Polonaise in B-flat for Violin and Small Orchestra, D. 580 Cover Image

Polonaise in B-flat for Violin and Small Orchestra, D. 580: Full Orchestra, Solo Strings with Ensemble, Conductor Score

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Polonaise in B-flat for Violin and Small Orchestra, D. 580 Cover Image
Polonaise in B-flat for Violin and Small Orchestra, D. 580: Full Orchestra, Solo Strings with Ensemble, Conductor Score

Polonaise in B-flat for Violin and Small Orchestra, D. 580: Full Orchestra, Solo Strings with Ensemble, Conductor Score

By Franz Schubert, ed./arr. by Otto Erich Deutsch

Item: 36-A640501
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Description
POLONAISE IN B-FLAT MAJOR, D. 580 is one of two pieces that Franz Schubert (1797-1828) wrote for violin and orchestra; the other work is the KONZERTSTÜCK, D. 345. One of his patrons, Leopold Sonniethner, wrote that he was fond of domestic balls and dances. The polonaise, popularized in the previous century, is treated simply by the composer in ABA form with an attractive central G minor section. The manuscript, now lost, was dated September 1817. The premiere took place on September 27, 1818 at the Vienna orphanage, with Schubert's brother Ferdinand performing the solo part. The work was not published until 1928 in a version edited by Otto Erich Deutsch. Instrumentation: 0.2.0.2: 2.0.0.0: Str (9.8.7.6.5 in set): Solo Vn in set. Reprint edition.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563988-X
ISBN13: 979-889-563-9887
UPC: 605258651129
SKU: 36-A640501
Instrumentation: 0.2.0.2: 2.0.0.0: Str (9.8.7.6.5 in set): Solo Vn in set

More about this title

About the Composer: Franz Schubert

Franz Schubert (1797-1828) was an Austrian composer who wrote across virtually every genre, from symphonies and string quartets to intimate songs and dances. Despite a short life marked by financial struggle and illness, he produced an enormous catalog of works that balanced classical form with romantic expression. His gift for melody and harmonic innovation shaped the course of 19th-century music.

Schubert's works for violin and orchestra are relatively rare in his output, making the Polonaise in B-flat and its companion piece, the Konzertstück, D. 345, particularly valued by violinists. Both works reflect his ability to write idiomatically for the solo instrument while maintaining the elegance characteristic of early 19th-century Vienna.

Why we love this

This is genuine Schubert in miniature form: elegant, unpretentious, and deeply musical. The ABA structure with its darkly expressive G minor central section gives conductors and soloists room to shape something substantial without the technical demands of a full concerto. It programs beautifully as a centerpiece work that audiences recognize as seriously composed concert music, yet it remains accessible enough for orchestras seeking character pieces that don't require an elite soloist.

What to expect

A refined salon dance that walks the line between intimacy and formal gesture. The opening polonaise has an understated grace, almost conversational in its directness, before the work pivots into a darker, more introspective G minor section that deepens the emotional landscape. The return to B-flat brings a quiet satisfaction rather than heroic proclamation.

Who it's for

Orchestras fielding a strong solo violinist who wants to program something beyond the standard concerto repertoire. This work suits community orchestras and youth ensembles seeking a genuine classical piece with limited technical demands on the ensemble while offering a solo opportunity that feels substantial.

How to get the most out of it

  • Balance the solo violin carefully in the opening A section; the orchestra's simple harmonic accompaniment should recede, allowing the violinist's tone and phrasing to set the character of the piece.
  • Shape the G minor middle section with deeper color and slightly broader tempo to emphasize its expressive contrast; this brief but substantial contrast is the heart of the work.
  • Ensure clean articulation in the orchestral string parts, particularly in the accompanying figures; clarity here supports rather than competes with the solo line.
  • Return to the opening material with freshness in the recapitulation; resist the urge to speed up, maintaining the dance's inherent nobility.

How to use it

Program this as a spotlight piece for a featured soloist within a broader classical or early romantic concert. It pairs naturally with Schubert symphonic movements or works by his contemporaries, and its modest orchestral requirements make it ideal for mid-season programming when you want a concertante work without the weight of a full concerto.

Skills your students will build

  • Reading straightforward diatonic harmony in early 19th-century style
  • Balancing solo and accompanying textures in classical instrumentation
  • Maintaining consistent pulse through ABA formal structure
  • Shaping lyrical material with period-appropriate phrasing and articulation
  • Responding to contrasts between major and minor tonalities (B-flat major and G minor)

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