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| Nel marzo del 1877 Ferruccio assiste al Concerto in mi bemolle maggiore di Liszt, interpretato dal compositore stesso. Il giovane non ne è entusiasta, forse perché il grande pianista ungherese è da vari anni lontano dall’attività concertistica. Giudica la sua interpretazione troppo fredda e compassata. In questa occasione la signora Bettelheim fa in modo che il giovane Busoni incontri il grande musicista: «In March 1877 Liszt came to Vienna for the celebration of the fiftieth anniversary of Beethoven's death. Ferruccio heard him play the Concerto in E flat, but was bitterly disappointed with his performance. Liszt was then sixty-six and had long retired from playing in public [Liszt had also injured his left hand, and had to play the Concerto without using his forefinger at all.] Ferruccio, accustomed to the fiery style of Rubinstein, found his interpretation cold and uninspiring. There was a supper-party after the concert at which Caroline Gomperz-Bettelheim sat next to Liszt; they were intimate friends, and she seized the opportunity of talking to him about her little Italian protege. Liszt at once wrote to Anna, asking her to bring the boy to see him. One morning Ferruccio and his mother went to the rooms of Eduard von Liszt [Liszt's cousin, with whom he stayed when in Vienna] in the Schottenhof, where Ferruccio played to the master. No account of the meeting has survived. Doubtless both Ferdinando and Ferruccio wrote a full account of it to their friend Luigi Cimoso at Trieste, but unfortunately all the letters written to Cimoso have been lost. This young man, a pianist and teacher, came of a family of musicians who had been close friends of Anna for many years. Luigi was devotedly attached to Ferruccio, and his long letters to Ferdinando - otherwise full of humour, with many ironic observations on local musicians - show that he felt an almost motherly responsability towards the boy; he may well have feared that Ferdinando was not always the most throughtful of fathers.» [DENT, pp. 24-25] Compone le Cinq Pièces für Pianoforte, op. 3, KiV 71 e l'Ave Maria, Antiphon für eine Singstimme mit Pianoforte Begleitung, op. 1, KiV 67. ___________________________________________________ |
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