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The Significance of Selected Piano Compositions by Pancho Vladigerov

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The Significance of Selected Piano Compositions by Pancho Vladigerov Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 The significance of selected piano compositions by Pancho Vladigerov Boriana Kojouharova Buckles Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Buckles, Boriana Kojouharova, "The significance of selected piano compositions by Pancho Vladigerov" (2004). LSU Doctoral Dissertations. 2352. https://digitalcommons.lsu.edu/gradschool_dissertations/2352 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SIGNIFICANCE OF SELECTED PIANO COMPOSITIONS BY PANCHO VLADIGEROV A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Boriana Kojouharova Buckles B.M., State Academy of Music, Bulgaria, 1991 M.M., University of New Orleans, 1999 August, 2004 ACKNOWLEDGEMENTS This monograph is dedicated to my mother, who passed away during my course of studies, October 8, 2001. Although it was a difficult time, I took comfort in knowing that she was very proud of her daughter. I would like to express my sincere gratitude to my major professor, Professor Constance Carroll, for her guidance, expertise, and encouragement throughout my studies at Louisiana State University. I am also grateful to my exceptional advisory committee: Professors Michael Gurt, Jennifer Hayghe, and Alison McFarland for their insight and assistance in the preparation of this monograph. Special mention goes to my monograph director, Dr. Jennifer Hayghe, who in spite of a heavy performance schedule always had the time to talk with me regarding the monograph. I am thankful for the members of my family and one special friend that assisted me in meaningful, as well as practical ways. Dr. Christina Vella took time out of her busy schedule of research and writing to edit this monograph. Her assistance and friendship will always be remembered. My father in Bulgaria retrieved the necessary publications when needed, even if it meant traveling several hours to the capital city, Sofia, from our hometown of Russe. This topic would have been more difficult without his assistance. I will be forever grateful for my husband, Michael, who has been exceedingly supportive of this process. He assisted me in every conceivable way, repeatedly and gladly. I might have given up long ago if it were not for his help, enthusiasm and constant support. ii TABLE OF CONTENTS Acknowledgements ………………………………………………………………………..ii List of Examples ………………………………………………………………………….iv Abstract ………………………………………...………………………………………...vii Introduction ………………………………………………………………………………..1 Chapter 1. Pancho Vladigerov (1899-1978) ……………………………………………...5 Early Musical Studies in Shumen, 1905-1910……………………………6 Studies in Sofia, 1910-1912 ………………………………………………7 Studies in Germany, 1912-1918 ………………………………………….8 Military Service, 1918-1920 …………………………………………….11 Return to Germany, 1920-1932 …………………………………………13 Final Return to Bulgaria, 1932……..……………………………………20 During World War II…………………………………………………….22 After World War II …………………………………………………….24 Chapter 2. An Overview of the Solo Piano Works of Pancho Vladigerov ……………...28 Pedaling………………………………………………………………….31 Influences ………………………………………………………………..32 Folk Traits ……………………………………………………………….34 Chapter 3. A Formal and Stylistic Analysis …………………………………………….39 Three Pieces for Piano, Opus 15 ………………………………………...40 Bulgarian Rhapsody, Opus 16 …………………………………………...47 Shumen Miniatures, Opus 29 …………………………………………….56 “Improvisation” and “Toccata,” from Episodes, Opus 36 ……………….62 Conclusion .………………………………………………………………………………69 Bibliography……………………………………………………………………………...70 Appendix: Letter of Permission …………………………………………………………72 Vita……………………………………………………………………………………….75 iii LIST OF EXAMPLES 2.1. Vladigerov, Sonatina Concertante, Opus 28, I, mm. 47-54 ……………………..30 2.2. Vladigerov, Sonatina Concertante, Opus 28, III, mm. 175-183……...………….31 2.3. Vladigerov, “Autumn Elegy” from Three Pieces for Piano, Opus 15, mm. 45-48………………………………….………………..…………33 2.4. Vladigerov, “Improvisation” from Episodes, Opus 36 ……….…...……………..35 2.5. Vladigerov, Sonatina Concertante, Opus 28, III, mm. 1-3………………………35 2.6. Vladigerov, “Ratchenitza” from Bulgarian Songs and Dances, Opus 25, mm. 1-5………………………………………………………………...35 2.7. Vladigerov, “Rhythmic Movement” from Aquarelles, Opus 37, mm. 1-3…………………………………………………………..