Ancient Dances Op 11
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Transcript of Ancient Dances Op 11
8/3/2019 Ancient Dances Op 11
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M u s ik a 1 h . f .
'1 :6 1 ~ 1 9
• MILANO - RO:.\fA- NAPOLI - PALERMO - LONDRA
LIPS!A - BUENOS AIRES
PARIS - SOC. ANON. DES EDITIONS RICORDI
NEW YORK - G. RICORDI & Co., INC.
E. R. 652
F.B. BUSONI
DANZE ANTICHEPER PIANOFORTE
OP. t t
1. MINUETTO. -,
2. GAVOTTA.
3. GIGA.
4. BQURREE.
EDIZIONE RIVEDUTA DA GINO TAGLIAPIETRA
PROFESSORE NEL LICEO MUSICALE BENEDETTO MARCELLO IN VENEZIA
TESTO ITALIANO
TEXTO ESPANOL
TEXTE FRANC;AIS
ENGLISH TEXT
G. RICORDI E C.SD\rolt!·STA"PATOIU
__.. __._ ---
8/3/2019 Ancient Dances Op 11
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PREFAZIONE .Dopo 'Ia morte di Ferruccio Busoni, che per uni-
versale consenso era ritenuto legittimo erede di
Liszt quale pianista sommo, la ristampa delle sue
opere giovanili s'imponeva.
Spento I'esecutore leggendario rirnane a noi ed
ai futuri tempi I'opera sua di cornpositore e di
esteta. Gil!. in questi primi lavori di Busoni si scor-
gono i tratti fondamentali del suo carattere artistico,
che fu del tutto antitetico alia tendenza erninente-mente romantica del secolo scorso. Nessun rappre-
sentante del romanticismo, nemmeno Liszt, per il
quale Busoni aveva una sconfinata venerazione, Ia-
scia traceie nella sensibilita del nostro autore. Il suo
spirito e la sua passione istintivamente vanno a
G. S. Bach, nel quale egli, ancor giovahissimo, sen-
tiva rison are pienamente la propria personalita mu-
sicale proclive alia investigazione e alia risoluzione
di problemi di polifonia contrappuntistica e di arch i-tettura musicale. Pei romantici Bach fu oggetto di
studio e di ammirazione; in Busoni, Bach sembra
addirittura rivivere e - se possibile - ingigantire
ancora con mezzi rinnovati e con altrettanta potenza
costruttiva.
Daile Fughe ora ristampate alia monumentale
Fantasia contrappuntistica la via e lunga, ma Ia
linea e retta. Anche nelle Danee in stile antico la
polifonia contrappuntistica e la maniera preferita.
La presente ristampa e quindi utile a tutti quelli
che vogliono' conoscere gli elementi primordiali del
grande spirito trapassato, ed e doverosa verso Ia
memoria d'un Italiano che, operando in terre stra-
niere, ha superato ogni competizione.
PREFACE.
Apres la mort du celebre p;(I1IisteFsrruccio Basom,
consideri unrversellement C011lmer hetit;er leg;time deLisst, la riidit;on df ses oeuores d~[eunesse s'imposait.
Le grand artiste n'est plus, mais il nous reste
encore aujOt4rd'hUf~pour sa gloire future, S01' oeuvre
de compositeur qt4i est considerable. Dans les pre-
mieres oeuvres de BflSOIZi 0 " decouure les traits (on-damentaux de sa pcrsimllalit(t artistique qru"fut ell,;'erC-
ment opposie ti la tcndance em;ltemmellt romantique d t«
siicl« dernier, Aucun musiciende l' 'poque romantique,
pas mime Lisst pour leque] Busoni avail tme pro-
fonde veneration, n' a laisse d' empreinte sur la sensi-biliti de cet auteur. L' esprit curieux et le sentiment
passioune de Busoui l' entratnaient ,izsti1tctivemmt oersJ. S. Bach dans l'oeuure duquel, encore Ires [eunc,
il Jfli semblait retroauer la complete e.xpression de saproprf nature musicale qui l'incitait a /'investigation
comme ti /' etude du coutrepoint po[vplzonique et de
l'architecture musicale. Pour les romantiques Bach
fut seulemen! l'objet d'itude et d'admiration. Che«
Busoni, au contraire, Bach semble uraiment reoiore,
peut ftre meme alice des moyens renouueles et agran-
dis, CIt tout cas avec auta"t de pmssance constructive.
