Bach-Busoni Chaconne the Objective of

Bach-Busoni Chaconne The objective of this work in writing is to analyze the work entitled Chaconne for solo piano by Bach-Busoni. This work will conduct a comparison between the original piece, Chaconne from Partita No.2 for Violin Solo by J.S. Bach and the transcription by Busoni and how Busoni embellishes the work and as well this work will conduct a structure and harmonic analysis. Ferruccio Busoni transcribed J.S. Bach's Chaconne for violin solo from the Partita No.2 in D Minor, in 1893.

While there are many transcriptions of this work of Bach's the transcription of Busoni is recognized above others.

The work of Fabrikant (2006) entitled: "Bach-Busoni Chaconne: A Piano Transcription Analysis" states "Busoni's accomplishments lie in the new concept, a conceptual transcription, which has two roots: understanding how, historically, we are connected to the music, and how once genres have a special meaning in the twentieth-century" and adds that Busoni lived on the border of the two centuries and, in his transcription, reveled in several issues overlooked by the previous generation." (Fabrikant, 2006) Busoni is stated to have become familiar "with the art of transcription" very early life listening at home as well as in the concert hall.

Busoni's mother was "an accomplished pianist performing with Busoni's father who was a clarinet virtuoso, "himself famous for his performance of various transcriptions." (Fabrikant, 2006) I. BUSONI: TURN of the CENTURY Busoni was greatly influenced by Franz Liszt. Specifically "Busoni studied Liszt's compositions and his technical approach to the instrument, and derived from these a striking display of virtuosity wealth and inventiveness. Busoni paid much attention to the beauty of melodic line and color." (Fabrikant, 2006) Additionally, the fact that Liszt "made several transcriptions of J.S.

Bach's work..." And this must have influenced Busoni as well. Fabrikant states of Busoni: "J. S. Bach's music engendered much of Busoni's musical personality. For Busoni Bach's music became a continuous inspiration, and constituted the highest criteria and material by which he judged his own musical talent.

He devoted this talent to transcribing several of these works, weaving Bach's tunes into his own compositions, and editing Bach's piano works..." (Fabrikant, 2006) Busoni is stated to have "published his credo of the aesthetic essay 'Sketch of a New Aesthetic of Music' in which he upheld the composer's right to "create a transcription and argued that it should be viewed as an individual artistic work" stating that each notation "is in itself the transcription of an abstract idea.

The instant the pen seizes it, the idea loses its original form...a transcription does not destroy the archetype, which is therefore, not lost through transcription...the performance of a work is also a transcription, and still, whatever liberties it may take, it can never annihilate the original." (Ferruccio Busoni as cited in: Fabrikant, 2006) The work of Rene Leibowitz entitled: "The Art of Musical Interpretation According to F.B.

Busoni" states that the goal of Busoni was the realization of "...polyphony and harmony, only implied in the original text, and to actualize these elements on an instrument capable of presenting them in their true form.

Indeed, the eminently 'well-tempered' language of the Chaconne, which makes abundant use of chromaticism seems better suited to the most 'well-tempered' of instruments which is the piano, rather than the violin which -- still today -- we play more 'diatonically' than chromatically." (nd) Leibowitz additionally states of the transcription of Busoni that it is easy to see the mindset of Busoni because the original text of Bach "...in spite of all its richness -- and precisely because of this richness -- to be transcendental to the possibilities of the instrument..." As Bach "...in composing a work of such immense ambition" clearly left a door open to his work being amplified.

(Leibowitz, nd) II. STRUCTURAL and HARMONIC ANALYSIS of BUSONI'S TRANSCRIPTION During the years of 1891 and 1892, Ferruccio Busoni transcribed the famous composition of Bach titled "Chaconne." There are four version of this transcription and each is stated to be even more complex than the one before. Fabricant states of Busoni that his transcription of the Chaconne is distinctive due to the treatment of the musical material. In this work Busoni communicate some ideas characteristic of the Romantic era, and some which would later become a hallmark of twentieth century music.