…….36 2.8. Vladigerov, “Improvisation” from Episodes, Opus 36, mm. 1-6 ………………..36 2.9. Vladigerov, “Song” from Bulgarian Songs and Dances, Opus 25, No. 1, mm. 1-3 …………………………………………………………37 2.10. Vladigerov, “Song” from Bulgarian Songs and Dances, Opus 25, No. 4, mm. 1-4 …………………………………………………………37 3.1a. Vladigerov, “Prelude” from Three Pieces for Piano, Opus 15, mm. 6-9 ……......41 3.1b. Rachmaninoff, Prelude in E-flat Major, Opus 23, No. 6, mm. 5-8………………41 3.2a. Vladigerov, “Prelude” from Three Pieces for Piano, Opus 15, mm. 87-88 ….….42 3.2b. Tchaikovsky, Piano Concerto in B-flat Minor, III, mm. 297-300 …………………..……………………………………………..43 3.2c. Liszt, Mephisto Waltz No. 1, mm. 893-904 ……….…………………………..…43 3.3. Vladigerov, “Autumn Elegy” from Three Pieces for Piano, Opus 15, mm. 1-2……………………………….………………………………..44 3.4. Vladigerov, “Autumn Elegy” from Three Pieces for Piano, Opus 15, mm. 14-18………………………………...……………………………44 iv 3.5. Vladigerov, “Autumn Elegy” from Three Pieces for Piano, Opus 15, mm. 23-26…………………………………….………………………..45 3.6. Vladigerov, “Humoresque” from Three Pieces for Piano, Opus 15, mm. 1-7…………………………………………………...……………46 3.7. Vladigerov, “Humoresque” from Three Pieces for Piano, Opus 15, m. 8 …………………………..………………………………………...46 3.8. Vladigerov, “Humoresque” from Three Pieces for Piano, Opus 15, mm. 92-99…………………………...…………………………………47 3.9a. Hristov, A Lonely Cry is Heard.……...…………………………………………..49 3.9b. Vladigerov, Bulgarian Rhapsody, Opus 16, mm. 5-19…………………………..49 3.10. Vladigerov, Bulgarian Rhapsody, Opus 16, mm. 1-4……………………………50 3.11. Vladigerov, Bulgarian Rhapsody, Opus 16, mm. 407-410………………………50 3.12. Vladigerov, Bulgarian Rhapsody, Opus 16, mm. 65-74…………………………51 3.13. Vladigerov, Bulgarian Rhapsody, Opus 16, mm. 115-124………………………52 3.14. Vladigerov, Bulgarian Rhapsody, Opus 16, mm. 176-183………………………53 3.15. Vladigerov, Bulgarian Rhapsody, Opus 16, mm. 232-233………………………53 3.16. Vladigerov, Bulgarian Rhapsody, Opus 16, mm. 262-266………………………54 3.17. Vladigerov, Bulgarian Rhapsody, Opus 16, mm. 331-339………………………55 3.18. Vladigerov, “Lullaby” from Shumen Minatures, Opus 29, mm. 9-12 ……….…..56 3.19. Vladigerov, “Lullaby” from Shumen Minatures, Opus 29, mm. 49-59 …….……57 3.20. Vladigerov, “Music Box” from Shumen Minatures, Opus 29, mm. 1-6 ……...…58 3.21. Vladigerov, “Rustic Dance” from Shumen Minatures, Opus 29, mm. 1-15 ….….59 3.22. Vladigerov, “Song” from Shumen Minatures, Opus 29, mm. 1-6 ….……………60 3.23. Vladigerov, “Humoresque” from Shumen Minatures, Opus 29, mm. 1-6 …….…60 3.24. Vladigerov, “Humoresque” from Shumen Minatures, Opus 29, mm. 16-17 ….…61 v 3.25. Vladigerov, “Ratchenitza” from Shumen Minatures, Opus 29, mm. 1-16 …....…61 3.26. Vladigerov, “Improvisation” from Episodes, Opus 36, mm. 1-6 ………………..63 3.27. Vladigerov, “Improvisation” from Episodes, Opus 36, mm. 14-22 ……………..64 3.28. Vladigerov, “Improvisation” from Episodes, Opus 36, mm. 44-48 ……………..65 3.29. Vladigerov, “Improvisation” from Episodes, Opus 36, m. 73 ……………….…..65 3.30. Vladigerov, “Toccata” from Episodes, Opus 36, mm. 1-8 ………………………66 3.31. Vladigerov, “Toccata” from Episodes, Opus 36, mm. 53-62 ……………………67 3.32. Vladigerov, “Toccata” from Episodes, Opus 36, mm. 113-124 ………………....67 3.33. Vladigerov, “Toccata” from Episodes, Opus 36, mm. 269-276 ………………....68 vi ABSTRACT This study examines selected compositions for piano by Pancho Vladigerov: Three Pieces for Piano, Opus 15; Bulgarian Rhapsody, Opus 16; Shumen Miniatures, Opus 29; and “Improvisation” and “Toccata,” from Episodes, Opus 36. These pieces strongly represent the various periods and stylistic trends of the composer. They are also among Vladigerov’s most popular and frequently performed piano compositions. The first chapter provides a brief biography of Pancho Vladigerov and an overview of his most important compositions. Chapter Two contains an overview of the solo piano works of Vladigerov. Chapter Three examines the selected piano compositions from a formal and stylistic perspective. vii INTRODUCTION Pancho Vladigerov (1899-1978) was one of the most significant Bulgarian composers of the twentieth century. As a leader of the Bulgarian style of composition, Vladigerov was the first Bulgarian to compose works in the following genres: the piano concerto, the violin concerto, the violin sonata, and the piano trio. His compositions contain elements of Bulgarian folk song, rhythm, modes, and ornamentation. He was also the first Bulgarian composer to gain an international reputation, yet his name is little known in America. The purpose of this research is to introduce compositions by Vladigerov, specifically focusing on selected piano works. Vladigerov’s compositions for piano are crucial in understanding his compositional style and they
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