Uploaded April 2020 | Updated September 2026, 2 hours ago
Franz Liszt - Polonaise Brillante von Weber, S367
Piano: Misha Dichter
Orchestra: Philharmonia Orchestra
Liszt’s concertante version of Weber’s Polonaise brillante also exists in a version for solo piano (S455) and that version needs to be consulted in conjunction with the orchestral score to achieve Liszt’s preferred solo part, some of whose alternative passages are missing in the score, as they are in the published reduction for two pianos, made by Pflughaupt. Otherwise the piece is very straightforward, and Liszt’s title simply describes the music as ‘für Pianoforte und Orchester instrumentiert’. The dedication is to Adolph Henselt, whose concert edition of the original solo Liszt much admired. The introduction employs the opening of Weber’s Grande Polonaise, Op 21, transposed up a semitone, and continues with forty bars of fantasy upon themes of the polonaise which is to come. Then, apart from the occasional embellishment, things proceed in a similar manner to the original until the coda, which Liszt extends by just a few bars. The orchestration is entirely in keeping with Weber’s style, too, and the neglect of this attractive piece in any of its guises is unaccountable.
Franz Liszt - Polonaise Brillante von Weber, S367
Piano: Misha Dichter
Orchestra: Philharmonia Orchestra
Liszt’s concertante version of Weber’s Polonaise brillante also exists in a version for solo piano (S455) and that version needs to be consulted in conjunction with the orchestral score to achieve Liszt’s preferred solo part, some of whose alternative passages are missing in the score, as they are in the published reduction for two pianos, made by Pflughaupt. Otherwise the piece is very straightforward, and Liszt’s title simply describes the music as ‘für Pianoforte und Orchester instrumentiert’. The dedication is to Adolph Henselt, whose concert edition of the original solo Liszt much admired. The introduction employs the opening of Weber’s Grande Polonaise, Op 21, transposed up a semitone, and continues with forty bars of fantasy upon themes of the polonaise which is to come. Then, apart from the occasional embellishment, things proceed in a similar manner to the original until the coda, which Liszt extends by just a few bars. The orchestration is entirely in keeping with Weber’s style, too, and the neglect of this attractive piece in any of its guises is unaccountable.
