Dimitar NENOV (1902-1953) belongs to the most prominent representatives of Bulgarian culture as a whole and to the Bulgarian musical culture of the first half of the 20th centui'y in particular. A btilliant composer and pianist, talented architect, original mind (essayist, critic, and researcher) , piano pedagogue and distinct public figure, he stood out among his contemporaries with his fundamental knowledge and keen interest in different spheres of knowledge - philosophy, aesthetics, art studies, mathematics, physics, medicine, astronomy. It would not be an exaggera­tion to say that in Bulgatian cultural life of the 1920s-40s his figure was projected with renaissance, Leonardesque dimensions, like an envoy from the Planet of the Spirit.

Born to enlightened parents , Nenov showed his remarkable talent at an early age; the self-taught Wunderkind became the author of numerous compositions (main­ly for piano but also in other genres), marked by the influence of musical classicism and romanticism.

Between 1920 and 1927 Nenov studied and received a diploma as an at'chitect in Dresden. Parallel to that, and despite his parents' will, he took private music lessons and attended the Dresden Conservatoire (under Prof. Carl Fehling in piano and under Prof. Theodor Blumer and Prof. Paul BUthner in music theory and com­position) . He eat'ned his living by playing the piano in silent cinemas or as music director of Thea Jolles 's ballet company. In the 1927-1931 period he worked in Sofia as a state employed architect. In 1931 he specialised in piano with Egon Petri in Zakopane (Poland). In 1932 he graduated from the Music Academy in Bologna, Italy. Since 1937 he was Associate Professor and since 1943, Professor in piano at the State Academy of Music in Sofia.

Nenov ranks among the classics of Bulgarian 20th-century musical output (Pet­ko Stainov, Pancho Vladigerov, Lyubomir Pipkov, Veselin Stoyanov, Philip Koutev, Mat'in Goleminov, etc. , some of whom, like Vladigerov, Pipkov and Goleminov enjoyed wide international recognition) with his remarkably versatile personality. An intellectual and spiritual disciple of Kant, Hegel, Goethe and Schlegel, of Schopenhauer and Nietzsche, of Bach, Mozatt and Liszt, of Dostoyevsky and Tol­stoy, of Italian Renaissance and the German Gothic art and architecture, he is in a

Beethovenian opposition to the cruel fate. He used to overcome the physical pain of his progressing ailments by ... solving problems in higher mathematics and astrono­my or by socialising with eminent Bulgarian intellectuals and artists like Chavdar Moutafov, Boris Denev, Stoyan Brashovanov, Spiridon Kazandjiev, Dimitar Mi­halchev, Assen Zlatarov and many others, with part of whom he was active in the practically unknown today "Club 39". One of his favourite dictums, giving an idea of his attitude towards life and creativity, reads : "The emperor creates no such thing that would contain within itself the eternal value, valid for several millennia; as such is only the work of a genius ... A great man owns the history, the emperor is only an object of history."

Nenov the architect - an adherent of Walter Gropius' Bauhaus teaching - de­signed many public and private buildings. Among them, the design dating from about sixty years back for a Musical Academy in Sofia (which remained unreal­ized) is unique even from contemporary point of view in terms of general architec­ture, functionality and technical equipment. An ardent admirer of nature, he intend­ed to turn the old small town of Samokov, situated in the skirts of the highest in the Balkan Peninsula Rila Mountains, into a cultural Bulgarian Salzburg. Nenov also designed the baldachin (which disappeared mysteriously half a century ago) above the main entrance' of the St. Alexander Nevsky Patriarchal Cathedral situated in the centre of Sofia and famous throughout Southeastern Europe.

There are two particularly remarkable accents in Nenov 's social activity. In January 1933 he was among the most enthusiastic co-founders and first secretary (until 1938) of the then famous Contemporary Music composers' association, which - through the compositions and the written and spoken word of Nenov, Pipkov, Vladigerov, Stainov, Stoyanov, Goleminov, among others - ultimately consolidated the principles and ideas of the Bulgarian school of composing. Between 1935 and 1937 he was the first music director of the newly established Bulgarian National Radio. Invaluable is his contribution for the general formulation and implementa­tion of this institution's musical policy, for the successful encouragement of the national musical traditions in it and their combination with the promotion of both classical and modern European and world achievements.

In the new history of professional Bulgarian musical culture (after the country 's liberation from the five-century Ottoman domination in 1878) Nenov is the first Bulgarian pianist whose art is unsurpassed,even today in its commensurability with the highest European and world standards. For over three active decades (1920-1950) he gave hundreds of concerts, of which nearly 500 in the last 15 years of his life. His .repertoire embraced music of composers ranging from William Byrd and John Bull, through Bach, Scarlatti, Couperin, Rameau, Clementi, through Haydn, Mozart, Beethoven, Chopin, Schumann, Liszt, Brahms, Franck, Tchaikovsky, to Debussy, Ravel, Busoni, Scriabin, Prokofiev, Shostakovich, etc.

Nenov's keyboard art is characterised by virtuosity combined with unique mem­ory, unparalleled authenticity of style and spiritual concentration, with gratifyingly supple ·sound production and pedalling. The reviews of his concerts in Germany (Dresden , Berlin, Meissen, Leipzig, Frankfurt, Bautzen), Austria (Vienna and Salzburg), Italy (Rome and Bologna), Czechoslovakia, Poland, Hungary, Serbia, Romania bling evidence to that. Memorable are his pelformances of Beethoven's lasuhree piano concertos (the Fifth was performed for the first time by the 25-year­old Nenov at the jubilee Beethoven celebrations in Germany in 1927), of Chopin's and Liszt's piano concertos, of numerous sonatas by Beethoven and Mozart, the solo recital s of music by SCliabin, Chopin and Liszt, among many others. His con­ception of Historical Concerts, in similarity with Anton Rubinstein 's analogical series has remained amazing for its scope to the present day. He also frequently performed in chamber ensembles . Of particular significance was his participation (together with violinist Hristo Obreshkov and ·violoncellist Konstantin Popov) in the Academic Piano Trio (1937-43) in Sofia, which received the best professional evaluation . both at home and abroad . In 1949 he was member of the jury of the Fourth International Chopin Competition in Warsaw.

