This composition is one of Chopin’s most admired compositions and has long been a favorite of the classical piano repertoire. The piece, which is very difficult, requires exceptional piano skills and great virtuosity to be interpreted at a high degree of proficiency. The polonaise was dedicated to Auguste Léo.
Horowitz was 84 years old when he performed this.Quite an astonishing performance for an old man.This is still my best interpretation of this piece for me.Later he died 2 years later from heart attack in 1989.R.I.P
Today we close our special Be Random! #2 Week, here at Musica in Extenso, with a post about the bulgarian composer, Pancho Vladigerov.
Today on Musica in Extenso:
Bulgarian National Radio Symphony Orchestra
Pancho Haralanov Vladigerov (13 March 1899 – 8 September 1978) was a Bulgarian composer, pedagogue, and pianist.
Pancho Vladigerov is arguably the most influential Bulgarian composer of all time. He was one of the first to successfully combine idioms of Bulgarian folk music and the classical music.
Vladigerov’s most performed and emblematic work is unquestionably Vardar Rhapsody, also known as Bulgarian Rhapsody. Originally written for violin and piano, it was later orchestrated and arranged for various instruments. A fiery patriotic work, it has become, in the words of an admiring critic “the Bulgarian equivalent of Chopin’s Polonaise in A Major”. (source: Wikipedia)
Thank you for your attention! Have a beautiful weekend! - Editor-in-Chief
I was feeling rather down tonight because loss sucks, but then three little things lifted my spirits. My husband went on an ice cream run and came back with my two favorite kinds. Now, I’m savoring mint chip and butter pecan, reading fanfic, and listening to the stupendously beautiful piece of music that is Chopin’s Polonaise No. 6 in A-flat Major, Op. 53.
I was allowed, indeed ordered, to attend the Holy of Holies, the piano masterclasses. They were quite different from any classes I had been to up till then. One was not taught how to play well but how to become a part of one’s instrument until the soul of the interpreter became the messenger of music, restoring it in all its original clarity.
Only a few ‘grown-ups’ aged twenty-five and more came to these
classes. They were virtuosos, with a technique far outstripping my
hesitant beginner’s effrontery, who came along to perfect their already considerable mastery under the eye of Istvan Thomán, who made an indelible impression on me. He had been a pupil of Liszt’s and was subsequently the revered teacher of Bartók and Dohnányi. He had been appointed to the top class at the Academy late in life and was its Tree of Life – an authentic, first-hand purveyor of the teaching of Franz Liszt.
I can still hear his voice roaring like an old lion’s after a pupil
had played Liszt’s Grande Polonaise and Chopin’s Fourth Ballade. “I once played these pieces to Liszt in this very room.” What Liszt had told our master was handed on to us as if it was something completely new, a password for generations of young interpreters.