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Жестоко звуковно патешествие до центарот на слободата
Георги Шаревски Секстет на Мала Сцена во МОБ
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Георги Шаревски Секстет на Мала Сцена во МОБ
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Music is a realm of the human spirit – a realm perhaps a bit undervalued at the moment – that can reveal a great deal to us and offer insights into matters of fundamental essence. This aspect of music was perhaps most spectacularly evident in the revolutionary periods of the 19th century, at moments when music itself seemed to stand at the forefront of European artistic movements and indeed be itself the “soul” of the trends and changes afoot.
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Over the course of the 20th century, and in particular in the latter half, Ferenc Liszt, who during his lifetime and even decades after his death had been known primarily as an unrivaled virtuoso, began to enjoy new fame as an innovative composer. Musicians and music historians began to discover the wealth of influences in Liszt’s music and the often startling innovativeness of many of his late compositions. Indeed the similarities between Liszt’s later compositions and works by prominent 20th century composers earned him a new reputation as something of a pioneer.
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Dedicated to two significant anniversaries – 80 years since the foundation of Bulgarian Composers’ Society “Contemporary Music” and 65 years since the establishment of musicology within the Bulgarian Academy of Sciences, this thematic issue is focused mostly on the disclosure of unknown archive documents. The introductory blocs include unpublished so far documents from the family archive of Petko Staynov – the first chairman of the Bulgarian Composers’ Society and the first director of the Institute of Music at BAS, founded to a great extent thanks to his remarkable personal initiative. Commented by Prof. D.Sc. Elisaveta Valchinova-Chendova, these documents are a matter of particular interest in terms of current scientific findings as well as in relation to systematic research method in working with personal archives, which rationalizes in a new way given facts and events associated with the history of music. The other two items, which also dwell on particular archive materials, include a study by Ass. Ph.D. Stefk a Venkova, devoted to Apostol Nikolaev-Sturmski, a conductor and composer, seen as one of the most significant 20th century church music activists in Bulgaria, and a debut article by Mariya Valchanova-Lyubenova, a PhD student at the Institute of Art Studies, who deals with church musical archives in the town of Shumen in the 19th and 20th centuries. In addition, the segment entitled 65 Years Musicology in Bulgarian Academy of Sciences, Prof. D.Sc. Lozanka Peycheva notes the 75th anniversary of Lyuben Botusharov, a long time contributor in the Institute. Section Reviews in this issue present new publications (volumes and monographs) in the fields of musical medieval studies, ethnomusicology and musical anthropology, as well as the winner publications listed in the Union of Bulgarian Composers’ award “Book of the Year 2012”. In conclusion, In memoriam gives a last respect to our colleague, the prominent Bulgarian ethnomusicologist Prof. D.Sc. Svetlana Zaharieva.
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Prof. D.Sc. Svetlana Zaharieva (1937 – 2013) On the 18th of June this year we lost Prof. D.Sc. Svetlana Zaharieva. Her scientific interests cover a wide array of topics, and in each of them her contributions are crucial. After stating her strong presence as a musical theorist with the monographs “Bulgarian Folk Diaphony” and “The Musical Form in Bulgarian Folk Song” she becomes one of the moving forces in the turning of Bulgarian folkloristics to the horizons of ethnomusicology. Her significant work “The Player in Folk Culture” publicly celebrates this change of the paradigm and to a great extent turns into its symbol. This is the book, which inspired many young scholars and showed them how ethnomusicology can simultaneously be an art and a genuine science. We lost one of the brightest people of our Institute, a person with endlessly serene and delicate humaneness and a remarkably powerful and expressive scholar presence. Rest in peace!
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The life of Ferenc Liszt is one of great interest not only from the point of view of his music, but also because of its turning points. The composer was a deeply religious man who wanted to become a priest at the age of 15. Yet, he is most known for his love life. In spite of the numerous women he was involved with, he preserved his religious interest all his life as his work shows it in an obvious way. The fact that other aspects of his life got more attention, is due to the biographies that were written by different persons who had an interest in hiding the truth and accentuating scenes of less importance as a revenge for being neglected. The first part of the article shows how the Liszt legend was built up and how some elements and accents were misplaced.
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Génie oblige—this was the motto chosen by Franz Liszt, the only Hungarian musician in the 19th century to be universally recognised as one of the greatest in the world. He certainly lived up to it, developing his mercurial talents as one of the outstanding pianists of his time, as a bold innovator in composition, as a conductor, an influential teacher and writer on music. A loyal son of Hungary, he was open to the world and absorbed all he valued in various European countries in an eventful life, making a generous and effective contribution to music wherever he went.
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