Without doubt however it was his composing career that formed the core of his artistic world. Composing was for him the highest form of creative and spiritual experience. Being influenced to a great extent by' the philosophic, music-and-aes­thetic and cultural-and-historical ideas of Dilthey, Lipps, Hanslick, WOlflin and Spengler - some of which refract Schopenhauer 's definition of music as "blind

practice of metaphysics" - Nenov formulated his basic outlook: "Thinking in tones is the most abstract thing; it is not composing - everyone can do this - but rather Erschauen, the act of experiencing the world in tonal pictures, the creation of such pictures of one's own, that represents the last step in the development of musical art." And more: "I consider art as the most humane thing in the world; [ ... J it is in alt alone that the humane merges with the eternal and in the search of this humane, expressed through art, I find the meaning of my humble life."

Nenov's musical output after 1920 can be grouped in three main genres: sym­phonic, keyboard and vocal music. He is the author of one completed Symphony in C sharp minor (1922), Ballad No.' 1 for large orchestra with organ (1924), Four Sketches for large orchestra (1924-25), Christmas, a symphonic poem for soloists, mixed choir and orchestra (1938-39), Thrace, a symphonic suite for soprano, wom­en's choir and orchestra (1940), Rhapsodic Fantasy for large orchestra (1938-40), Ballad No.2 for orchestra and piano concertante (1942-43), etc. His vocal output includes Nine Songs for Voice and Piano (1922-34), At the Countly House, a cycle of three songs for voice and piano (1931-33), The Woodcutter, a poem for voice and piano (1937), four cycles of arrangements of Bulgarian folk songs for voice and small orchestra (1937-38) , Motherland, five poems for voice and small orchestra (1933-40) and others . Among his solo piano works are Six Preludes (1920-21), two sonatas (1921, 1922), Cinema Shite, a cycle of six pieces (1924-25), Theme with Variations (1931-32), Two Etudes (1931-32), the Miniatures cycle (1945), etc.

Nenov's only completed chamber ensemble work, the Sonata for Violin and Piano (1921) , highlights some basic characteristics of his style: free, poem-and­variation treatment of the form structuring in the tradition of late romanticism and early modernism ; original modal and harmonic structure featuring intense chroma­tisation and provisional treatment of thematicism and the tonal centre; bitonality; a refined, modern attitude towards the phonic element of the texture, etc. The partic­ular embodiment of these features allows a successful comparison of a number of Nenov's opuses with the achievements of Debussy, Ravel , Mahler, Scriabin, Bar­tok, the early Schoenberg and the young Prokofiev. These and some other similar stylistic features mark Nenov (along with Lyubomir Pipkov, his other outstanding

contemporary) as a predecessor of the original, talented yet dramatic development of Bulgarian musical avant-guard after 1947-49.

Nenov's professional and aesthetic innovations ran frequently ahead of time with respect to the overall picture of the then Bulgmian musical and historic time. Yet they inevitably included within themselves his understanding of the national. In all his creative and public manifestations Nenov (who had a thorough knowledge of and deep respect for the nearly 13-century-old Bulgarian cultural tradition) acted as a patriot of rarely selfless idealism. At the same time he was perfectly acquainted with the achievements and weaknesses of folkl0l1sm in the context of musical ro­manticism and later. That is why in an autobiographic document from the 1930s we find his self characte11zation, remarkably confirmed by his music: "In the basis of all larger-scope works there lies a Bulgm1an substance which Nenov does not achieve through folkloristic devices, but rather strives to extract from the people's spirit and from its creatve heritage."

There is something sad and even tragic in Dimitm· Nenov's fate. The difficult life conditions (for example, until his death he rented lodgings and even a piano) were the cause for se110us chronic diseases as em·ly as his student years. In combi­nation with the distress of professional envies and mean malicious gossip, often accompanied by political insinuations after 1944, these caused the untimely death of this sensitive personality. Even today they m·e the reason to undeservedly subject to mm·ginalization his figure and heritage and to undermine his real contlibution not only for the national but also for European culture in general. But isn't that the doom of every lonely knight of spiritual aristocracy?

Concerto for Piano and Large Orchestra (1932-36) is among Nenov's em­blematic works. At first it strikes as an inspired monolithic one-movement compo­sition of poem-vm·iation type. The composer 's idea has found an extensive realiza­tion in the musical time-space. Extensive is also the dazzling piano part, combining the best features of Liszt's romantic pianism and the modern trends from the first decades of the 20th century. Professional brilliance and flexible balance at the same time mark the polyphonic-linear at its base orchestral texture.

Behind the monolithic at first glance one-movement structure there show the contours of four main sections - a covert reminiscence of the sonata-symphonic cycle. The initial first section is of solemn, hymn-like character; a scherzo-toccata principle predominates in the following, second section; the third begins with a Bethovenian (in the meaning of a sign paradigm) piano recitative which gradually grows into an impressive march-procession; the ornate fourth section leads to a general climax and to a bell-sounding sparkling coda.

