![]() ![]() ![]() The work begins almost nonchalantly, with a snippet of ‘Non più andrai’ which is gradually transformed by Liszt in a substantial introduction full of melodramatic ardour, tremolos and eye-watering virtuosity. The Fantasia is based on two arias: ‘Non più andrai’, sung by Figaro to Cherubino as he despatches him off to join a regiment, adding that womenkind will be able to breathe freely once more and ‘Voi che sapete’, in which Cherubino serenades the Countess and Susanna. Mozart was, for him, a god-like figure, far removed from the earlier nineteenth-century view, and Busoni was among the first to appreciate the true depths of his music. His touch is subtle, restoring to circulation a forgotten Liszt piece without overlaying his own musical personality too emphatically. Busoni also provided sixteen bars to conclude the Fantasia. Busoni’s version-renamed Fantasia on two themes from Mozart’s ‘Le nozze di Figaro’-dates from 1912 and is far tauter than Liszt’s original, omitting the Giovanni music altogether and bridging the resulting gap with a ten-bar passage, a simple enough process given that the transition to and from this section is in C major. Uniquely among Liszt’s opera paraphrases it takes the themes of not one but two operas- The Marriage of Figaro and Don Giovanni-though at no point are they combined, as one might expect. The piece was left incomplete, lacking an ending, and the manuscript appears to be a work-in-progress, with question marks over certain passages, and no tempo indications or dynamics. He seems to have played it just once-in Berlin on 11 January 1843. Franz Liszt’s Fantasia dates from late 1842. ![]()
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