Bălgarskata opera - mit i modernost:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Izdat. "Polis"
2005
|
| Ausgabe: | 1. izd. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | In kyrill. Schr., bulg. - Zsfassung in engl. Sprache |
| Beschreibung: | 291 S. zahlr. Notenbeisp. |
| ISBN: | 9547960113 |
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СЪДЪРЖАНИЕ
Volentem ducunt
ГЛАВА ПЪРВА
Знаци и послания от миналото
1.1.
на Маестро Георги Атанасоб
1.2.
на България. Воля за Вписбане
1.3.
ГЛАВА ВТОРА
Митичният пасторал и
Вечната Жена Пазителка на Рода
2.1.
„Гергана" на Маестро Георги Атанасоб
2.2.
на Маестро Атанасоб
2.3.
2.4.
Операта „Щета"
ГЛАВА ТРЕТА
„Косара" и модерността
ГЛАВА
Бащи и синобе
4.1.
на предшествениците на Маестро Атанасоб.
Връзката на оперното му тборчестбо
с тборчестбото
от Второто поколение. Фундаментални идеи
и универсални образи
4.2.
ОТВОРЕН ФИНАЛ
За модерността
ПРИЛОЖЕНИЯ
Нотни примери
Кратки съдържания на оперите, които
се разглеждат или споменават
Библиография
Volentem ducunt
Fate leads the desirous
_289
This book is dedicated to my son,
VOLENTEM DUCUNT FATA
FATE LEADS THE DESIROUS.
I, in my desire to understand more about the roots and the
true beginning of Bulgarian opera, was led, albeit by chance, to
Maestro Atanassov. I have long believed in the idea that we must
not forget the personages who, with their „vis
talent, ambition, and integrity, first paved the way for Bulgarian
opera. And suddenly I found myself in Maestro Atanassov's
mythic—and today largely forgotten-world. The more I became
acquainted with that world, the more interesting and new-for
mel-were the things I discovered in it. And so I took on the task of
researching part of the
The interpretation of various phenomena is of huge
significance, and this is what shapes the story this book tells. My
goal was to understand the past, to understand the Maestro, who
modestly dedicated himself to a life's work without precedent in
Bulgarian cultural history.
Studying his orchestral and piano scores revealed to me the
possibility of delving more deeply into them, of appreciating their
meaning and messages, of separating innovation from tradition.
And, in stepping back in time to follow the events of the past, to
connect the past with the present.
I then turned to Lyubomir Pipkov's first opera. Like
Atanassov's operas Gergana and Kossara, Yaninite
(Yanina's Nine Brothers) is a product of Bulgarian modernity, an
original work teeming with constructs derived from folkloric myths
and mysticism. And thus I discovered the niches that the Maestro
and Pipkov share. I found that the Maestro not only defined the
boundaries of the operatic genre in Bulgarian musical history, but
was the first to introduce modernity into Bulgarian opera.
290_
However, in order to distinguish/discover in the
operas, it is necessary first to become familiar with the Bulgarian
literature from that time, something which until now has not been
done, in as far as it concerns the creative work of the Maestro. My
guiding idea was to trace the typology of works which I selected
according to my own understanding and criteria for musico-
aesthetic attainments in Bulgarian opera:
My work Bulgarian Opera: Myth and Modernity is more like a
collection of essays, grouped in four parts. I have included a variety
of information relating to the essential themes of the book; for
example, to connect the Maestro with his time, I provide sketches
from old Sofia which describe the city as it was during the period
that opera in
and third parts, I examine Gergana, Kossara, and, where there are
confirmations of my conception, Tsveta and Altsek. The final part,
„Fathers and Sons," deals with my idea about the connections
between Gergana, Kossara, and Yanina's Nine Brothers. In the title
of this part I have hinted at the main point of what I have written,
about representatives—the Maestro and Pipkov, respectively—of two
generations of Bulgarian creative artist
son Petko and Pencho Slaveykov in Bulgarian literature, erected the
foundations of Bulgarian opera literature. Here, in the context of
the second decade of the twentieth century, there is a series of
comparisons between the Maestro and Pipkov, of a type which I have
not seen in Bulgarian musicological literature.
Further, I look at their works, and all that occured in Bulgarian
opera during that time, in relation to the processes in Bulgarian
literature during the first decades of the twentieth century. An
examination this detailed has not, I think, been made until now. It has
also revealed the theme itself: the connection of opera with the folkloric
mythology, with legends; the parallel dwelling of the mythological and
the existential in the operas of the Maestro and Pipkov.
In regard to Maestro Atanassovy I am convinced that what I
have written reveals new aspects of his creative work and revises
certain theories about Gergana and Kossara. My purpose, having
immersed myself in the
attempt to demonstrate his value and modernity. Gergana, while
accepted without question as the first professional Bulgarian opera,
_291
has always been treated as ordinary folk-art, and Kossara has
traditionally been viewed as a failed experiment in imitating the
Wagnerian
that in Kossara the Maestro rejected the national sound, thus
deviating from the „straight road" that had been leading him toward
the confirmation of the nationalistic Bulgarian opera.