The concerto is structured on two basic motifs, consisting of nine tones in all: c'_d'_e '_fis '_g ' and cl-el-dl-gis l, to which a folk song is added in the third section. The concerto improvisational character (its external expression are the several expand­ed cadences of the piano) is somewhat apparent. Hidden behind it is the dramatic logic of timbre and architectonics, subjected to the composer's conception - to achieve the absolute idea, a mystic and elevated feeling through the purely instru­mental plinciple.

The music is of intensively ecstatic character. This is an accumulating gradation of yearning, a sound matter pulsating flexibly in a succession of denser and sparser structures, which inexorably "reproduces itself ' into a general culmination. A sound matter which organically contains and to a great extent is based on Bulgmian sub­stance. And if we turn again to Nenov 's self chm'acterization the work is dominated by "transcendentalism, with respect to its spiritual content, even in the technical requirements, especially for the piano and the orchestra."

More than six decades ago musical criticism had good reason to note: "This is not music for the earth. It is world music (Weltenmusik); it raises like a cathedral, in order to soar up like a prayer in the universe."

Toccata (1932-39) is yet another work, representative of Nenov's creative out­put, initially conceived in 1932 for solo piano.

In the chm'acteristic of the 20th century reevaluation of the traditions of the Renaissance-Baroque toccata this composition of Nenov 's takes a well-deserved place among similar works by such authors like Ravel, Prokofiev, Stravinsky, Busoni, Krenek and others.

The initial main theme is associated by many with the chime of bells at the Rila Monastery (founded in the 10th century, a symbol of the centuries-old Bulgarian spiritual heritage). The distinctively virtuosic piano part is developed gradually, with a motif-variation technique wOlthy of respect and is marked by effective or­chestra characteristics and OIiginal play on timbres.

These charactetistics of the Toccata have served as an impulse for Lazar Ni­kolov (b. 1922), the great contemporary Bulgarian composer and Nenov's most prominent pupil, to orchestrate it 'in 1980. The professionalism of this orchestration and its truthfulness to the composer's original ideas lend additional captivating power to Nenov's Toccata.

Anton DIKOV (b. 1938) graduated from the Pancho Vladigerov State Acade­my of Music in Sofia in 1961, majOling in piano under Prof. Lyuba Encheva. In the 1964-65 period he furthered his studies in France under Nadia Boulanger, Artur Rubinstein and Robert Casadesus.

In 1962 he became soloist of the Sofia Philhatmonic, since 1974 he has been teaching at the Pancho Vladigerov State Academy of Music (Professor, since 1988). He has directed numerous master classes throughout Europe (after 1996, in Flaine, France annually), in Japan (1983, 1989), in the Republic of Korea (aftet 1990, in Seoul annually) .

Mr. Dikov is holder of awards from the following international competitions: "Liszt" (Budapest, 1956), "Bach" (London, 1960 - the only prize awarded for the year), Rio de Janeiro (1962), "Margueritte Long" (Paris, 1963).

In the post-war generation of Bulgarian pianists Anton Dikov is among the most remarkable petformers, possessing an impressively encompassing and precise pianistic abilities, with stylishly mastered talent for form-giving. "Anton Dikov is a pianist of brilliant qualities," Shostakovich wrote in 1965.

His extensive repertoire covers works from the Baroque epoch to the present day, a number of first petfOlmanees-of works by contemporary Bulgarian compos­ers including. Among his memorable achievements there stand out, along with many others, the petformance of Brahms's two piano concertos in one evening (1973,

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Sofia); the integral performance of Beethoven's five piano concertos in two eve­nings (1981, Sofia and Havana). His extensive recording career includes 15 LPs, an integral edition of-Bartok's (released by "Harmonia Mundi"), an integral CD-edi­tion of Beethoven's concertos, etc.

A recognition of Anton Dikov's art is his palticipation in the juries of the fol­lowing international competitions: "Chopin" (Warsaw, 1975, 1990), "Liszt-Bar­tok" (Budapest, 1976, 1981), Bolzano (1977), "Marguelitte Long" (Pal'is, 1979), "Beethoven" (Vienna, 1985), "Van Cliburn" (Fort Worth, 1985), "Tchaikovsky" (Moscow, 1990), the Bavalian Radio (Munich, 1992).

Mr. Dikov has enjoyed an active conceIt-giving career since 1954. He has toured extensively in nearly all European countries, the USA, Latin America, Japan, Ko­rea and has pelformed with internationally renowned orchestras (Saint Petersburg, Moscow, Paris, Brussels, Prague and elsewhere). Particulal'ly outstanding are his successful tours in the USA (in 1979, together with the Sofia Philhalmonic, and in 1983 as soloist), in Spain (1979), in Columbia, Venezuela and Cuba (1983), in Mexico (1989, 1992) and elsewhere. .

Numerous reviews give credit to Anton Dikov's talent. Some of them read: "We can fearlessly place him among the pianists of the highest rank" (/l Tempo, Rome); " . .. his playing is mal'ked by a genuinely brilliant technique and energy" (Opern­welt, Munich); "". His interpretation of Prokofiev's Third Concerto was simply stunning" (Le Figaro, Paris), etc.

Alipi NAIDENOV (b. 1931) graduated in choral and orchestra conducting (in 1955 under Prof. Georgi Dimitrov and in 1958 under Prof. Assen Dirnitrov) at the Pancho VladigeI'ov State Academy of Music in Sofia. Between 1965 and 1968 he furthered his studies with Prof. Franco FelTal'a at Rome's Accademia di Santa Ce­cilia. Antonio Caldara's "Stabat Mater" was performed in Rome under his direction (after nearly 250 years of oblivion). In 1966 he also took Palt in the International Conducting Courses in Venice. Since 1971 Mr. N aidenov has been resident assis­tant in the International Conducting Courses at the Chigiana Academy of Siena where, along with FeiTara, throughout the decades he has worked with prominent

conductors like Carlo Maria Giulini, Ferdinand Leitner, Gennady Rozhdestvensky, Yury Temirkanov, among others.

l Some highlights in his career are: conductor of the Representative Student Sym-phony Orchestra in Sofia (1958-72); principal conductor (1972-91) of the Philhar­monic in Rousse (one of the "most musical" Bulgarian cities, center of the March Musical Days International Festival); lecturer and Associate Professor at the Acad­emy of Music in Sofia (1973-91). Since 1991. he has been a freelancer and since 1997, a chief expert-counsellor to the Minister of Culture in Sofia.

