|Ferruccio Dante Michelangelo Benvenuto Busoni, generally recognized as a pianist and composer, was one of the most impressive musicians in History. His work reaches the lofty summit of Parnassus after having energetically surmounted its each and every craggy step.|
|Combining airy Latin lightness and admirable Teutonic seriousness, his music eludes the typical Procrustian Bed treatment inflicted upon most serious music, and, guarding its limber limbs intact, continues to delight and illuminate today. This site, open to the general public as well as the faithful of the cult, has been launched to encourage the young field of Busonology to flower everywhere.|
Despite Busoni’s "Romantic" career as a famous pianist touring the world, his creative universe is fascinatingly "modern" - especially in the sense used by philosophers like Lyotard and Habermas: an unfinished project. Busoni’s world is that of the future anterior - what will have been. Many of his most compelling works and writings are simply sketches for some vast unrealized possibility (such as the creation of a chromatic system based on third tones!) Most of his works contain (more or less) explicit references to other music creating a strange web of references which freely transgress chronological categories and esthetic credos. The most addictive quality to his music for the Busonologist is the consistent (and much more secretive) self-quotation, shuttling musical ideas between tiny pieces (often called "exercises") for piano and his major stage works Die Brautwahl, Turandot, Arlecchino and Doktor Faust. His œuvre seems to be a vast puzzle with dual significations - one pragmatic and pianistic, the other scenic and utopic.