I believe that these distorted qualifications of Maestro
Atanassov's last two operas, caused by the absence of any study of
the composer's late creative work in the context of the epoch or
comparison with the processes in Bulgarian literature and art, must
be corrected. The standard interpretation and situating of Maestro
Atanassov within Bulgarian musical history has been based on the
fact that he was the first professional to compose operas according
to the scheme of Western European opera, and that he brought to
opera (already much more skillfully than in the pale attempts of
his predecessors) a Bulgarian musical idiom, harmonized and suited
to „learned"
that the Maestro is more than merely the first educated Bulgarian
musician who was acquainted with European operatic art, but the
one who placed the foundation of Bulgarian opera. Further, as the
first Bulgarian opera composer it was the Maestro who
predetermined some of the main directions in its ongoing
development. Thus the „classics" of Bulgarian opera do not begin
with Yanina's Nine Brothers, but rather with Gergana, Tsveta,
Kossara, and Altsek, unique not only as historical documents (as
Bulgarian musicology has already asserted!) but also—and herein
lies their significance to this day—as reflections of the modernity
of their epoch.
The book Bulgarian Opera: Myth and Modernity is the first
part of a planned larger-scale research project. For this reason I
have left the finale open.
Feci,
(I have done what I could. Those who can, should do better
things.)
The Author
Sofia,
Translation from Bulgarian: Deyan |
| adam_txt |
СЪДЪРЖАНИЕ
Volentem ducunt
ГЛАВА ПЪРВА
Знаци и послания от миналото
1.1.
на Маестро Георги Атанасоб
1.2.
на България. Воля за Вписбане
1.3.
ГЛАВА ВТОРА
Митичният пасторал и
Вечната Жена Пазителка на Рода
2.1.
„Гергана" на Маестро Георги Атанасоб
2.2.
на Маестро Атанасоб
2.3.
2.4.
Операта „Щета"
ГЛАВА ТРЕТА
„Косара" и модерността
ГЛАВА
Бащи и синобе
4.1.
на предшествениците на Маестро Атанасоб.
Връзката на оперното му тборчестбо
с тборчестбото
от Второто поколение. Фундаментални идеи
и универсални образи
4.2.
ОТВОРЕН ФИНАЛ
За модерността
ПРИЛОЖЕНИЯ
Нотни примери
Кратки съдържания на оперите, които
се разглеждат или споменават
Библиография
Volentem ducunt
Fate leads the desirous
_289
This book is dedicated to my son,
VOLENTEM DUCUNT FATA
FATE LEADS THE DESIROUS.
I, in my desire to understand more about the roots and the
true beginning of Bulgarian opera, was led, albeit by chance, to
Maestro Atanassov. I have long believed in the idea that we must
not forget the personages who, with their „vis
talent, ambition, and integrity, first paved the way for Bulgarian
opera. And suddenly I found myself in Maestro Atanassov's
mythic—and today largely forgotten-world. The more I became
acquainted with that world, the more interesting and new-for
mel-were the things I discovered in it. And so I took on the task of
researching part of the
The interpretation of various phenomena is of huge
significance, and this is what shapes the story this book tells. My
goal was to understand the past, to understand the Maestro, who
modestly dedicated himself to a life's work without precedent in
Bulgarian cultural history.
Studying his orchestral and piano scores revealed to me the
possibility of delving more deeply into them, of appreciating their
meaning and messages, of separating innovation from tradition.
And, in stepping back in time to follow the events of the past, to
connect the past with the present.
I then turned to Lyubomir Pipkov's first opera. Like
Atanassov's operas Gergana and Kossara, Yaninite
(Yanina's Nine Brothers) is a product of Bulgarian modernity, an
original work teeming with constructs derived from folkloric myths
and mysticism. And thus I discovered the niches that the Maestro
and Pipkov share. I found that the Maestro not only defined the
boundaries of the operatic genre in Bulgarian musical history, but
was the first to introduce modernity into Bulgarian opera.
290_
However, in order to distinguish/discover in the
operas, it is necessary first to become familiar with the Bulgarian
literature from that time, something which until now has not been
done, in as far as it concerns the creative work of the Maestro. My
guiding idea was to trace the typology of works which I selected
according to my own understanding and criteria for musico-
aesthetic attainments in Bulgarian opera:
My work Bulgarian Opera: Myth and Modernity is more like a
collection of essays, grouped in four parts. I have included a variety
of information relating to the essential themes of the book; for
example, to connect the Maestro with his time, I provide sketches
from old Sofia which describe the city as it was during the period
that opera in
and third parts, I examine Gergana, Kossara, and, where there are
confirmations of my conception, Tsveta and Altsek. The final part,
„Fathers and Sons," deals with my idea about the connections
between Gergana, Kossara, and Yanina's Nine Brothers. In the title
of this part I have hinted at the main point of what I have written,
about representatives—the Maestro and Pipkov, respectively—of two
generations of Bulgarian creative artist
son Petko and Pencho Slaveykov in Bulgarian literature, erected the
foundations of Bulgarian opera literature. Here, in the context of
the second decade of the twentieth century, there is a series of
comparisons between the Maestro and Pipkov, of a type which I have
not seen in Bulgarian musicological literature.