Mr. Naidenov is a talented conductor who has unquestionably contributed for t the Bulgarian art of symphonic music. His artistic scope, professional mastery and :. varied repertoire rank him among the most prominent figures in Bulgaria's modern

music life. During his numerous individual guest appearances and concert tours in different European countries and in Latin America his art was acclaimed by critics and audiences alike.

His releases include a series of LPs and CDs featuring Prokofiev 's Ivan the Terrible ("Forlane" , France) and mindel's Messiah ("Pentagon", Portugal). The Bulgarian National Radio Golden Fund and the Bulgarian National Television hold

_ his numerous studio and live recordings. Featured in his repertoire new and rarely performed works of various composers and ages, contemporary Bulgarian music including. He has been awarded many Bulgarian and international distinctions.

Prof. Ferrara noted: "Maestro Naidenov, an invaluable assistant of mine [ ... J is a competent orchestra conductor, an exceptionally sensitive and thorough interpret­er, possessing a perfect technique ... " In 1987 Rozhdestvensky wrote about "the superb principal conductor, Alipi Naidenov." Critics from different countries add to this : " ... the brilliant and talented conductor (Switzerland) ; "a vital, passionate mu­sician and excellent interpreter" (Germany), etc. In a personal letter dated Septem­ber 5, 1998 Marina Mahler, granddaughter of Gustav Mahler, wrote: "Thank you for the great pleasure which your interpretation of the Fourth Symphony gave to me ... "

Latchezar Karanlakov English translation A. Djelepova

,lJ,UMUTbP HEHOB (1902-1953) npHllaAJIe)K]1 KbM HaH-3Ha'-lHTeJlHHTe npe.r\cTaBH­TeJIH Ha 6bJITapCKaTa KyJlTypa KaTO I' 1J10, 11 nO-Cnel\~laJlHO 1-13 6bJITapCKaTa MY3HKaJlHa KyJlTypa OT nbpBaTa nOJlOBI1Ha 11 :1 XX ' eK, bJleCTllll\ KOMn03HTOp 11 nHaHHCT, TaJlaHT­JIIffi apXI1TeKT, OpI1T~IH aJleH MI1CJlHTeJl ~eCeI1CT , KpI1TI1K, 113CJle.r\OBaTeJl), KJlaBHpeH ne.r\a­ror 11 llpbK 06ll\eCTBeHI1K, TOM ce (" r:po5IBa cpe.r\ CBmlTe CbBpeMeHHI1l\H C cpYH.r\aMeH­TarrHa OCBe.r\oMeHocT H TpaeH Itl-ITepec KbM HaM-pa3JlH'1H11 06J1aCTI1 Ha 3HaHHeTO - qlH­JlOCOqlH.H, eCTeTl1Ka, 113KYCTB03HaHl1e, MaTeMaTl1Ka, cjJ~1 3 HKa , Me.r\Hl\HHa, aCTpOHOMHll, He 611 611J10 npeyBeJIHlleHl1e, aKO oT6eJle)l(HM, '-Ie B 6bJlrapCKI1.H KyJlTypeH )l(I1BOT npe3 20-Te - 40-Te rO,[(HH11 C!lHrypaTa MY ce npoeKTHpa C peHecaHCOBH, JleOHap.r\OBCKI1 113Me­peHI111 - e,[(HH npaTeHI1K OT TIJlaHeTaTa Ha ,D:yxa,

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npe3 1920-27 r, HeHoB y'-lH 11 ce ):\J1nJlOMHpa KaTO apxHTeKT B ,[J:pe3.r\eH, OapaJleJTHo (H BbnpeKH BOJlllTa Ha p0.r\I1TeJUITe CH) yLIH MY311Ka - '1aCTHO H nOCell\aBaMKH rreKl\H11 B )J.pe3.r\eHcKaTa KOHcepBaTOpl111 (nHaHO - npH npocp, KapJl <DeJllmr, MY311KaJlHa TeOpl1.H H KOMn03Hl\H.H - npl1 npocjJ. Teo.r\0p bJlYMep H npocjJ, nayJl bIOTHep), CaMoH3.r\bp)l(a ce KaTO nHaH11CT-03By<fl1TeJl Ha HeMl1 cjJI1JIMl1 H MY3HKaJJeH PbKoBo.r\I1TeJl B 6aJleTllaTa Tpy­na Ha Tea Morrec, npe3 1927-31 r. pa60TH B CocjJl1.H KaTO apX~ITeKT Ha .r\bp)l(aBHa crry)l(-6a, npe3 1931 r. Cnel.\HaJll13l1pa nHaHO npl1 EroH TIeTpl1 B 3aKonaHe (norrwa). npe3 1932 r. ce .r\~mrrOMl1pa B MY3HKaJlHaTa aKa.r\eMH.H B bOJlOHll (lhaJlHll). OT 1937 r. e .r\Ol.\eHT, a OT 1943 r. - npoqJecop no rrHaHO B ,D:bp)KaBHaT,a MY311KaJTHa aKa.r\eMI111 - Co­qJI1.H.

