Abstract
The reputation of Ferruccio Busoni has always been a rather confused and unformulated thing, usually based on the sketchiest knowledge. It is true that some of his works (not necessarily the best) have hovered uncertainly but persistently on the fringe of the repertoire, and that he has long had a small band of devoted admirers. But on the whole most people have been content to accept certain vague ‘received opinions’ about him, which are thrown around anew every time one of his works comes momentarily into the forefront of public attention. We are told again and again that his acute intellect stifled his creative spontaneity; that the Italian side of his nature was at war with the German; that he remains an isolated figure, without direct successors and with almost no influence on younger composers; and that his constant contact, as pianist, with other men's music prevented him from ever finding a language of his own.
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