Busoni's Lustspielouvertûre (Comedy Overture) was not published until 1904, but it was begun—and completed in one sitting—in 1897. He wrote in a letter, on July 11, that year: "Last night...I sat down at about midnight and write an overture until morning. It was finished in one sitting...This piece will need revising, but as it stands, it is not bad; especially flowing and Mozartean in style." The following year, his aesthetic became fully formed, one that wanted classical music's sensibilities to be reborn in his composition, not neo-classical, but rather the original ideals of balance and a buoyant musical style. When the work was published in 1904, he knew what he wanted from his music and this overture demonstrated some of that approach. It is reminiscent of Mozart, certainly. It is eight minutes in duration and is scored for orchestra. Those who are not familiar with Busoni's work will find it difficult to pin down, insofar as the structure, phrasing, and general concept do suggest late eighteenth-century Austria, but the language does not. In terms of integrating all parts of the music so that they reflect an organic development, it is equally close to Brahms. However, there is none of his romantic spirit, and certainly nothing post-romantic such as Mahler or Strauss. It is a relentlessly uplifting work, none too challenging, and hints at his intention to do away with the distinction of assonance and dissonance. However, he has still not reached the point where he can execute dissonance freely and in this way the music is especially light, major-scale music. In later years, this approach would become more consolidated, cohesive, and successful. For those who prefer light, invigorating concert music, this overture is a must. Others, who are interested in his more fully formed and challenging music may prefer to look elsewhere, but in all ways this is a joyous, well-executed score.

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