Busoni: Piano Concerto in C Major, Op. 39, BV 247

Presentación del Álbum

When this recording by pianist David Lively and Michael Gielen leading the SWF Sinfonieorchester Baden-Baden (and the Herrenchor des Freiburger Vokalensemble in the finale) was originally made in 1990, the Piano Concerto in C major, Op. 39, by Ferruccio Busoni, was having a bit of a renaissance. Several recordings of this still not-too-often-recorded work hit the market in the surrounding years, with versions by Garrick Ohlsson and Peter Donohoe, among others, giving listeners several interpretations from which to choose. Lively is a powerful player, though he also displays a deft touch where needed (the central "Pezzo serioso" is an excellent opportunity for this), and in this monumental 70-minute concerto, he has ample opportunity to showcase his adaptability. Busoni was criticized for his use of the soloist and orchestral forces; though the piano performs a soloist role throughout, the orchestra receives considerable weight in the difficulty and importance of the themes and arc of the work. In this regard, having Gielen, a longtime champion of this composer's music, leading the orchestra and choir is vital. The communication and cooperation between Lively and the orchestra that is critical to the success of the work's performance is evident, resulting in a quality performance that will still resonate with audiences. The opening movement, "Prologo e Introito," provides a fundamental basis for the work, with an orchestral introduction leading to the soloist's entrance. There is a lot of variety in this expansive work, which offers listeners ample opportunity to hear Busoni's prowess as a composer. The "Pezzo serioso" movement is divided into four segments; at nearly 23 and a half minutes here, it is practically its own concerto within the concerto, and the fourth movement, "All'Italiana (Tarantella)," is exciting and fun, with Busoni cleverly incorporating a couple of Italian folk songs. The finale, "Cantico," is much darker and brings back several themes heard earlier, with the men's choir joining with text from Adam Oehlenschläger's Aladdin. The piano takes a backseat to the choir and orchestra before returning with a flourish in the coda.

© Keith Finke /TiVo