Busoni: The Late Works Svetlana Belsky
- Ferruccio Busoni (1866 - 1924):
- 1Piano Sonatina No. 2, BV 25909:03
- 210 Variations on Chopin's C Minor Prelude (Revised 1922 Version of Op. 22)09:42
- Elegien, BV 249:
- 3Elegien, BV 249: No. 1, Nach der Wendung05:21
- 4Elegien, BV 249: No. 2, All'Italia!07:20
- 5Elegien, BV 249: No. 3, Meine Seele bangt und hofft zu dir08:02
- 6Elegien, BV 249: No. 4, Turandots Frauengemach04:24
- 7Elegien, BV 249: No. 5, Die Nächtlichen04:31
- 8Elegien, BV 249: No. 6, Erscheinung06:29
Info zu Busoni: The Late Works
Music lovers are familiar with Ferruccio Busoni due to his extensive revisions of Johann Sebastian Bach's keyboard works, but the Italian's own compositions have long been reserved for the pleasure of a handful of connoisseurs. Looking at their technical scope, it is not difficult to see why: Busoni, a true-blue composer in the original sense of the word, possesses an original, eclectic style that is difficult to categorize. Pianist-performer Svetlana Belsky, who first discovered her love for the musical creator during her doctoral studies, thus insightfully avoids any attempt at stylistic classification, but rather interprets each and every piece with great respect to the particular work's inherent nature.
Since Busoni's pieces, individually taken, run the whole gamut from a late-Romantic, occasionally even classical aesthetic to borderline atonality, one would expect a coherent interpretation to be a truly fearful challenge. But this is where the magic sets in: Marrying awe-inducing technical capabilities to an artistic intuition of mind-boggling depth, Belsky manages to enter the inner sanctum of Busoni's creative thought, no matter the style, with miraculous panache. The pianist effortlessly captures the soul of the piece, regardless of whether the composer furiously tears down form and tonality in Sonatina Seconda, whether he reminisces in Chopin's lyricism in his Nine Variations, or whether he allows himself a rather off-color compositional remark by citing "Greensleeves" in Turandots Frauengemach. Belsky makes all these eccentricities sound perfectly plausible, imperative even; and she may well be the first pianist to accomplish this feat.
FERRUCCIO BUSONI: THE LATE WORKS, therefore, marks a new high point in the performance of the often- misunderstood composer; and Svetlana Belsky's innate understanding of her kindred spirit may well inspire a historic turning point in the public perception of Busoni's oeuvre.
Svetlana Belsky, piano
Critically acclaimed as “a passionate pianist and scholar,” Svetlana Belsky is a highly-demanded recitalist and chamber pianist, noted for her remarkable rapport with audiences and stylistic versatility. She has appeared in Italy, Ukraine, Russia, Poland, Canada, China, Taiwan, Hong Kong, and the United States. Belsky has received awards both for her performances in international piano competitions and for her advocacy of new American music.
Belsky’s fascination with the legacy of Ferruccio Busoni began during her Doctoral studies. Her dissertation was an annotated translation of Busoni as Pianist by the famed Soviet musicologist Grigory Kogan. Subsequently, the book was published in 2010 by the University of Rochester Press on their prestigious Eastman Studies in Music series. The book received widespread praise from Busoni scholars and lay readers, and was featured on BBC radio in December 2016. Belsky champions Busoni’s legacy by performing and recording his music and lecturing about Busoni’s historical contributions to Bach scholarship, among others.
Following emigration from the Soviet Union, Belsky studied with Emilio Del Rosario in Chicago. She earned her Bachelor of Music summa cum laude and master’s degrees from the Peabody Conservatory of Music, studying with Ann Schein. Later, she earned her doctorate in performance at the Manhattan School of Music, working with Nina Svetlanova. As the Coordinator of Piano Studies at the University of Chicago, Belsky teaches students from four continents, among many other academic responsibilities.