Further, I look at their works, and all that occured in Bulgarian
opera during that time, in relation to the processes in Bulgarian
literature during the first decades of the twentieth century. An
examination this detailed has not, I think, been made until now. It has
also revealed the theme itself: the connection of opera with the folkloric
mythology, with legends; the parallel dwelling of the mythological and
the existential in the operas of the Maestro and Pipkov.
In regard to Maestro Atanassovy I am convinced that what I
have written reveals new aspects of his creative work and revises
certain theories about Gergana and Kossara. My purpose, having
immersed myself in the
attempt to demonstrate his value and modernity. Gergana, while
accepted without question as the first professional Bulgarian opera,
_291
has always been treated as ordinary folk-art, and Kossara has
traditionally been viewed as a failed experiment in imitating the
Wagnerian
that in Kossara the Maestro rejected the national sound, thus
deviating from the „straight road" that had been leading him toward
the confirmation of the nationalistic Bulgarian opera.
I believe that these distorted qualifications of Maestro
Atanassov's last two operas, caused by the absence of any study of
the composer's late creative work in the context of the epoch or
comparison with the processes in Bulgarian literature and art, must
be corrected. The standard interpretation and situating of Maestro
Atanassov within Bulgarian musical history has been based on the
fact that he was the first professional to compose operas according
to the scheme of Western European opera, and that he brought to
opera (already much more skillfully than in the pale attempts of
his predecessors) a Bulgarian musical idiom, harmonized and suited
to „learned"
that the Maestro is more than merely the first educated Bulgarian
musician who was acquainted with European operatic art, but the
one who placed the foundation of Bulgarian opera. Further, as the
first Bulgarian opera composer it was the Maestro who
predetermined some of the main directions in its ongoing
development. Thus the „classics" of Bulgarian opera do not begin
with Yanina's Nine Brothers, but rather with Gergana, Tsveta,
Kossara, and Altsek, unique not only as historical documents (as
Bulgarian musicology has already asserted!) but also—and herein
lies their significance to this day—as reflections of the modernity
of their epoch.
The book Bulgarian Opera: Myth and Modernity is the first
part of a planned larger-scale research project. For this reason I
have left the finale open.
Feci,
(I have done what I could. Those who can, should do better
things.)
The Author
Sofia,
Translation from Bulgarian: Deyan |
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| index_date | 2024-07-02T16:38:04Z |
| indexdate | 2024-08-10T01:05:15Z |
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| publisher | Izdat. "Polis" |
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| spelling | Arnaudova, Bojanka Verfasser aut Bălgarskata opera - mit i modernost Bojanka Arnaudova 1. izd. Sofija Izdat. "Polis" 2005 291 S. zahlr. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., bulg. - Zsfassung in engl. Sprache Atanasov, Georgi 1882-1931 (DE-588)13262723X gnd rswk-swf Geschichte gnd rswk-swf Opera Bulgaria Oper (DE-588)4043582-9 gnd rswk-swf Bulgarien (DE-588)4008866-2 gnd rswk-swf Atanasov, Georgi 1882-1931 (DE-588)13262723X p Bulgarien (DE-588)4008866-2 g Oper (DE-588)4043582-9 s Geschichte z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015457869&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015457869&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Arnaudova, Bojanka Bălgarskata opera - mit i modernost Atanasov, Georgi 1882-1931 (DE-588)13262723X gnd Opera Bulgaria Oper (DE-588)4043582-9 gnd |
| subject_GND | (DE-588)13262723X (DE-588)4043582-9 (DE-588)4008866-2 |
| title | Bălgarskata opera - mit i modernost |
| title_auth | Bălgarskata opera - mit i modernost |
| title_exact_search | Bălgarskata opera - mit i modernost |
| title_exact_search_txtP | Bălgarskata opera - mit i modernost |
| title_full | Bălgarskata opera - mit i modernost Bojanka Arnaudova |
| title_fullStr | Bălgarskata opera - mit i modernost Bojanka Arnaudova |
| title_full_unstemmed | Bălgarskata opera - mit i modernost Bojanka Arnaudova |
| title_short | Bălgarskata opera - mit i modernost |
| title_sort | balgarskata opera mit i modernost |
| topic | Atanasov, Georgi 1882-1931 (DE-588)13262723X gnd Opera Bulgaria Oper (DE-588)4043582-9 gnd |
| topic_facet | Atanasov, Georgi 1882-1931 Opera Bulgaria Oper Bulgarien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015457869&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015457869&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT arnaudovabojanka balgarskataoperamitimodernost |