable et perpétuel p.76, No.3br>score

Book 10: Etudes after Paganini-Liszt

''Zehntes Buch. Etüden nach Paganini-Liszt''
score

:[Sections (a) to (f) are Busoni's concert transcriptions
scores
of Liszt's Grandes Etudes de Paganini, ''Grandes Études de Paganini'' (S.141)]

:(a) 1. [Etude No.1 "Tremolo" (in G minor) ( BV B 75)], pp. 214-227.

:(b) 2. [Etude No.2 (in E-flat major) (Catalog of adaptations by Ferruccio Busoni#BVB70, BV B 70)], pp. 228-238.

:(c) 3. tude No.3 "La Campanella" (in G-sharp minor) (Catalog of adaptations by Ferruccio Busoni#BVB68">BV B 68)">La Campanella">tude No.3 "La Campanella" (in G-sharp minor) (Catalog of adaptations by Ferruccio Busoni#BVB68">BV B 68) pp. 239-256.

:(d) 4. [Etude No.4 "Arpeggio" (in E major) ([ BV B 74)">atalog of adaptations by Ferruccio Busoni#BVB74">BV B 74) pp. 257-261.
:: First Edition, Part 3, section (k), with the title ''Variations-Studie nach Paganini-Liszt, 1''.">#KU5.3.html" ;"title="his etude also appears in the #KU5.3">First Edition, Part 3, section (k), with the title ''Variations-Studie nach Paganini-Liszt, 1''./small>

:(e) 5. [Etude No.5 "La Chasse" (in E major) ([ BV B 76)">atalog of adaptations by Ferruccio Busoni#BVB76">BV B 76) pp. 262-267.

:(f) 6. BV B 67)">Catalog of adaptations by Ferruccio Busoni#BVB67">BV B 67) pp. 268-275.
:: First Edition, Part 3, section (l), with the title ''Variations-Studie nach Paganini-Liszt, 2''.">#KU5.3.html" ;"title="his etude also appears in the #KU5.3">First Edition, Part 3, section (l), with the title ''Variations-Studie nach Paganini-Liszt, 2''./small>

:(g) Introduzione e Capriccio (Paganinesco), pp. 276-284.
::[Book 4 of An die Jugend, without "Epilogo", Catalog of original compositions by Ferruccio Busoni#BV254, BV 254
score
]

Composition and publication details

* Klavierübung in Five Parts (First Edition)
:Part 1: Sechs Klavierübungen und Präludien
::•''Compiled and composed:'' Zurich, 10–12 September, 10 October 1917
::•''Manuscript:'' Busoni Archive No.303
::•''Publication:''
:::1) Leipzig: Breitkopf & Härtel, 1918, cat. no. EB 5066, plate no. 28210, (39 pages)
:::2) Wiesbaden: Breitkopf & Härtel, 1954 (reprint)
:::3) Wiesbaden: Breitkopf & Härtel, a. 1990(reprint)
::•''Dedication:'' An die Musikschule und das Konservatorium in Basel

:Part 2: Drei Klavierübungen und Präludien
::•''Compiled and composed:'' 7 November 1917 - 7 June 1918
::•''Manuscript:'' Busoni Archive No. 306
::•''Publication:''
:::1) Leipzig: Breitkopf & Härtel, 1919, cat. no. EB 5067, plate no. 28321, (47 pages)
:::2) Wiesbaden: Breitkopf & Härtel, a. 1996(reprint)
::•''Dedication:'' An die Musikschule und das Konservatorium zu Basel

:Part 3: Lo Staccato
::•''Compiled and composed:'' June 1919 - 10 Mar 1921
::•''Manuscript:'' Busoni Archive No. 324
::•''Proof copy:'' Busoni Archive No. 358
::•''Publication:''
:::1) Leipzig: Breitkopf & Härtel, 1921, EB 5068, plate no. 28665, (47 pages)
:::2) Leipzig: VEB Breitkopf & Härtel, 950(reprint)
:::3) Wiesbaden: Breitkopf & Härtel, 950(reprint)
:::4) Wiesbaden: Breitkopf & Härtel, a. 1996(reprint)
::•Ded: An die Musikschule und das Konservatorium in Basel. F. Busoni.

