Константин Илиев // фрагменти
Konstantin Iliev // Fragments

Summary/Abstract: This article is an excerpt from an extensive study on the strategies of play in the work of Konstantin Iliev (1924 -1988). The fragments herein compare the images of the verbal ‘posthumous portrayals’ of Konstantin Iliev as a tragic fig­ure with his real presence in the field of Bulgarian musical culture and New Mu­ sic in this country (similar to the one of Meletinsky’ s culture-hero, an ambivalent character combining the Creator with the trickster, with the destructive lust-rating character). Two time projections in the texture of his work are deduced: a linear-vectorial and a ludic-rhizomatic, hence, through musical and analytical characteristics of some of his pieces, the text arrives at the idea of a ‘rhizomatic’ and ‘vectorial’ composer’s conduct. The ambivalence of his figure is once again accentuated through his hypostases a conductor and a composer-which would pose a dilemma: a composer or a conductor? The traumatism of this division is further kindled by the different degrees of public legitimacy of these different expressions of music. It often results from ideological spins used arbitrarily by the authorities to bring to the fore and encourage (to their own ends) this or that hypostasis. The other side to this doubleness is the figure of a ‘composer wielding the conductor’s baton’. Many of the typical of the composer syntactic breaks of the traditional form could be explained by his conductor’s idiosyncrasy. The inner ‘conducting’ of a piece in the process of its composing includes in itself a strong representation of the bodily, of the play of tension and relaxation, of stalking as well as a flair for the concretely embodied experience of time. Konstantin Iliev’s composing in this respect is not so much a metaphysical act, but rather a relatively precise effect of his habitus of conductor/composer.

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