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.Beaumont, pp. 302, 307; Sitsky, pp. 172-173.
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."Dent, p. 239.
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 [Piano Tutorial in Five Parts],Kindermann, p. 461. and Breitkopf & Härtel later republished a collected edition under this name ca. 1996.See WorldCat and 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" [Turandot'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."Beaumont, pp. 302-303; Sitsky, pp. 166-167.
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 [arpeggios] and 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.Beaumont, pp. 304-305; Sitsky, pp. 166-170.
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 [Piano 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:Beaumont, p. 305 "Veloce e leggiero" [the final piece in Book 5 ("Trills")] "Study for the Third Pedal" [No.7 from Seven Short Pieces for the Cultivation of Polyphonic Playing, 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 BeaumontBeaumont, pp. 302-306. and SitskySitsky, 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. [Scales] [exercises 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]
[The following two sections, (a) and (b), also appear in the Second Edition, Book 1 (Scales)] (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. [excerpt from the final cadenza in Liszt's Totentanz, see p. 70 of the 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.] (Sitsky, pp. 226-230)
(d) Allegretto, p. 6. [scales in alternating hands, broken chords in the other hand] [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 Second Edition, Book 9, as No.1 in Sieben kurze Stücke zur Pflege des polyphonen Spiels.] Beispiel: Alkan, Etudes dans tous les tons majeurs, [Op. 35] No.1 (score)
II. [Chords based on scale patterns] [step-wise movement with incorporated chords] [Tutorial II also appears in the Second Edition, Book 2 (Forms derived from scales), section (a)]
(a) [Extended exercise], pp. 8-9. Beispiele: Weber, Sonate C dur, [Op. 24] I. [Allegro] (score) Liszt, Carillon, aus "der Weihnachtsbaum" [S.186/6] (score)
(b) Preludio: Allegro festivo, p. 10. [begins in D flat major and ends in C major] Beispiel: Chopin, Fantasie [Op. 49] (score)
III. [Chromatic "sliding-finger" technique] ["sixth finger" technique of sliding from black to white key in chromatic passages] [Tutorial III also appears in the Second Edition, Book 2 (Forms derived from scales), section (b)]
(a) [7 exercises on various double chromatics], pp. 11-12. (b) Preludio (Andantino), pp. 12-13. (c) Con bravura (la mano destra sotto), p. 13. [alternating crossing hands: sliding one, two, three, four fingers simultaneously; both hands, similar motion, outer fingers held, inner sliding] Beispiel: Liszt, Mazeppa (S.139/4) (score)
(d) Preludio (Tempo di Valse moderato), p. 14. (e) Allegro moderato [exercise, in ], pp. 14-15.
IV. [Repeated notes] [Tutorial IV also appears in the Second Edition, Book 2 (Forms derived from scales), section (c)]
(a) Schema with eight variants, pp. 16-18. [repeated note techniques, in various patterns of quarter, triplet, and sixteenth notes]
(b) (Nach Schubert-Liszt), p. 18 [excerpt from Auf dem Wasser zu singen, tr. Liszt, 12 Lieder von Franz Schubert, S.558/2 (score)] (Sitsky, p 243) Beispiele: Chopin, Prelude Gis moll [in G-sharp minor, Op.28, No.12]. (score) Liszt, Schuberts "Auf dem Wasser zu Singen" [S.558/2]. (score) Liszt, Au bord d'une source. (S.160/4) (score) Liszt, Tannhäuser-Ouverture. (S.442 (score)
(c) Allegretto, p. 19. [based on bars 11 and 12 of the Indian Diary BV 267, No.1] (Sitsky, p 243) Beispiel: Busoni, Indianisches Tagebuch, Nr. 2. (score)
(d) (Nach Auber-Liszt) Alla Tarantella., pp. 20-21. [excerpt from Tarantelle di bravura dàprès la Tarantelle de La muette de Portici, 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 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. [4 extension arpeggio exercises] Beispiele: Chopin, Etude Op. 10 Nr. 1. (für die r. H.) (score) Henselt, "Orage, tu ne saurais m'abattre". (für die l. H.) [12 Études caractéristiques, Op. 2, No.1] (score) Chopin, Prélude Es dur. [Op. 28, No.19] (score) Liszt, Vision. [S.139/6] (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. [exercise based on Prelude No.1, BWV 846, from the Well-Tempered Clavier, Book I] (Sitsky, p 203)
(d) [see Part 3, section (m) "Appendix to tutorial V."]
(e) (Nach Beethoven). Allegretto, pp. 26-27. [exercise based an excerpt of the 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. [contrary-similar motion combined]
(h) [Extended 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. [Examples of "À trois mains"] [Tutorial VI also appears in the Second Edition, Book 4 "For Three Hands" as sections (a) - (c)]