System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Jan. 27, 2007, Nov. 30, 2007, Apr. 19, 2008, and Apr. 30, 2009. Includes bibliographical references (p. 28-29).

System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Feb. 7, 2005, Apr. 17, 2006, Oct. 23, 2006, and Nov. 13, 2008. Includes bibliographical references (p. 40-42).

Diss.--Freien Universität Berlin.

Thesis (M. Mus.)--University of Wisconsin--Madison, 1946. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaf [126]). "Piano works of Ferruccio Busoni" (leaves [121]-125).

Thesis (doctoral)--Rijksuniversiteit te Utrecht, 1983. / Dutch and German, with summary in German. "Ferruccio Busoni: Doktor Faust"; p. 243-261. "Stellingen": 2 p. laid in. Includes bibliographical references (p. 236-241).

Diss.--Rochester (N.Y.), 1994. / Bibliogr. p. 305-336.

Diss.--Phil.-Fak.--Universität Zürich, 1991/92. / La thèse comprend la correspondance et l'analyse. Bibliogr. p. 175-178.

Busoni was one of the most celebrated pianists of late nineteen century. Besides his wonderful performing, his virtuosic transcriptions of Bach compositions contribute to Romantic piano repertoire. Through years, the music of Bach still popular on stage, and inspires many composers transcribe his works to other instruments. In 1893, Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor and dedicated it to the pianist Eugen d'Albert. Today, among the numerous versions, Bach-Busoni Chaconne is most often performed. This thesis mainly discuss the arrangement of Bach-Busoni Chaconne, and divided three main directions. The first part, concentrated on background research and investigated on correlation between Busoni¡¦s and Bach¡¦s Chaconne in D minor. In second part, aimed at the analysis of texture in Bach- Busoni. In third part, discussed the features of the original works which Busoni inherited from Bach, and the differences between Busoni¡¦s work and Bach¡¦s original work. The differences are divided into the emphasis on sarabande, the imitate colors of the pipe organ with sound effects, the usage of octave, and different register. Busoni followed closely to Bach¡¦s original work; he not only added virtuosic passages, pedal usage, dynamic change, different register, but also gave expression terms to reach the result of imitate the quality of orchestra and pipe organ. The Chaconne in Busoni¡¦s hand became a piano piece with great Romantic spirit in it.

The lecture recital, given April 13, 1981, began with biographical background for Busoni's compositional development leading to his mature style, as found in the Toccata, the Carmen Fantasy, and the Mephisto Waltz. The three works--an original composition, an operatic paraphrase, and a transcription from an orchestral score--were then detailed with emphasis placed primarily on Busoni's aesthetic ideals in relation to the three works.

This study examines what Busoni meant by "formal deficiencies" when he described his 1884 version of Chopin Variations, and reveals that changes made to the 1884 version during its process of revision in 1922 correct the "formal deficiencies" and show a fundamental change in Busoni's compositional style and perception of musical motion. Including a detailed analysis of the modifications, omissions, and additions made to the 1922 version (including an examination of the Chopin Prelude in C minor, op. 28, No. 20 as a theme to reveal aspects of its construction used in the variation process), which shows how these changes affect the work's compositional structure.