The celesta is used in many 20th century opera scores, including Puccini's Tosca ( 1900 ), Ravel's L ' heure espagnole ( 1911 ), Strauss's Ariadne auf Naxos ( 1912 ), and Die Frau ohne Schatten ( 1918 ), while " an excellent example of its beauty when well employed ", is the Silver Rose scene in his Der Rosenkavalier ( 1911 ), Busoni's Arlecchino ( 1917 ) and Doktor Faust ( 1925 ), Orff's Der Mond ( 1939 ), Menotti's Amelia Goes to the Ball ( 1937 ), Britten's The Turn of the Screw ( 1954 ) and A Midsummer Night's Dream ( 1960 ), Susa's Transformations ( 1973 ), and Philip Glass ' Akhnaten ( 1984 ).

Palestrina is one of three characteristic German-language operas of the early 20th century, outside the main stream of opera, which deal with the isolation of the creative individual, two others being Paul Hindemith's Mathis der Maler ( about Matthias Grünewald ), completed 1935, and the Berlin-based Ferruccio Busoni's Doktor Faust, which was left unfinished in 1924.

The first version of Busoni's largest and best known solo piano work, Fantasia contrappuntistica, was published in 1910.

Sorabji may have been inspired to compose the work after hearing a performance of Busoni's Fantasia contrappuntistica by Egon Petri, and Opus clavicembalisticum is an homage to Busoni's work.

Later on, he was taught by Victor Schiøler, Liszt's student Frederic Lamond, and Busoni's pupil Egon Petri.

It was then finished by his student Philipp Jarnach, who worked with Busoni's sketches as he knew of them, but in the 1980s Antony Beaumont, the author of an important Busoni biography, created an expanded and improved completion by drawing on material that Jarnach did not have access to.

His student Egon Petri was horrified by the piano roll recordings when they first appeared on LP and said that it was a travesty of Busoni's playing.

In fact, it was Busoni's suggestion that Schoeck use Ludvig Holberg's Don Ranudo de Colibrados as the subject of an opera.

Vianna da Motta was also close to his fellow virtuoso Ferruccio Busoni, and wrote the programme notes for Busoni's major series of piano concerto concerts in Berlin.

It was not until much later in the twentieth century that anyone compared Busoni's version to the original manuscript.

This was four years even before Beethoven's Symphony No. 9, and was the only piano concerto ever written ( excluding Beethoven's Choral Fantasy ) with a part for a chorus until Henri Herz's 6th concerto, Op 192 ( 1858 ) and Ferruccio Busoni's Piano Concerto ( 1904 ).

Ferruccio Busoni's Fantasia contrappuntistica was dedicated to " Wilhelm Middelschulte, Meister der Kontrapunkte ".

Ferruccio Busoni's early music shows much Brahmsian influence, and Brahms took an interest in him, though Busoni later tended to disparage Brahms.

Similarly, Petri's student Gunnar Johansen who had heard Busoni play on several occasions, remarked, " Of Busoni's piano rolls and recordings, only Feux follets ( Liszt's 5th Transcendental Etude ) is really something unique.

At Busoni's insistence, the dances were orchestrated by Arnold Schoenberg and played on June 5, 1903, the ensemble led by Busoni.

In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni and Busoni's disciples Egon Petri and Michael von Zadora.

The manuscripts in Busoni's hand are in the Berlin State Library as part of the Busoni Archive.

The changes also included Busoni's 16-bar completion, as well as 10 additional bars on p. 28, and other elaborations of 5, 1 and 4 bars duration, including expression marks, cadenzas, and ossias.

Ferruccio Busoni's Die Brautwahl ( 1912 ) and Erich Wolfgang Korngold's Die tote Stadt ( 1920 ) both had their world premieres in Hamburg.

Many of Busoni's works are based on music of the past, especially on the music of Johann Sebastian Bach ( see below ).

In order to understand Busoni's compositions one should take only what is given in the music, and interpret them through his aesthetic beliefs ( though this is no easy task, and the everpresent binarism between what a composer says and what a composer does should be kept in mind ).

Image: Turandot Suite Score Cover. jpg | Cover for the score of the Turandot Suiteby Ferruccio Busoni ( 1906 )

Some music critics and interpreters of Puccini's work have speculated that the psychological effects of this incident on Puccini interfered with his ability to complete compositions later in his career, and also influenced the development of Puccinian characters such as Liu ( from Turandot ), a slave girl who dies tragically by suicide.

