Музикален тематизъм и образни сфери в симфониите на Михаил Пеков
Musical Thematicism and Figurative Realms in Michail Petkov’s Symphonies

Summary/Abstract: The study examines the problem of the most specific features of the musical thematicism in Michail Petkov’s symphonies and their evocative and dramatic realms that originated and developed from it. This problem originated as a scholar interest during the study of his entire body of work, since the symphonic genre occupies a substantial part of it (with 15 symphonies, 2 instrumental concerts etc.) and plays a key role in the development of composer’s stylistic profile. In his symphonic works are concentrated all specifics of his musical pallet that can be found also in his chamber, vocal and vocal-instrumental works (pronounced and characteristic dramatic and evocative realms, diverse, but not verbose musical thought that is connected with the tradition by its musical syntax and turned to the present with its means of expression). The first accent in this text is on the most characteristic features of Michail Petkov’s thematicism: lyric and epic, characters and playfulness as well as those defined by the author as a “realm of light” (a combination of the first two, but in a new color spectrum with distinct expressive nuances). The second accent is on the music structure and the syntax of the works. Petkov’s works are distinguished by the meticulously clear compositional concepts used in their form structures. The most important feature of his musical syntax is the refusal of complex form by the means of excessive detail, or blurriness; in these circumstances Petkov brings out only those characteristics that uncover the emotionality of the expression with clearness and accuracy. And the third focal point is on composer’s style and artistic means of expression, with an accent on the melody. Namely the melody lies in the base of all morphological principles and processes, while the melodic profile of the thematicism is confirmed as the most important element that points out the dramaturgical characteristics of the expressive realms.

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