:Part 4: Acht Etüden von Cramer
::•''Transcribed:'' ca. 1896 (BV B 53)
::•''Manuscript:'' Unknown.
::•''Publication:''
:::1) Berlin: Schlesinger, London: The Frederick Harris Company, 1897, S.8772 (separately from Klavierübung)
:::2) Leipzig: Breitkopf & Härtel, 1922, EB 5224, plate number 28809, (35 pages)
:::3) Wiesbaden, Leipzig, Paris: Breitkopf & Härtel, 955(reprint)
:::4) Wiesbaden: Breitkopf & Härtel, a. 1996(reprint)
::•''Dedication:'' Herrn Professor Carl Lütschg in St. Petersburg.

:Part 5: Variationen, Perpetuum mobile, Tonleitern.
::•''Composed:'' April–May 1922
::•''Manuscript:'' Busoni Archive No. 337 (Terzen Tonleitern cales in Thirds
::•''Publication:''
:::1) Leipzig: Breitkopf & Härtel, 1922, EB 5225, 5230, and 5231, plate no. 28765, (52 pages)
:::2) Wiesbaden, Leipzig, Paris: Breitkopf & Härtel, 955?(reprint)
:::3) Wiesbaden: Breitkopf & Härtel, a. 1996(reprint)
::•''Dedication:'' À Gino Tagliapietra (Variationen); À Cella Delavrancea (Perpetuum mobile).

:•''Ref:'' Dent, pp. 344, 349; Kindermann, pp. 461-463; Sitsky, pp. 162, 375-77; Beaumont, pp. 295-6, 370-2; Roberge, p. 45.

* Klavierübung in Ten Books (Second Edition)
:•''Compiled and composed:'' Dec 1923 - Jan 1924
::•''Note:'' Listed in an itemization of his compositions, prepared by Busoni, now part of the Busoni Archive.
:•''Manuscripts:''
::•In the Busoni Archive at the Staatsbibliothek zu Berlin:
:::•No. 303 Sechs Klavierübungen und Präludien (also First Edition, Part 1)
:::•No. 306 Drei Klavierübungen und Präludien (also First Edition, Part 2)
:::•No. 324 "Lo Staccato" (also First Edition, Part 3)
:::•No. 337 Terzen Tonleitern (also First Edition, Part 5)
:::•No. N. Mus. ms. 215 Exercise pour l'emploi de la troisième Pedale
::•In the Galston-Busoni Archive, James D. Hoskins Library, University of Tennessee, Knoxville:
:::•F.4.d Preludio (no. 2 of BV 296 ''Fünf kurze Stücke zur Pflege des polyphonen Spiels'')
:::•F.4.a, F.4.c, and F.8 (ms and proof copy of BV 297 ''Prélude et Étude en Arpèges'')
:::•F.3 Liszt-Busoni "Tremolo" 1 Etude nach Paganini ( BV B 75)
:::•F.4 Liszt-Busoni "La Chasse" 5 Etüde nach Paganini ( BV B 76)
:::•F.9 Sechs Varianten zu Etüden und Präludien von Chopin

:•''Publications:''
::1) Breitkopf & Härtel, Copyright 1925, cat. no. FB VIII (as Vol. VIII of the Bach-Busoni Edition), (284 pages)
:::•''Title:'' Klavierübung in zehn Büchern, zweite umgestaltete und bereicherte Ausgabe.
:::: iano tutorial in ten books, second reorganized and enriched edition.::2) Books 1-5 republished by State Publishing House, Moscow, 1968, ed. J. Milstein. Plate no. 4135
::3) Breitkopf & Härtel, Wiesbaden, 1968 (selected items ed. by Franzpeter Goebels)

:•''Ref:'' Dent, p. 344; Kindermann, pp. 463-464; Sitsky, pp. 162-163, 380-381; Beaumont, pp. 295-296, 372; Roberge, pp. 46, 55, 57.

Notes

References

External links

*

{{DEFAULTSORT:Klavierubung (Busoni)
Piano compositions by Ferruccio Busoni
Piano études
Arrangements of classical compositions