The story of Turandot was taken from a Persian collection of stories called The Book of One Thousand and One Days ( 1722 French translation Les Mille et un jours by François Pétis de la Croix — not to be confused with its sister work The Book of One Thousand and One Nights ), where the character of " Turandokht " as a cold princess was found.

Turandot quickly spread to other venues: Rome ( Teatro Costanzi, April 29, four days after the Milan premiere ), Buenos Aires ( Teatro Colón, June 23 ), Dresden ( September 6, in German ), Venice ( La Fenice, September 9 ), Vienna ( October 14 ; Mafalda Salvatini in the title role ), Berlin ( November 8 ), New York ( Metropolitan Opera, November 16 ), Brussels ( La Monnaie, 17 December, in French ), Naples ( Teatro San Carlo, January 17, 1927 ), Parma ( February 12 ), Turin ( March 17 ), London ( Covent Garden, June 7 ), San Francisco ( September 19 ), Bologna ( October 1927 ), Paris ( March 29, 1928 ), Australia 1928, Moscow ( Bolshoi Theatre, 1931 ).

* 1954 Das Märchen von Prinzessin Turandot ( The Fairy Tale of Princess Turandot ), a radio play

** Erich Leinsdorf ( conductor ), Birgit Nilsson, Giorgio Tozzi, Jussi Björling, Renata Tebaldi & the Rome Opera Orchestra for Puccini: Turandot

* Tui ( intellectual ), a neologism coined by Bertolt Brecht to describe a type of intellectual, as depicted in his play Turandot

There were, however, many other veristi: Franco Alfano, best known however for completing Puccini's Turandot, Alfredo Catalani, Gustave Charpentier ( Louise ), Eugen d ' Albert ( Tiefland ), Ignatz Waghalter ( Der Teufelsweg and Jugend ), Alberto Franchetti, Franco Leoni, Jules Massenet ( La Navarraise ), Licinio Refice, Ermanno Wolf-Ferrari, ( I gioielli della Madonna ), and Riccardo Zandonai.

Though Puccini's first interest in the subject was based on his reading of Friedrich Schiller's adaptation of the play, his work is most nearly based on the earlier text Turandot by Carlo Gozzi.

Furthermore, Dame Eva Turner, the most renowned Turandot of the inter-war period, insisted on pronouncing the word as " Turan-do " ( i. e. without the final " t "), as television interviews with her attest.

These include treatments of Turandot by Karl Vollmöller and Bertolt Brecht, operas based on the same story by Busoni, and most famously Puccini and Prokofiev's The Love of Three Oranges.

Nonetheless, she sang major soprano roles at most major opera houses around the world up until the end of her operatic career in the 1990s — singing Turandot at the Royal Opera House at Covent Garden ( London ) in 1993, for example.

This enables the singer to cut through the wall of sound produced by a full Romantic orchestra in a wide variety of roles, excluding only the most taxing ones written by the likes of Richard Wagner ( such as Brünhilde, Isolde, Tristan and Siegfried ), Giacomo Meyerbeer ( John of Leyden ), Verdi ( Otello ), Puccini ( Turandot, Calaf ) and Richard Strauss ( Elektra ).

Her most frequently performed roles at the house include Liu in Turandot ( 27 performances between 1961 and 1995 ), Nedda in Pagliacci ( 27 performances between 1963 and 1994 ) and Mimì in La bohème ( 26 performances between 1962 and 1982 ).

The role for which she was, and remains, most famous, was the title role in Turandot.

His most notable production was Turandot by Carlo Gozzi, which has played at the Vakhtangov Theatre ever since 1922 ( the year of his death ).

Among her most renowned interpretations were the leading parts in Adriana Lecouvreur, Iris, Fedora, La bohème, La fanciulla del West, La traviata, La Wally, Madama Butterfly, Manon Lescaut, Mefistofele, and Turandot ( as Liù.

:" Fifty years later, the popular Italian playwright Carlo Gozzi made her story into a drama of a “ tigerish woman ” of “ unrelenting pride .” In a combined effort by two of the greatest literary talents of the era, Friedrich von Schiller translated the play into German as Turandot, Prinzessin von China, and Johann Wolfgang von Goethe directed it on the stage in Weimar in 1802.

Ricordi's real concern was not the quality of Alfano's work, but that he wanted the end of Turandot to sound as if it had been written by Puccini, and Alfano's editing had to be seamless.

# We almost never hear everything he wrote for Turandot -- the standard ending heavily edits Alfano's work.

In 1941 he began to take counterpoint lessons with Boris Blacher ; at that time he wrote his first work, Prinzessin Turandot, at the suggestion of Werner Egk.