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The Bach-Busoni Editions are a series of publications by the Italian pianist-composer Ferruccio Busoni (1866-1924) containing primarily piano transcriptions of keyboard music by Johann Sebastian Bach. They also include performance suggestions, practice exercises, musical analysis, an essay on the art of transcribing Bach's organ music for piano, an analysis of the fugue from Beethoven's 'Hammerklavier' sonata, and other related material. The later editions also include free adaptations and original compositions by Busoni which are based on the music of Bach. Busoni issued his Bach editions over a nearly 30-year span in two collections: the 25-volume Busoni Ausgabe〔Roberge, p. x.〕 (''Joh. Seb. Bach Klavierwerke'') and the Bach-Busoni Collected Edition (''Bach-Busoni Gesammelte Ausgabe''), which was first issued in 6 volumes in 1916, and subsequently in 7 volumes in 1920. A small collection of selected excerpts with transcriptions of organ and violin music was also published separately in 1916 as ''Sechs Tonstücke'' (Six Tone Pieces).〔Kindermann, p. 464-466.〕〔Sitsky, pp. 177-179.〕〔Roberge, pp. x, 50-53.〕 == Busoni and Bach == In 1870 Busoni began learning to play the piano while the family was living in Paris, shortly before his fourth birthday. His mother, Anna Weiß-Busoni, a well-regarded professional pianist, was his teacher. Not long afterward, the family returned to Trieste, and his father, Ferdinando, a professional clarinetist, went on tour. Early in 1873, upon returning to Trieste, his father took charge of Ferruccio's musical education, including instruction in composition as well as piano.〔Dent, pp. 10, 16-17.〕 "I have to thank my father for the good fortune that he kept me strictly to the study of Bach in my childhood," Busoni wrote in the epilogue to the Collected Edition, and that in a country in which the master was rated little higher than a Carl Czerny. My father was a simple virtuoso on the clarinet, who liked to play fantasias on ''Il Trovatore'' and the ''Carnival of Venice''; he was a man of incomplete musical education, an Italian and a cultivator of the ''bel canto''. How did such a man in his ambition for his son's career come to hit upon the very thing that was right? I can only compare it to a mysterious revelation. In this way he educated me to be a "German" musician and showed me the path that I never entirely deserted, though at the same time I never cast off the Latin qualities given me by nature.〔Translated and quoted in Couling (2005), p. 15.〕 In May 1888, Busoni and his pupil Frau Kathi Petri, Egon Petri's mother, attended a performance of the ''Prelude and Fugue in D major'' at the Thomaskirche in Leipzig. She said to him, "You ought to arrange that for pianoforte."〔Dent, p. 82.〕 A week later he played it for her. He had not even written it down yet, but it was the first of his great transcriptions of Bach organ works (BV B 20), and he dedicated it to Kathi Petri. According to Busoni's biographer Edward J. Dent: "This was not merely the beginning of the transcriptions, what was of far deeper import, it was the beginning of that style of pianoforte touch and technique which was entirely the creation of Ferruccio Busoni."〔 By September Busoni had taken a position as piano teacher at the Musikinstitut in Helsinki. In a letter to Henri and Kathi Petri, Busoni wrote "I spoke with my 'superior', Director Wegelius, about methods of tuition. I asked if I should adhere to a ''programme'', a specific method or any particular educational materials. – 'Actually we have no such things but, well – (after reflecting at some length) – one could perhaps take the Inventions of Bach as a starting point." In fact, it was with an instructive edition of Bach's Two- and Three-part Inventions (BV B 23), finished in Moscow in 1891 and dedicated to the Helsinki Musikinstitut, that Busoni began his lifelong pursuit of publishing and performing the keyboard works of Bach.〔Beaumont (1987), pp. xvii, 32.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Bach-Busoni Editions」の詳細全文を読む スポンサード リンク
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