Лазар Николов и Константин Илиев: паресия и симфония
Lazar Nikolov and Konstantin Iliev: Parrhesia and Symphony

Summary/Abstract: The parrhesia as an uncontrollable impulse to pronounce the truth, as intimate or publicly cried possession of the truth, parrhesiast as a public figure are shown in two different types of presence and behavior of the two composers in the field of bulgarian musical culture: If with Konstantin Iliev the parrhesional articulation of truth in the lava of tymos-language forms gaps in public conventions, then Lazar Nikolov rather holds back and implies this truth, keeping it in a special state of continuity. What constitutes the seemingly strange connection between parrhesia and symphony in the title? “The Sonata-symphonic мode of thinking can be characterized as follows: the main thing is continuity, the origination of one musical thought from the other and the restless, conflicting musica expansion” - claimed Lazar Nikolov. To him “sonata” was a composition principle, but also a sub-sistance of the world, a sign of deep substantiality. The symphony as a specific art of dislocations, of tectonic metamorphoses had reserved for Lazar Nikolov connotations like firmness, restraint, power, serene-tragical sense. The sonata by Lazar Nikolov is based mostly on sonoric contexts and harmonic affinities, of a wide understanding of functionality and pattern. The sound material generates the sonatic out of itself, causes itself as a phenomena - and that is the specific type of sound parrhesia, which uncontrollably speaks itself in its natural truth, disclosedness.

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