Pancho Vladigerov's Piano Concerto No. 3, Op. 31 in B flat minor: A representative work of the Golden period in Bulgarian art musi

The purpose of this document is to provide a better understanding of Pancho Vladigerov's influence on Bulgarian art music, as well as to contribute to the growing interest in his music and in Bulgarian art music in general. The focus of discussion is the years 1932-1939, referred to as the Golden period of Bulgarian art music. Pancho Vladigerov's Piano Concerto No. 3, Op. 31 serves as a representative work of the achievements during this period.;Chapter One provides a brief summary of the historic significance of the Piano Concerto No. 3, Op. 31. Chapter Two focuses on the socio-cultural, economic, and political situation of Bulgaria and describes the cultural changes that took place during the Golden period. Chapter Three provides a brief biography of Pancho Vladigerov, while Chapter Four discusses his musical background in Bulgarian folk and popular music. Chapter Five focuses on Vladigerov's style and provides relevant musical excerpts from his first two piano concertos as examples. Chapter Six is a descriptive and stylistic analysis of Piano Concerto No. 3, Op. 31. The last chapter provides a summary of Vladigerov's contribution to Bulgaria's art music culture, suggestions for further research on the topic, and ideas on including Vladigerov's works into the mainstream discussion of piano repertoire.;After twenty years of Western musical training in Germany, Vladigerov returned to Bulgaria with an initiative to progress Bulgaria's own art music culture to the highest standard possible. He combined Bulgarian folk elements with Western art music elements and created some of the most outstanding compositions in the Bulgarian art music repertoire. Daring in his choices of harmonic and melodic structure in his works, Vladigerov surpassed the influence of composers before him. The Piano Concerto No. 3, Op. 31 displays Vladigerov's highest artistic development and innovation up to this point and is representative of the achievements during the Golden period. It is my hope that this research will encourage the inclusion of the work in the current piano literature curriculum.