Des Fugues, maintenani reimprimees, jusqu' Q la
monumentale Fantaisie en contrcpoint la voie est
longue, mais la Iigne est droit". Egalement dans les
Danses dans le style ancien on ooit que la polyphonie
drl contrepoint est la maniere preferee de Buson;.
Cet te nouvelle edition sera sans doute utile a tous
ceux qtli uoudront connattre Ies tcudances primordialesde ce grand esprit disparu. Elle est aussi un hommagea la memoire d'un geliial artiste italim, qui, mime"••_. In. 1""."",j.trt1"(Y~re. a conquis tous les suffrages •.
PREFACIO.
Despues de Ia ntuerte de Ferruccio BUS01li, que
por asentiniiento uniuersal, era rcconocido legilimo
sucesor de Liset como SU1IIOpiam:c;ta, la reimpresion
de sus obras juueniles se imponta.
};/teerto el ejerutante legendario, queda a 1I050fros
y a los ticmpos futuros, su obra de compositor y de
csteta. Ya en estos primeros trabajos de Busoui, se
descubren los trazos fundamentalcs de su cardcter
artisiico que Jui consplctamcnte allt:"tilico a la len-dencia enuncntemcntc rom intica del siglo pasado.Ningtin reprcsentante del romanticismo, ni siquicra
Liset por el cual Busoni sentia twa ueueracion sinlimites, deja trasa algtma eft su sensibilidad. Su espl-
rit« Y Sri pasio«, [nsttnthrament« oan bacia J. S. Bach,eft el cual if IIttty [oucn aun, sentia resonar pima-ment« su propia persomr/idad musical, inclinada (1 la
i,zvcst(t;aci611 _ v a la resolucion de problemas de poli-
fonta contrapuntistica y de arquitcctura musical. Para
los ronutnticos, Bach Jui objrto de estudio y de
admiracion ; en Busoni, Bach parece revi.';r - y si
es posible - agiganlarse au« con medios renooados
y CO" nueoa potmcia constructiua,
Desde las Fugas, ahora reimpresas, hasta la IIW-
numental Fantasia contrapuntistica, el camino eslargo; pero la linea, recta. Tambien en las Danzas
de estilo antiguo la polifonta contrapuntistica es lam01tera preferida. .
La presetlte reintpresi6n es por tanto ritil R todos
aque/lo~ que quieran conocer /os elementos primor-diales del grmz espiritu fenecido, yes un deber a Ia
memoria de tin italiano que trabajando en tierra ex-
tranjera, ha superado toda competicio«.
PREFACE.After the death of Ferruccio Busoni, who as
foremost pianist was by universal consent considered
legitimate heir of Liszt, the printing of his early
compositions was imperative.
The legendary executor elapsed, there remains
to us and future time his work of composer and
aesthete. Already in .these first works of Busoni we
.find the fundamental lines of his artistic character,
which was completely in opposition to the eminently
"romantic tendency of the previous century. No rep-
resentative of romanticism, not even Liszt, for'
whom Busoni had an unbounded veneration, makes
impressions on his sensibility. His spirit and passion
instinctively turn to Bach, in whom he, still very
young, felt to resound fully his own musical person-ality, inclined to the investigation and the resolu-
tion of problems of contrapuntal polyphony and
musical architecture. For romanticists Bach was an
object of study and admiration; whilst in Busoni
Bach seems to completely re-live and - if possible
_ still enlarge with renewed means. and with the
same constructive power.
