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Performance in the diversity of its historical practices could be analysed in several aspects: technological, music- historical and social-psychological. The technological aspect comprises the characteristics of singing voices; the structure, technical capabilities and historical development of different types of musical instruments, the ways of handling them (specifics of producing sounds and technical devices, strokes, agogics, etc.); various music and vocal companies. At the same time, in the course of the mu- sic-historical process and with a certain complex of conditions, performative practice plays the role of an important factor in the development of music culture. The social-psychological aspect is based on the fact that it is performative practice that fulfils the communicative function of music art. It shapes its third possible line of research: communicative models in constant interaction take shape in its dynamism. The two major models- auto-communicative model (when the composer and performer are the same person) and dialogical (when they are different persons) are subjected to analysis. The introduced term ‘au- to-communicative model’ is borrowed from Y. Lotman in the field of literature and an attempt has been made to use it in musicology. Special attention is paid also to the specific transitional forms between auto-communication and the dialogical model. The latter is studied in its two major forms, synchronic and diachronic, while the composer-performer dialogue is treated as a dialogue between ages with specific forms of expression. Grounds for the occurrence and development of a secondary (indirect) form of the diachronic dialogical model showing itself in various arrangements, transcriptions and revisions are also given.
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The article offers the first ever analysis of a cycle, Lyrical Pieces for Piano Op. 6 by Academician Andrey Stoyanov (1890–1969), the pioneer of Bulgarian piano school. He composed also the cycles Aquarelles, Following Sunny Roads (Parts 1 and 2), Album for the Young, Sonatina and teaching-oriented pieces. His student, Prof. Charakchieva recalled that in his lifetime many of the above mentioned early and very valuable pieces had been performed frequently. Following his death, however, his works gradually ‘vanished’ from music venues for political reasons. The study raises essential issues related both to the Romantic pro- file of the pieces in Op. 6 and to all the keyboard works of Andrey Stoyanov’s legacy, revealing a complex person, an intellectual and a polymath, a composer, a pianist, a teacher, a philosopher, an essayist and a musicologist. This analytical reading is offered in an attempt to draw the attention of performing musicians and researchers, revealing Andrey Stoyanov’s fine compositional artistry of a composer skilled in rendering pro- found musical meaning to the subtlest details, and in developing musical thoughts abounding in ideas in a minor genre. Apart from an in-depth, harmonic and dramaturgic analyses of each of the pieces, the study seeks to explicate the tonal closeness of the first prelude to the third piece of Seven Piano Pieces, Op. 11 by Zoltán Kodály, composed almost at the same time; a parallel between the intimate lyricism of the second prelude and a number of chamber pieces by Sergei Rachmaninoff or Joseph Marx; some similar compositional devices, which in the third piece, Tale are reminiscent of Richard Wagner, etc. It is not just a formal resemblance, far from that, but rather inherently encoded internal bonds placing the early works of the great Bulgarian composer in a natural relation to the developments in Europe’s music life what it used to be just prior to and during his early creative activity. It explains to a great extent why Andrey Stoyanov’s works did not fit in the consequent line of development of Bulgarian compositional thought and regardless of their brilliance evaded the attention of per- formers and music researchers.
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On March 26, 2015 the composer, conductor and teacher, who has authored Le marteau sans maître for solo alto and six instruments (1952–1955); Éclat for 15 players (1965); Mémoriale for solo flute and eight instruments (cello, 2 horns, 2 viola, 3 violins) (1973–1975); Répons for six soloists, chamber ensemble, electronic sounds and live electronics (1981–1984); Anthèmes II for violin and electronics (1997), etc.; founded and headed the Institut de Recherche et Coordination Acoustique/ Musique (Institute for Music/Acoustic Research and Coordination, IRCAM) and the Ensemble Inter Contemporain (EIC), Paris; written a number of articles, given many interviews and talks on contemporary compositional techniques and the analytical approaches to them, Pierre Boulez turns 90. An encounter with one of the greats of music culture of the twentieth and the twenty-first century at Arnold Schönberg Center, Vienna offered a chance to conduct a short interview with him, which we wished and were let to dedicate to those of Bulgarian musicians, who happen to be interested in the highest levels of compositional mastery in the music composed since the second half of the previous century until now.
