(1912), written without key and time signatures and without bar lines, concludes with a passage featuring the most dissonant chords that Busoni ever used. These strange, occult sonorities are heard in Doktor Faust
when the three students from Cracow bring Faust a magical book. The piece, which Busoni described as ‘senza tonalità’, holds a special place in the literature showing the composer’s importance for twentieth-century music.
from notes by Marc-André Roberge © 2013