From the Fugues now printed to the monumental
contrapuntal Fantasia, the way is long but the line
direct. Also in the Dances i11 ancient style the con-
trapuntal polyphony is the manner preferred.
The present printing is therefore useful to all
those who wish to know the primordial elements ofthe zreat elapsed spirit, and is dutiful towards the
memory of an Italian who, working in foreign
countries, has overcome all competition.
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F .. B . BUSONI(G. TAGLIAPIETRA)
DANZEANTICHE
D.AlvSES ANCIENNES
DANZAS ANTIGUAS
ANCIENT DANCES~I' Amico c~aimo RICCARDO ECEDEL .
MINUETTO
·MENUET I . MINUE
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All rights of execution, repl'OduetloD and tl'ftn~crlptlclD are strictly re~e"ed. ER.852
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.AIrEgregio Maestro OIUL70 PUMAOALLI
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E.R.. 852
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GIGA
GIGUE 1GIGA
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manier& con 1& quale I'autoro,lecondo I'esperienz& del revl_'
lore, eaegulva. Ilmill eompontmenti, 11 renaore IIcrede auto_
rizzato di consigUare un toeco Cloltantemente «DOlllegato ••
I legnl dl Ieg&tura nODIndlcano percl6 ehe tmlou 0dlstlDzlo _--
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. p a . t ' t S (JComejM' vnll ",'"cs&n comtGflttJ"'tntt! 11 0 uga t la . Lo.618"0' tk liKa,ciSn no indican 1 ' 0 1 ' 10. t c s n t o , fila. flU unitn 'I
4iitincion 4e /,.a.e. , l'tJriodo,.
a)Btll"t don'; It! c_ct~ "Iaviil/ant. dt! lG compolition et
la mQ:t'i~e dcmt l'a"ttJv.,., lelon I'e~_ du " ' f ) i . e . , . , ~ _e.iflit Ie. cO'mpO,itiOfll dt! .et! KtIf&,.e,nov., " O U , erogon8autori-Ie , II conleiZkr tfft 10000AercOfl,tamment ·non lega.to•• Lea , i _pe.
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a)Given the nature or the composltloll as •laltell_ute. and the
maDDer with whl~h the author, according to the experience or
the reVisor, executed luch compOSitions, the revisor eou,ldera
himself authorised to a.dvisea touch cODl5tantly"noD le5'~~ ••
The lignl of tie therefore ollly tadleate the unioll 01'd1st~etlon
ot pbrases or periods.
E.R . . 652
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Molto vivaceS 1 5
Op.tt.N.4.
All~Egreg;'O Maestro' ANTONIO ZAMPIEBI
,
BOURREE
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To the revisor it seemed that these two bars In sa.tdverston, put
also In comparison .with the similar b&rs iD the repeat,"re eonta;
ining· errors or printing. Thererore he has permltte4 hlmseltto
substitute them by t1lose ot ~« ! repeat.
E.R. 652
At refJi.o" te .\4pa,.ecido tu" ellto. do. dt,""'p411e1l _ t41 fJe"lIio7J,
pa1'agonadoB con otro. _'-logo,e", Z. "eptticitn.,~ erre;
. ta, de i1llprenttJ. POt'10tanto, Ie 4a.permitirlo lIubUt,,;,. a.guel_
10. C01llptJ.eB con uto ••
-=::::::")....... I.J~.... I••• ' ~~ a)S<If"" . · '~.di" : . '~fi1AIrmsore ~ lembrato che questct due battute in ta.le verslone,
messe ancbe a. eoDb'onto deUe analoghe nella rlpresa, conteD_
gano degU error{ dt stampa. Perci~ egUsi ~permes80 di so ._
sUtntre queste con quelle.
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tte""ei&t dl!' erreer« tl"1IIprellion.C'Ut tJOf I t fVVOi .1 re,t perm.,till ftliJ8tilue,. celie•• ci ~ eelte»-l~,
a)According to the t!' editlon:
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