The originality of the treatment of the genre, and the composer's profound understanding of the rules of musical perception demand the listener's absorption. The different stylistic roots are united by the uniqueness of Bach and Busoni non-traditional attitudes with which they approached the genre, both of which are prominent when listening to the piece.

Attention to these types of problems allows us to recognize the Chaconne's true genres and formal structure." (Fabrikant, 2006) The solutions of Bach and Busoni are found differentiated in the solo sections and the manner in which these problems were dealt with resulted in a solution that was "more passionate, even 'theatrical' expression and which resulted in a "new understanding of musical time and space, as heard in this piece." (Fabrikant, 2006) the melodic line is stated to be "one of the most expressive features in the Bach 'Chaconne'..." (Fabrikant, 2006) the new variations and the accompanying melodic lines are stated to be so very "rich that they are perceived as new themes and melodies." (Fabrikant, 2006) Additionally, "the genre of the theme changes in successive variations." (Fabrikant, 2006) There are stated to be three melodic line types in the Chaconne: 1) that associated with the chorale; 2) that of the lyrical sphere; and 3) the repetitive toccata-like music." (Fabrikant, 2006) Initially, the chorale melody adheres to the "Chaconne de Espagne (a stately mourners dance)" which begins "on the dominant, leaps up to the second scale degree, proceeds to the third and then resolves to the tonic." (Fabrikant, 2006) the following figure has been adapted from the work of Fabrikant (Fabrikant, 2006) and pictures the 'theme of the Chaconne, the chorale'.

The Theme of the Chaconne, the chorale Source: (Fabrikant, 2006) Bach's opening theme is transposed by Busoni to an octave lower which has the sound on a piano that is more bell-like and a sound incidentally with which Busoni is stated to have been quite fascinated.

The opening is followed by a Phrygian mode tetrachord pattern in mm.3-4 which effectively "creates a versatile, active melodic line..." which is drama-enhancing and which paints "an exclamatory image." (Fabrikant, 2006) The descending melodic line following the exclamation is that filling the gap and which allows the release of the tension which has been previously built then leaping out again in the second phrase and resolves with a "leap from the tonic up to the sixth scale degree..." incidentally the "highest note in the melodic line of the chorale." (Fabrikant, 2006) in Baroque music this is referred to as an "exclamatio motif." (Fabrikant, 2006) The ascent of the melodic to B flat resolves "emotional, harmonic and melodic, - but also because it predicts the further development of the melodic line and the texture in the Chaconne." (Fabrikant, 2006) Busoni preferred the theme in the low register of the piano and since this is the case the register has only the upward regions in its reach which is stated to have well suited the idea and concept of Busoni regarding music "to move from darkness to light." (Fabrikant, 2006) the variation of form and technique by Bach results in a melodic variation because of the more common methods combined with the articulatory changes and the addition of Busoni is a "differentiated timbral element and genre contrast" which is however, "hidden in the background of the Bach score" and which is a characteristic following of the formula of the Chaconne which emphasizes the second beat.

(Fabrikant, 2006; paraphrased) Fabrikant states that the melodies which are "lyrical-type...have a different pattern. Their line is more pliable and the range of the melody becomes very wide and wave-like. It saturates with expressive intervallic leaps and scale passages, which are often symmetrical: the ascending leap is followed by a descent (m m.

25-28)." (Fabrikant, 2006) Sigh and suffering are intonated into these melodies "indicated by a descent from scale degree 6 to 7 in harmonic minor." (Fabrikant, 2006) These rhythms are much simplified from those just previous and the "consecutive even eighty notes or sixteenth notes gracefully form the shape of the melody." (Fabrikant, 2006) The chromatic scale is noted quite often in these sections with the perpetuation of the genre of the melody by the melodic line occurs even when the Chaconne rhythm appears absent.

Bach's melodic passage is inverted by Busoni as the melody is divided between the left and right hands and as arranged resembles the plucking of a harp and following the "leap to the fifth scale degree" is "another 'Phrygian' tetrachord which resolves in a "steady filling by sequential passages" which are primarily diatonic as compared to the melodies of the chorale and lyrics. Busoni is stated to have faithfully followed Bach "hardly changing Bach's melodic line" and when there are changes "they result in changes in the direction of the.