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Review

2 of 2 people found the following review helpful. perceptive but understandably limitedBy G. DorfmanThis book is a treat for Busoni lovers in the English speaking world. The musical and technical examples plus fingerings demonstrate Busonis autodidactic accomplishments in all their peculiarities. The reviews of his performances in Russia have to my knowledge never appeared before in any other published books or articles. As such they are an essential addition to this literature. The translator; for whom this enterprise is an obvious labor of love; makes apologies for the author; mr. Kogan; who apparently had to frame Busonis contributions and liabilities in a somewhat Marxist manner; (which even contemporary Marxists would describe as vulgar.) Without getting into detail; the notion of labeling Busoni as a realist is utter nonsense. By example; he fought against realism in the theater in a way which cannot be misinterpreted. What realism in instrumental music could possibly be can only be answered by those who had to live in the Soviet Union. The rest of us will naturally roll our eyes. The book is not seriously compromised by this aspect; like the translator suggests; you can bracket those remarks and set them aside. The problem essentially is that mr. Kogan seems never to have heard Busoni play. Hes limited to trying to reconstruct a picture of Busonis pianistic address second hand. This leads to a decidedly partial view of the masters playing that leads the listener/reader to possibly think he knows more than he really does. For instance; Russian reviews lead mr. Kogan to believe that Busoni did not command a real triple forte; the kind that Hofmann; Rosenthal or in our own day; Volodos can produce. Yet Bonavia wrote; "Busoni commanded a wider range of tone than any living pianist..it led him to a tone which can only be called white; a quality that was cold and almost inanimate... from this perfectly even basis he would start and build up a climax that reached the extreme limit of what is possible to a pianist; an avalanche of sound giving the impression of a red flame rising out of marble.." This doesnt sound like someone (like perhaps Glenn Gould) who flinched from exhibiting power at the keyboard. This is just one example that demonstrates the phenomenological limitations that Kogan is up against. This is a greater and more pertinent deficiency than the ideological nonsense that made this publication possible in the Soviet Union. Moreover Im not convinced that Kogan is familiar with Dr. Faust; the magnum opus that Busoni was aiming at almost all his adult life. He hardly mentions it; which is like appraising Tchaikovsky while omitting the 6th symphony. Having said all this; it would be easy to believe that Im panning this book. Actually there is much of great value that you cant get even from Sitskys Busoni and the Piano. So if youre interested in the phenomenon that was Ferruccio Busoni; this should in any case be in your library. -- Geoffrey Dorfman0 of 0 people found the following review helpful. Review of Kogans "Busoni as Pianist;" translated by BelskyBy P SpraginsThis new translation of Grigory Kogans "Busoni as Pianist" is a valuable addition to the pianists library. Busonis influence on modern piano performance - through innovations in articulation; dynamics; and interpretation; to name just a few = are under-appreciated. As well; Busoni broadened the staid concert repertory of his era to include; for example; the works of J.S. Bach and Mozart. Kogan documents Busonis interpretive approach to various composers; such as his energetic; "manly" style of performing J.S. Bach. Kogan provides a window onto an important age of pianism in the late-nineteenth and early-twentieth centuries during which styles of performance were rapidly evolving; yet maintaining their tethers to inherited traditions. Better understanding performance history broadens our appreciation of the particular choices made by performers and teachers today.Svetlana Belskys translation is spirited and stylish. Her efforts to document Kogans sources provide valuable paths for additional research and reading. For those not sufficiently aware of the oppressive hand of Soviet authorities on all forms of cultural expression; Belsky provides a valuable; sobering introduction to the currents of Soviet culture during the first sixty years of the twentieth century. Belsky contextualizes Kogans seemingly conflicting endorsement and criticism of Busonis career as a response by Kogan to the extreme pressures of the Soviet system.0 of 0 people found the following review helpful. "Busoni as Pianist"By Carrie M. MartinMy impressions and understanding of "Busoni as Pianist" emanate from my status as a piano student; not as a university or music scholar. Grigory Kogans astute and incisive study of Busoni provides an opportunity for his readers to come away enriched with a deep respect and appreciation for the pianist. He brings to life the fact that throughout Busonis arrangements and performances; he displayed a profound commitment to maintaining the spirit and intent of each master composer. Grigory Kogans book is a gift to all who yearn to improve their lives with a greater knowledge and understanding of Busoni as a man; arranger; performer and as a citizen of Russia during a tumultuous time in history.It is obvious that Svetlana Belskis translation of Kogans book is rooted in her integrity as a scholar and truth seeker; in her intense desire and focus to faithfully transcribe Kogans words and ideas; and finally; as a gifted pianist who understands the complexities inherent in the world of music. We are extremely fortunate for her luminous translation; one that will benefit generations of students; performers and scholars.Carrie White