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B060pCTBO CbC CypOBaTa cbp,6a. <f>I13W1eCKliTe 60mrn OT nporpeCI1pa~ 3a60J15lBaHIDI

Ha,L(MOrBa qpe3 . . . pemaBaHe Ha 3ap,aqJ1 no BI1Cma MaTeManlKa 11 aCTpOHOMllil; qpe3 06-

ll\YBaHe C I13BeCTHI1 6brrrapCKM I1HTerreKTyarrqH 11 xopa Ha I13KyCTBOTO, KaTO qaBP,ap

MYTaQJoB, EOPMC ,D:eHeB, CTOliH EpamoBaHoB, CTIMPI1P,OH Ka3aH)J,)lGleB, ,D:MMI1TbP MM­XarrqeB, AceH 3rraTapoB M p,p., C qaCT OT KOI1TO yqacTBa B npaKTWleCKM HeM3BeCTHIDI

p,Hec "Krry6 39". ITpep,cTaBa 3a HerOBaTa )KMTeilcKa M TBOpqeCKa Hamaca p,aBa ep,Ha OT

m06I1MMTe MY CeHTeHl.(MM: "HMnepaTOpbT He Cb3p,aBa HHll\0 TaKOBa, KoeTO 6M Cbp,bplKarro

B ce6e CM BeqHaTa l\eHHOCT, npOCTMpall\a ce Hap, l\eITM XMITllp,Orrenrn; 3all\OTO - TaKOBa e

npOM3Bep,eHMeTO caMO Ha reHH51 ... BerrMKMllT qOBeK npMTelKaBa MCTOpMllTa, MMnepa­

TOPbT e caMO npe,L(MeT Ha MCTopMllTa".

ApXHTeKT HeHoB (3aCTbITHMK Ha Mp,eMTe Ha Bauhaus M Bamep fpoTIMyc) e aBTOp Ha

pep,nl\a 061l\eCTBeHM M qaCTHI1 crpap,n; cpep, TllX - YHMKarrHMllT M OT p,HemHa me)J,Ha

TOqKa KaTO 061l\a ap=eKTypa, QJYHKl\I10HaJIHOCT M TeXHJ.lqeCKO 060pyp,BaHe npoeKT

(OCTaHarr HeOCbll\eCTBeH) ompep,n OKorro meCT p,eCeTMJleTMll 3a MY3MKaJIHa aKap,eMMll B

CoQJMll. CTPaCTeH nOKITOHMK Ha npMpop,aTa, Ton 3aMMCJlJI p,a npeBbpHe CTapMHHOTO rpap,­

'Ie CaMOKOB, HaMHpall\O ce B nO)J,HOlKMeTO Ha Han-BI1COKaTa TIJlaHMHa Ha EaJlKaHCKMll

norrYOCTPOB PMITa, B p,yxOBeH 6brrrapCKM 3a.JIl\6ypr. ITo HerOB npoeKT e peaJJI13I1paH

6arrp,aXMHbT (3araP,b~0 I13qe3Harr npep,n OKorro nOrrOBMH BeK) Hap, maBHIDI BXOp, Ha 3Ha­

MeHMTaTa B l\llrra IOroM3TOqHa EBpona naTpMapmeCKa KaTep,parra "CB. AJIeKcaHp,bp

HeBcKM" B l\eHTbpa Ha CoQJMll.

B 061l\eCTBeHaTa My p,enHOCT I1Ma p,Ba oc06eHo 3a6errelKMTeITHM aKl\eHTa. ITpe3 mry­apM 1933 r. Ton e cpep, Han-aKTI1BHMTe CbOCHOBaTeITM M nbpBI1 ceKpeTap (p,o 1938 r.) Ha

M3BeCTHOTO KOMn03MTopCKO p,pYlKeCTBO "CbBpeMeHHa MY3HKa", KoeTO - qpe3 TBopqe­

CTBOTO M crrOBOTO Ha HeHoB, I1MrrKoB, Brrap,MrepoB, CTaifHoB, CTOliHOB, fOrreMHHOB M

p,p. - OKOH'IaTerrHO KOHCOJll1p,I1pa npMHl\I1lTMTe 11 Mp,eMTe Ha 6brrrapcKaTa KOMrr03MTopc­

Ka UIKOJla. ITpe3 1935-37 r. TOH e nbpBMllT MY3MKarreH PbKoBop,MTerr Ha TOKY-Il\O Cb3p,a­

p,eHOTO Hal\MOHaITHO 6brrrapcKo pap,no. H3K.JllOqJ.ITeITHO rOJleMM ca 3aCJJyrMTe MY 3a re­

HepaJlHOTO QJopMI1paHe, 06e31IeqaBaHe 11 rrpoBelKp,aHe Ha MY3MKarrHaTa nOJll1TI1Ka Ha

Ta3I1 I1HCTI1TYl\Mll, 3a ycnemHoTO HaCbpqaBaHe Ha Hal\MOHaJIHHTe MY3I1KaJIHM TPa~

B HeJi 11 CbqeTaBaHeTO 11M C nporraraHp,aTa Ha KrraCWleCKMTe 11 Mop,epHMTe eBponenCKM M

CIH;!TOBHM p,OCTIDKeHMll.

Ha4aJlHaTa OCHOBHa Telvla OT MH03HHa ce CBbp3Ba CbC 3BbHa Ha KaM6aHHTe B PHJlC­KHJI MaHaCTI1p (OCHOBaH npe3 X BeK, CHMBOJI Ha MHOrOBeKOBHOTO Jl,YXOBHO 6bJITapCKO HaCJleJl,CTBO). IToA4epTaHO BI1pTY03HaTa KJlaBHpHa napTl151 e pa3rbpHaTa nOCTeneHHO, C peCneKTHpall.\a MOTHBHO-BapHaHTHa TeXHl1Ka 11 ce OTJlH4aBa C e¢eKTHa OpKeCTpaJlHOCT, C OpHrlmaJlHa Hrpa I-Ia TeM6pH.

