The Piano Concerto, which Busoni completed in 1904, is a gaudy, unapologetically over-the-top piece, stuffed with references to nineteenth-century Romantic styles.

NEWYORKER: The Monster Concerto

Every ten years or so, Busoni moves in from the margins of the repertory, momentarily seizes the attention of New York concertgoers, and then retreats into semi-obscurity.

NEWYORKER: The Monster Concerto

You suspect that Busoni is mocking the bravura Romantic concerto as it emerged in the later nineteenth century, and, more widely, satirizing the gargantuan, post-Wagnerian apparatus of the music of his day.

NEWYORKER: The Monster Concerto