Ferruccio Busoni - Fantasia Contrappuntistica BV 256

1. Preludio corale 0:00
2. Fuga I 7:15
3. Fuga II 10:56
4. Fuga III (on B-A-C-H) 13:20
5. Intermezzo 19:20
6. Variazione I 20:12
7. Variazione II 21:08
8. Variazione III 22:00
9. Cadenza 23:05
10. Fuga IV 24:07
11. Corale 27:48
12: Stretta 28:52

I spent forever making this midi myself for this piece

Ferruccio Busoni – Fantasia Contrappuntistica BV 256

Ferruccio Busoni’s Fantasia Contrappuntistica BV 256 is a monumental work for solo piano, widely regarded as one of the most intellectually demanding and structurally complex pieces in the piano repertoire. Completed in 1910 and revised multiple times over the years, this composition represents Busoni’s deep engagement with the contrapuntal techniques of Johann Sebastian Bach, particularly inspired by Die Kunst der Fuge (The Art of Fugue). Busoni was an ardent admirer of Bach, frequently transcribing and arranging the Baroque master’s music for modern piano. Fantasia Contrappuntistica evolved from his unfinished attempt to complete Bach’s Fuga a 3 Soggetti, the final, incomplete fugue from The Art of Fugue, which abruptly ends mid-phrase due to Bach’s death. Rather than merely reconstructing Bach’s fugue in a conventional manner, Busoni expanded the work into a sprawling, quasi-symphonic edifice that combines fugues, variations, and free fantasy, showcasing his unique blend of late-Romantic chromaticism, advanced counterpoint, and bold harmonic innovation. The Fantasia Contrappuntistica demands extraordinary technical proficiency and intellectual grasp from the pianist. The sheer density of contrapuntal writing, combined with the need for clear voicing and architectural shaping, makes it one of the most difficult pieces in the repertoire. The extensive use of dissonance, chromaticism, and polyphonic layering requires both analytical insight and immense physical stamina. The Fantasia Contrappuntistica is considered a cornerstone of 20th-century piano literature, influencing composers such as Igor Stravinsky, Kaikhosru Sorabji, and even Olivier Messiaen in its fusion of Baroque counterpoint with modernist harmonic sensibilities. Pianists who have tackled the piece include Egon Petri, Michael Habermann, and John Ogdon, among others. Ultimately, Busoni’s Fantasia Contrappuntistica is not just a homage to Bach but a visionary reimagining of fugue as a living, evolving art form. It stands as a testament to Busoni’s belief in the limitless potential of musical development and remains one of the most profound statements in the history of the piano.

Preludio corale – A solemn and majestic introduction, presenting a chorale theme reminiscent of Bach’s Art of Fugue, setting a reflective yet dramatic tone.
Fuga I – The first fugue, closely following Bach’s contrapuntal technique, introduces a flowing yet rigorous polyphonic texture.
Fuga II – A more chromatic and expressive fugue, expanding on the previous material with increasing harmonic tension.
Fuga III (on B-A-C-H) – A tribute to Bach, using the famous B-A-C-H motif (B-flat, A, C, B-natural), pushing the fugue into a more dramatic and modern harmonic sphere.
Intermezzo – A brief moment of lyrical contrast, offering a meditative pause before the virtuosic variations.
Variazione I – The first variation, playful and light, subtly embellishing the original material.
Variazione II – A darker, more introspective variation, increasing in complexity and intensity.
Variazione III – The most dynamic of the variations, highly virtuosic with rapid figuration and bold harmonic shifts.
Cadenza – A powerful, quasi-improvisatory section, leading into the climactic final fugue.
Fuga IV – A grand fugue incorporating multiple subjects, including material from Bach’s unfinished Fuga a 3 Soggetti, building to an intense contrapuntal peak.
Corale – A return to the chorale theme, now transformed into a triumphant and almost sacred proclamation.
Stretta – A final, exhilarating rush to the finish, combining fugue and chorale elements in a dazzling, forceful conclusion.