Sonate, que me veux-tu? За сонатната резистентност у късния Васил Казанджиев (теоретически арабески)
Sonate, que me veux-tu? For the Sonata Resistance in Later Vassil Kazandzhiev

Summary/Abstract: The article discusses the sonata form metamorphoses in the works of one of the most significant composers of new Bulgarian music – Vassil Kazandjiev, building upon the experience of one of his teachers and predecessors – Lazar Nikolov. Proceeding from the classic Abbot Fountain’s wail – Sonate, que me veux-tu?, the author analytically tracks down the transformation of the genre into a principal, an attitude, an insight and even more into a composer ethos. The necessary well-grounded distinctions, between sonata and symphonic, have been made, introducing and justifying the metabole as a characteristic mark of the sonata form. Typical for the sonata processes have being treated terminologically in an unorthodox way – discussed are the exposition as a peculiar apriori, the development as a “panic state of the material”, as an “alienation of development” (an expression borrowed from Gottfried Benn), indicating a possible outlet from the “sonata crisis”; proposed are some non-academic explanations of the sonata, such as: a specific instrumental microcosm or a division line with music-reasonableness. Examined is also a special kind of “sonata language” distinguished from ekmelic, post-tonal language of the Avant-garde’s mobile actuality. The language (as an object of storage and expression of resistance, a language, frozen at a certain level of timeliness) alone generates newly bred sonata architectures – we could say that the “rescued language” reterritorialized them. The language freezes in certain historically marked or in fantasy, himeric figures. “The figure is not a psychological type, image or character. It is a breakthrough in history and time. In this sense, for the late sonata works of Vassil Kazandjiev could be spoken as for a metachronic phenomenon.

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