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St Luke Passion by Krzysztof Penderecki as Weltanschauungsmusik (Part II: Theological and hermeneutical foundations in the composition of the libretto) The present article forms the second part of a study of St Luke Passion (Passio et mors Domini nostri Jesu Christi secun- dum Lucam, 1966) by Krzysztof Penderecki. The article’s analytical focus is on the theological and hermeneutical foundations of the work in an attempt to fully unfold its meaning with regard to the ecclesiastical genesis of the genre and Christian music tradition. Following a detailed analysis of the libretto and the compositional strategy employed in its compilation, the thesis of the inherently liturgical nature of the work can be brought forth; a nature acquired through the biblical and liturgical texts selected for the libretto. This specific ‘divine service’ modus and the ecclesiastical nature of the work are defined by the author of the study using the term ‘immanent liturgical ethos’. An important highlight of the article deals with the Christocentric Oldtestamentical perspective, which lies at the core of the composer’s musical interpretation of the Passion of Jesus. It is revealed by the inclusion in the libretto of fragments of the Old Testament as pre-figuring types of passion events transmitted in the testimony of Luke. Through this exegetical method of theological typology Penderecki gives to his passion a messianic Christological horizon. The analysis of the dramaturgical plan of the work reveals hermeneutic aspects which are central to its understanding, yielded by the composer’s active immersion in church tradition. Thus the composer manages to announce his own artistic interpretation of the Passion in tune with contemporary hermeneutic trends in Biblical exegesis and the theological doctrine of the four- fold sense of the Holy Scripture. Through his musical reading of the Passion, Penderecki tries to understand the cruelty and tragedy of his time. He looks for a way to solve the pressing problems of modern times by offering his artistic concept of the salvation of modern man in the light of Christianity. In this aspect, the work is interpreted by the author of the article as Weltanschauungsmusik, music, revealing the artistic outlook of the composer, founded in church tradition and pro- claiming the intransience of the Christian worldview as an ideal valid also for modern times.
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Ivan Spassov’s work is a genuine attempt at forging an artistic language from the collision of modernism with the spiritual legacy of Bulgarian Orthodoxy. After a period of work in which he was concerned with extended structures, he turned to traditional Bulgarian music as a basis for the building of microstructures, working with the principle of serially-derived varied repetition of extremely small cells. In the focus of the study is composer’s late monumental sacred style in Velikdenska Muzika za Stradaniyata, Smiirtta e Viizkresenieto na Isus. It could be said that what makes Spassov’s work so compelling is its irreconcilability. Overawed by the mystery of death, he seeks light and redemption, having recourse to both Eastern and Western liturgical traditions, attaining an ever-greater textural transparency.
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The self-improvement and self-protecting of the composer Ivan Spassov’s figure are the main topics of this conversation, broaching the typical of him approach to treating traditional folk material in an avant-garde compositional environment; the complex ties between musical texts and paratexts; the tension between compositional technologies and the humane dimension to his work; composer’s relationship with main figures of New Music in Bulgaria and his conscious social mission as a teacher and conductor. The dialogue presents both a view of Ivan Spassov and self-revealing of the individualities of the two conversing composers (belonging to different generations) in a post-compositional to a large extent situation, socially and aesthetically.
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The harmonic organization of Lyubomir Pipkov’s music has been studied in Bulgarian musicology, but so far no theoretical model, which can account for all the diversity of harmonic phenomena, has been developed. The present work studies the composer’s harmonic system on several levels: tonal types and modes, harmonic elements, logical organization (modality and tonality), functionalism and vocal direction. On each of these levels L.Pipkov’s musical thought has impressive variety. The composer makes use of the mode possibilities of the diatonic, mixodiatonic and the entire 12-degree chromatics (with a special preference for the mode ‘’tone semitone”), always presenting his artistic ideas with adequate tonal charging. Pipkov’s chords are also extremely variegated. Besides the presence of verticals with various interval structures, an essential feature of his harmony involves binding some characteristic chords with definite height and location, which reveals his super-sensitivity to the micro-building material of music. L.Pipkov is a master of the possibilities both of the modal and tonal logical sound-height organization. The factor uniting them is the structure-forming role of the melodic principle, of the horizontal. In the conditions of modality the tonic is a melodic phenomenon, it is suggested through one tone, which is included in various multi-vocal environment, and this causes the variety of chord manifestations of the stable function. In the conditions of tonality, where the tonic is a chord, the composer is a master of the art to create different levels of tonic activity and through them -an orderly sound-height dramaturgy. An essential factor in modality is the chords with positioning function. They spread out along the tones of the central element of the modal system, which can be a sequence of tones, a group of basic tones or melodic formula. Lyubornir Pipkov’s tonal music is displayed predominantly in two original contemporary forms: lineal-functional tonality and rhythmic tonality. The rhythmic tonality is an innovating discovery of Lyubornir Pipkov’s. It is manifested through active bonds between pairs of chords, which with the help of the metro rhythmic factor and the melodic vocal direction create a continuous feeling of impetus and permission irrespective of the tonal composition of the verticals. All these peculiarities of the musical thought make Pipkov’s harmonic system unique. His harmonic language- evincing typical features of the XX: c. music and organic national specifics- has exceptionally ample possibilities always “to express” the composer’s topical artistic and aesthetic quests, caused by his ever-alert feeling of belonging to the modem time.
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