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Berceuse Elegiaque, Op. 42/BV 252a: Full Orchestra, Conductor Score

$15.00 USD
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Berceuse Elegiaque, Op. 42/BV 252a Cover Image
Berceuse Elegiaque, Op. 42/BV 252a: Full Orchestra, Conductor Score

Berceuse Elegiaque, Op. 42/BV 252a: Full Orchestra, Conductor Score

By Ferruccio Busoni

Item: 36-A618601
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Berceuse Elegiaque, Op. 42/BV 252a: Full Orchestra, Conductor Score & Parts

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Description
BERCEUSE ÉLÉGIAQUE, Op. 42/BV 252a (subtitled DES MANNES WIEGENLIED AM SARGE SEINER MUTTER. POESIE; THE MAN'S CRADLE-SONG AT HIS MOTHER'S BIER. POEM) was originally written in 1909 by Ferruccio Busoni (1866-1924) for piano as an additional seventh piece to be included in his 1907 collection titled ELEGIES, BV 252. Busoni then quickly orchestrated it that same year, and the premiere performance took place on February 21, 1911, by the New York Philharmonic in Carnegie Hall, under Gustav Mahler. The work is dedicated to his mother as "In memoriam Anna Busoni, n. Weiss, m. 3.Oct.MCMIX." Instrumentation: 3.1.2+BCl.0: 4.0.0.0: Perc(1): Hp.Clst: Str (scored for 3Vn, 3Va, 3Vc, 2CB parts; 6-5-5.3-2-2.2-2-2.3-2 in set). Reprint edition.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-810059-0
ISBN13: 979-889-810-0599
UPC: 605258927071
SKU: 36-A618601
Instrumentation: 3.1.2+BCl.0: 4.0.0.0: Perc(1): Hp.Clst: Str (scored for 3Vn, 3Va, 3Vc, 2CB parts; 6-5-5.3-2-2.2-2-2.3-2 in set)

More about this title

About the Composer: Ferruccio Busoni

Ferruccio Busoni (1866-1924) was an Italian composer, pianist, and conductor whose aesthetics bridged Romanticism and modernism. He studied at the conservatory in Graz and later became a virtuoso pianist and influential teacher, establishing himself as a major figure in early twentieth-century musical life through his compositions, transcriptions, and pedagogical writings. His music often explored philosophical and poetic themes, and he was deeply committed to expanding the expressive possibilities of orchestral and keyboard writing.

Why we love this

Busoni's orchestration is luminous and restrained, creating an atmosphere of profound intimacy even within a full ensemble. The piece rewards conductors willing to shape long, singing lines and balance transparent orchestration against the emotional weight of its elegy, making it rewarding repertoire for conductors developing interpretive maturity.

What to expect

A meditation at the threshold between life and memory, the piece unfolds with the gentle inevitability of a lullaby transformed into mourning. Shimmering harp and celesta colors dissolve into warm string voicings, creating an atmosphere both tender and sorrowful.

Who it's for

Conductors leading orchestras with sufficient string depth and wind strength will find this work accessible in technical demands but rich in interpretive opportunity. It suits conductors seeking intimate, introspective repertoire that acknowledges Busoni's stature without requiring the scale of his larger orchestral works.

How to get the most out of it

  • Maintain an unrushed pulse throughout; the work's power emerges from sustained phrases rather than forward motion. Allow rubato in the solo instrumental passages to breathe.
  • Achieve clarity in the string writing by ensuring lower voices are audible without overwhelming the melodic line. Busoni's scoring depends on transparency.
  • Balance the harp and celesta textures carefully so they shimmer beneath rather than dominate the orchestral fabric. These colors support the elegiac mood without drawing excessive attention.

How to use it

This work pairs beautifully in programs exploring Romantic elegy or early twentieth-century introspection, fitting naturally alongside contemporaries like Delius or shorter Mahler movements. Its brevity and emotional directness make it effective as a prelude to a larger symphonic work or as a poignant centerpiece in a chamber orchestra concert.

Skills your students will build

  • Sustaining long lines across an orchestra without losing momentum
  • Balancing transparent orchestration where multiple instrumental colors must remain distinct
  • Reading and interpreting Busoni's harmonic language and its chromatic inflections
  • Shaping rubato in exposed solo passages while maintaining ensemble cohesion

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