Te3H oc06eJ-IocTH Ha TOKaTaTa ca nOJl,Tl1KHaJlH HaM-H3TbKI-mnU! yYeHHK Ha ReHOB, rOJleMlIJIT CbBpeMeHeH 6bJITapCKH KOlvm03HTOp JTa3ap HHKOJlOB (p. 1922) Jl,a HanpaBH opKeCTpa~ll51 ( 1980). HeMHHTe Bemn<OJlemrn npO¢eCI10HaJlHH KalJeCTBa H CTIIJIOBa aB­TeHTHlJHOCT cnp5!Mo KOMn03~I10HHOTO lv[}lCJleHe Ha aBTopa Jl,OnbJlHl1TerrHO npHJI,aBaT Ha HeHoBaTa TOKaTa 3aBJlaJl,51Ball.\a CHrra.

AHTOH )l,HKOB (p . 1938) 3aBbpillBa nHaHO npe3 1961 r. B ,[(bp)J(aBHaTa MY3I1Karr­Ha aKaJl,eMI15I "ITaH4o BrraJI,HTepOB" B CO¢I·IJI npH npo¢. JlI06a Elf'IeBa. ITpe3 1964-65 r. cne~HanH3Hpa BbB <I>paH~H5I npI1 HaA51 EynaH)J(e, Apryp Py6HHIl.\aMH H P06ep Ka3aJl,e­CIO .

OT 1962 r. e COJlHCT Ha Co¢Hi1cKaTa cjmJlXapMOI-lIDI, OT 1974 r. npenOJl,aBa B ,[(bp)J(aB­HaTa MY3HKanJ-Ia aKaJl,eMI15I " ITalf'Io BnaJl,I1repOB" (npo¢ecop - OT 1988 r.) . HeeJl,HOK­paTHo BOJl,H MaMcTopcKH KnaCOBe H B peJI,H~a eBponetkKtl cTPaHH (BbB <I>panUJ-U! crreJl, 1996 r. - e)J(eroJI,HO BbB <I>rren), B 5fnoHH5I (1983, 1989), B Peny6JlJ1J(a Kope51 (crreJl, 1990r. - e)J(erOAHO B Ceyn).

HoclueJl e J-Ia HarpaJI,H OT CneJl,HHTe Me)J(Jl,yHapOJl,HH KOI-lKypCI1: "llliCT" (EYJl,anell.\a, 1956), "Eax" (JTOI-lAOH, 1960 - eJl,HHCTBeHa npeMI15I 3a rOAJlliaTa), PHO Jl,e )KaHeMpo (1962), "MapraptlTa JToHr" (ITapH)J(, 1963).

B CneJI,BOeffiIaTa reHepa~115I 6brrrapcIill TIl-raHHCTH ,[(HKOB e cpeJl, HaM-51pKHTe TarraJ-I­TH, C Bne4aTmmall.\0 Mall.\a6eH H npe~H3eH nHanHCTH'leH anapaT, CbC CTHnOBO OBnaJl,5!J-IO ¢opMoH3rpa)J()J,ane. ITpe3 1965 r . lliocTaKoBIf'I TIHllIe: "AHTOH ,[(I1KOB e nMaHHCT C 6ne­CT5!IW1 KalJeCTBa".

BHYWHTenIDUlT My penepTOap 06XBall.\a TBOp6H OT 6apOKOBaTa enoxa Jl,0 naurn Jl,I-lH, B T.4. pe~a npeMHepH Ha CbBpeMeHna 6bJITapCKa MY3HKa. CpeJl, oco6eno 3anOMJ-I5I­Il.\HTe ce HerOBI1 nOCTH)KetlIDl ca : H3nbnHeHHeTO Ha Jl,BaTa EpaMCOBH KJlaBHpHH KOH~ep­Ta B eJl,J-Ia Be4ep (1973, CO¢H5I); HHTerpanHoTo H3nbnHeime Ha neTTe EeToBeHoBH KJla-

3aA MOHOJIMTHaTa Ha npbB nomeA eAHO'laCTHOCT np03MpaT KOHTypMTe Ha qenlpM

OCHOBHM A5lJJa - 3aBOaJIMpaHa peMMHMCl.\eHWI51 Ha COHaTHO-CHMcP0HWIHa I.\MKJIM'IHOCT.

HaqaJIHH5IT nbpBH A5!Jl e C Tbp)l(eCTBeH XMMHOB XapaKTep; B CJIeABaUI,IDI BTOpH npe06-

JIaAaBa CKepI.\03HO-TOKaTHO Ha'laJJO; TPeTH5IT 3anO'IBa CbC CBOerO pOAa 6eTOBeHOBCKH

(B CMHCbJI Ha 3HaKOBa napaAHfMa) peqHTaTHB Ha nHaHOTO, Koiho npepaCTBa BbB Bne­

qaTJJ5IBaIl\ MapW-WeCTBHe; 6JJ5ICKaBH5IT qeTBbpTH A5!Jl BOAH AO reHepaJJHa KYJIMHHal.\H5I

H AO HCKp5IJ.1..\0-KaM6aMHa no xapaKTepa CM KOAa .

KOHl.\epTbT e H3rpaAeH BbPXY ABa OCHOBHH MOTHBa OT o6Il\o AeBeT TOHa: c '-d '-e '­

fis '- g ' H c '-e '- d '- g i s', KbM KOHTO ce npM6aB5I H cPOJJKJJOpHa rreceH B TpeTH5I A5!JI. KOHl.\ep­

THaTa HMIIpOml3al..\HOMHOCT (Hel-lH BbHweH H3pa3 ca H H51KOJIKOTO pa3rbpHaTH KaAeHWI

Ha nHaHOTO) AOH5lKbAe e rrpHBH,AHa. 3aA He51 e OCHOBHH5IT "pe)l(HCbOpCKH nJIaH" Ha TeM-

6pOBo-apXWTeKTOHl1'IHaTa JIOrHKa, rrOA'1J1HeHa Ha aBTOpOBaTa CBpbXHAe51 - TbpceHeTO

Ha a6COJIlOTa, Ha Ml1CTl1'1HO-Bb3BHl1IeHOTO '1pe3 '1l1CTOTO MHCTPYMeHTaJIHO Ha'laJIO.

TOHycbT Ha MY3HKaTa e rrpeHanperHaTO eKCTaTH'leH. TOBa e HaTpynBaIl\a ce rpaAa-

1.\1151 OT KOIIHe)l{J1 - eAHa 3BYKOBa MaTepH5I, rbBKaBO rryJICHpaIl\a BbB Bepl1ra OT rrOCJIeAO­

BaTeJIHH ynilbTH5IBaHl15I H pa3pe)l(AaHH5I, K05lTO HeYMOJIl1MO nOCTbnaTemlO ce " ca­

MOBb3npOH3BelKAa" AO reHepaJIHa KYJIMHHal.\H5I. EWIa 3ByKOBa MaTepH51, K05lTO opra­

HH'lHO BKJIJOqBa H AO rOJJ51Ma CTeneH ce 6a3Hpa BbPXY 6bJIrapCKa cy6cTaHl.\H5I . AKo

OTHOBO ce 06b pHeM KbM HeHoBaTa caMoxapaKTepHCTHKa, B TBop6aTa AOMl1HHpa "TPaHC­

l.\eHAeHTaJIHOCT - B OTHOWeHHe Ha AYXOBHOTO CbAbp)l(aHHe, Ta AOpH H B TeXHH'IeCKHTe

H3MCKBaHH51, oc06eHO OT KJIaBnpa H opKeCTbpa".

C nbJIHO OCHOBaHHe rrpeAH nOBe'le OT weCT AeCeTHITeTH5I KpHTHKaTa oT6eJJ513Ba:

" ToBa He e MY3HKa 3a 3eM5ITa. T5I e CBeTOBHa MY3HKa (Weltenmusik); KaTO KaTeAPaJIa

H3pacTBa T5I , 3a Aa ce Bb3Hece KaTO MOJIHTBa BbB BceMnpa".

TOI\:aTa (1932-39) e Apyra rrpeAcTaBHTemm TBop6a Ha HeHoB. ABTOPCKH5IT OpwrH­

HaJJ, '1l1HTO nbpBOHa'laJJeH 3aMHCbIT AaTHpa OT 1932 r ., e 3a COITO nHaHO.

B TBbpAe xapaKTepHOTO 3a XX BeK npeOCMlICJJ5IHe Ha TpaAHI.\I1IUe Ha peHecaHCO­

Bo-6apOKOBaTa TOKaTa TBop6aTa Ha HeHoB 3aeMa AOCTOiffio M51CTO, peAOM C nOAo6Hl1

npOM3BeAeHH5I Ha aBTopM KaTO PaBeJI, TlpoKOcPHeB, CTPaBHHCKH, EY30HH, KpweHeK

MAP·

HOTO, T3Jl3HTmrnO, ·HO M ;:(P3M3TW·IHO P33BMTHe H3 MY3MK3JlHHJI 3B3Hr3p;:( B D'bJlraplliI

CJle;:( 1947-49 r.

HeHoBMTe np0tPecHOH3JlHO-eCTeTWIecKM HOB3l\MM 'leCTO H3npeB3pB3T 061l13T3 K3p­

THH3 H3 Tor3B3WHOTO 6'bJJr3PCKO MY3HK3JlHO-HCTOpH'leCKO BpeMe. Ho Te HeM3MeHHO

BKJllO'lB3T B ce6e CH P336Hp3HeTO My 33 H3l\MOH3JlHOTO. BiB BCM'lKH CBOH TBOp'leCKH M

061l1eCTBeHM H3IDlH HeHoB CtPYH;:(3MeHT3JlHO n03HaB31l1 M rop;:(eell1 ce C nO'lTM 1300-

rO;:(11IllH3T3 6'bJlr3pCK3 KymypH3 TP3;:(Hl\lliI) ce np05IB5!B3 K3TO n3TpHoT C P5l;:(KO 6e3Ko­

pHcTeH H;:(e3JlH3'bM. C'bll1eBpeMeHHO TOM OTJiWlHO II03H3B3 IIOCTIDKeHH5IT3 H Y5l3BHMHTe

MOMeHTH H3 tPOJlKJlOPH3M3 B KOHTeKCT3 Ha MY3HK3JlHlliI POM3HTH3'bM H IIO-K'bCHO. T'bKMO

33ToBa MOlKe 6M B 3BT06HOrp3tPWleH ;:(OKYMeHT OT 30-Te rO;:(HHH H3MHp3Me C3MOX3P3K­

TepHCTHK3, 3a6eJlelKHTeJlHO IIOTB'bp;:(eH3 OT MY3HK3Ta My : "B OCHOB3Ta H3 BCM'IKH IIO­

Kpymrn TBOp6H JlelKH e;:(H3 6'bJJr3PCK3 Cy6CT3Hl\H5I, K05lTO HeHoB He T'bPCH IIO II'bUI H3

tPOJlKJlOPHCTWlHOTO, 3 ce M'b'lH ;:(3 51 H3TP'brHe OT ;:(yX3 H3 H3po;:(a H HerOBOTO Il,l!JlOCTHO

TBOp'leCTBO" .

B yq3CTT3 H3 ,[(HMHT'bP HeHoB l1Ma HeIl\O T'blKHO H TP3nI'lHO. HeJleKHTe lKHTeMCKH

YCJlOBlliI (;:(0 CM'bPTT3 CM H3IIpHMep lKHBee B KB3pTHpH IIO;:( H3eM, IIOJl3Ba IIH3HO IIO;:(

H3eM) My CIIe'leJlB3T OIl\e IIpe3 cTy;:(eHTCKHTe rO;:(HIDI cepM03MM XpOMM'lHH 3360JlIDl3-

HlliI. C'b'leT3HH C OrOp'leHlliI OT IIpOtPeCMOH3JlHM 33BHCTH H 6HTOBH CIIJleTHH, IIO;:(lIJl3Te­

HH M OT IIOllHTH'leCKH HHCHHY3l\HH CJle;:( 1944 r., Te ;:(OBelK;:(3T ;:(0 IIpelK;:(eBpeMeHHlliI

lKHTeMcKH Kp3i1: H3 'lyacTBHTeJlH3T3 My H3TYP3. Te C3 IIpl1'llIH3 H ;:(0 ;:(Hec HerOB3T3 tPH­

ryp3 H H3CJle;:(CTBO nOIDIKor3 He33cnylKeHo ;:(3 ce M3prHH3JlH3MP3T, ;:(a ce IIO;:(l(eHIDl3

pe3JlHlliIT My IIpMHOC H 3Ha'leHHe He C3MO B H3l\110H3JleH, HO H B 06Il\OeBpoIIei1:cKH M3-

Il\36. A MOlKe 6H TOB3 e C'b;:(63 H3 BceKM C3MOTeH pHl\3p H3 ;:(YXOBHH5I 3PHCTOKP3TH3'bM?

KOHl\epT 3a flHaHO If rOJIHM OpKeCT'bp (1932-36) e cpe;:( eM6JleM3TH'IHHTe TBOp-

6H H3 HeHoB. IT'bPBOTO BIIe'l3TJleHHe e 33 B;:('bXHOBeH3, MOHOJlHTH3 e;:(HO'l3CTH3 KOMIIO-

3Hl\lliI OT IIoeMHO-B3PM3l\HOHeH THTI. M31l136HO ce p33rp'b1l13 3BTOPOB3T3 MHC'bJl B MY-3MK3JlHOTO BpeMe-IIpOCTP3HCTBO. M3Il\36H3 e OCJleIIHTeJlHaT3 KJI3BHPH3 II3pTlliI, C'b'le­

T3Jl3 H3M-;:(06pOTO OT JIHCTOBM5I POM3HTWIeH IIH3H113'bM H Mo;:(epHHTe TeH;:(eHl(HH OT

II'bpBl1Te ;:(eceTHJleTlliI H3 XX BeK. ITpOtPeCMOH3JlHO 6JleCT5IIl\3 H C'bIl\eBpeMeHHO r'bBK3-

BO 63JlaHCHp3Ha e IIOJlHtP0HWlHO-Jll1He3pH3T3 B OCHOB3T3 CH opKeCTpOB3 tP3KTYP3.

Bl1pHI1 KOHl\epm B)J;Be Beqepl1 (1981, CO¢illIl1 XaBaHa) 11 ,LIp. lliueH311BHa e 113BYK03a­rrl1CHaTa My ,LIeiiHOCT, BKJJIOqsall.\a 15 rpaMo¢OHHI1 rrJlOQI1, I1HTerpan Ha EapTOKOBI1Te KOHl\epTI1 ("XapMOHI151 MyH,ll,I1"), CD-I1HTerpan Ha EeTOBeHOBI1Te KOHl.\epTI1 11 T.H.

ABTOpl1TeTHO rrpl13HaHl1e 3a 113KYCTBOTO My e HerOBOTO YQaCTl1e B )f(ypl1Ta Ha CJle,LI­HI1Te Me)f(,[lYHapO,LIIDI KOHKypCI1: " IIIorreH" (BaprnaBa, 1975, 1990), "lliIcT-EapToK" (Ey­,LIarrell.\a, 1976, 1981), EOJll\aHO (1977), "Maprapl1Ta nOHr" CITapl1)f(, 1979), "EeToBeH" (Bl1eHa, 1985), "BaH Krraii6bpH" (<I>OPT YbpT, 1985), "QaiiKoBcKI1" (MocKBa, 1990), EaBapcKo pa,[\l1o (MJOHxeH, 1992).

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(1972-91) Ha <jJHJIXapMOHH5ITa B Pyce (e)J)-!H OT Han- "MY3HKanHtlTe" 6bMapcKH rpaAo­

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This compact disc is released with the assistance of the NATIONAL CENTER FOR MUSIC AND DANCE WITH THE MINISTRY OF CULTURE T0311 KOI'l1 UaKT):{IICK e peaml3l1paH (''be cb.lleiiCTBlIeTo ua HA~HOHAJIHHl! ~EHTbP 3A MY3HKA H TA~ KbM MHHHCTEPCTBOTO HA KYJITYPATA

Gega New extends its gratitude to the Institute of Arts Studies with the Bulgarian Academy of Sciences for the photo materials used in this release. [era HID 6naroAapH Ha HHcrnryTa 3a H3KYCTB03HalUle npH EAH 3a npeAOCTaBeHHTe q,oToMaTepHaJTIi.