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Bulgarian Musicology - online
Year XXV 2001 Book 1
1. Table of Contents (German Version)
I N H A
L T
M i g l e n a T s e n o
v a
Choral and Music Stage Tradition
in the Culture of Plovdiv. Relations and Influences
/from the mid-XIX c. to late-XX
c./ (Seite 28)
E l e n a R.
T o m o v a
Ein Festival wie sich selbst (Seite
45)
A n k a K u s c h l e v
a
Das Volkslied und seine Vokalisierung.Rolle
der Rede in der Organisation des Sprechapparats (Seite 71)
N e l y B o j o v a
The Italian Repertoire of
Peter Raichev in the Years Beteen the World Wars (Seite 88)
Y a v o r K o n o v
W.A. Mozart — Praktische Elementen
des Generalba? (Seite 100)
K r a s s i m i r D e l
t s c h e v Ein österreichisches Emblem des Barocks (Seite
104)
Rezension
C h r i s t i n a T o s
c h e v a
Anelia Yaneva: “Deutung bulgarischer
Sujets” (Seite 105)
Mitteilung
A s s e n A t h a n a s
s o v “Unsere Fahne ist dreifarbig ...” (Seite 108)
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Choral and Music Stage Tradition in the culture of
Plovdiv:
Relations and Influences (from mid-XIX c. to late-XX
c.)
Miglena Tsenova
Choral traditions in Bulgaria are ancient but they are
still very much alive. The appearance of each of provincial musical theatres
has depended largely on the existence of town choirs who, as a rule, included
choral fragments from many operas in their repertoire. Even though the
Plovdiv music stage art has a long tradition, the stable Plovdiv Operatic
Theatre didn’t come into existence until 1953. The chorusmasters who perform
choral fragments from operas with their students in schools are Angel Bukoreshtliev,
Boris Kochev, Roman Spatarev and Marko Georgievich.
The first Bulgarian Children’s Musical Medley was formed
in Plovdiv. From 1905 to 1911 its founder, Dimo Boychev, presents operettas
for children. In this way he stimulates the development of operetta composition
in Bulgaria.
Established back in 1896, the Plovdiv Choral Society,
provided the funds and contribution in-kind for several serious attempts
to initiate opera theatre in the town. Such initiatives included: The Art
Opera (1919), Native Song (1921), The Plovdiv City Opera (1922-1923), The
Plovdiv Municipal Opera (1933), The Plovdiv District Opera (1940-1941) and
The Souht-Bulgarian Opera (till 1944).
The brightest figure in the state-owned theatre was the
chorus master Mr. Angel Christov. He transformed the opera chorus into the
most important component of opera performances and, indeed, it was the policy
of the theatre under him that the chorus contribution to the theatre repertoire
was for more than that of soloists. This in turn was Angel Christov’s unique
contribution to the Bulgarian choral and musical stage tradition and culture.
The research under consideration highlights the fact that
the Plovdiv theatre has staged “Antigona 43”, an opera by Lubomir Pipkov
indicative of Bulgarian opera composition. The place of the chorus in Pipkov’s
“Antigona 43” is compared to the one in Sophocles’ eponymous tragedy. The
musical composition and the hidden massage of the choral input have also been
analyzed. A sound record of soloists, chorus and orchestra of Plovdiv National
Opera dating back to1964 is also an object of this analysis.
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Ein Festival wie sich selbst
Elena R. Tomova
Der Beitrag unternimmt einen Versuch zur Analyse eines
Phänomens in der Folklore, nämlich des Folklorefestivals in Varna.
Der Bericht baut — soweit möglich - auf dem Prinzip der “versteckten
Kamera”. Einerseits wird das Treiben in den Straßen von Varna und
auf den Bühnen beschrieben und andererseits die Geschehnisse hinter
der Bühne — die Vorbereitung der verschiedenen Veranstaltungen.
Der Beitrag vermittelt auch die Ergebnisse eines sehr
interessanten Gesprächs mit einem der Hauptveranstalter des Festivals.
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Das Volkslied und seine Vokalisierung. Rolle der Rede
in der Organisation des Sprechapparats
Anka Kuschleva
Schon seit dem Anfang des 19. Jh wurde das bulgarische Volkslied durch Folkloristen, Ethnographen, Musikwissenschaftlern, Komponisten, Philologen, Sprachwissenschaftlern u.a. erforscht. Dieses Interesse dauert auch heute an, doch die Art der Darbietung, die Tongestaltung waren über eine lange Zeit ein Geheimnis für die Forschung.
Welche Voraussetzungen werfen Licht auf dieses Geheimnis
neben den weiteren originellen Wege der Tonbildung in den verschiedenen
Folkloregebieten Bulgariens? Der Beitrag macht die Leser vertraut mit der
einmaligen Singart. Das Geheimnis besteht in der Poetik des Volksliedes,
in der Ehrlichkeit der Volkssänger und der über die Jahrhunderte
gestalteten Melodie — eine Synthese von Wort und Musik, wodurch sie zu einem
Vorbild der Vokalisierung in der Singkunst wird.
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THE ITALIAN REPERTOIRE OF PETER RAICHEV
IN THE YEARS BETWEEN THE TWO WORLD WARS
Nely Bojova
The exceptionally stable vocal and actor’s training of
Peter Raichev, in conjunction with his natural talent and universal professional
erudition, enable the singer to “expand” his range of parts – roles by
adding to the dramatic parts of Turridu and Canio, also Manrico from “Il
Trovatore” almost simultaneously with Calaf from “Turandot”, without any
of these roles causing a retreat from the recognition of the spinto, lyric
and leggier parts performed by him. Already in the French repertoire he
demonstrates this with Don Jose and Werther, and in the Russian with Hermann
and Lensky, but it is the Italian roles, of which it is known that they have
been created with the most consistently acquired and followed tradition of
the vocalist’s emploi, that continue to astonish us with their equal value
even today. At the same time there is no place for condescense or suspicion
for “paid” critics: recordings exist, even though only of arias, that
are sufficient to make us feel the skill of the singer with which he creates
his characters without regard to their author’s emploi.
Judging by starring parts of Peter Raichev on the great
European stages, and also by the number of his appearances on the stage
of the Bulgarian National Opera, it seems that in the center of his career
– after all most close to his temper! — are the lyrico-spinto, and immediately
following them, the lyrico-leggiery parts of his repertoire. These are the
Italian - Duca from “Rigoletto”, Rodolfo in “La Boheme”, Cavaradossi
in “Tosca”, Alfredo in “La Traviata”, Gabrielle Adorno in “Simon Boccanegra”,
Loris in “Fedora” (according to his son, Ruslan Raichev, this is his favorite
role, which he has played only outside Bulgaria), Ricardo in “Un ballo in
maschera”, and also Conte Almaviva in “Il barbiere di Siviglia”, Ernesto
in “Don Pasquale”, Tonio in “La fille de regiment”. An impressive range of
parts which had given him the opportunity to unfold his talents and knowledge.
About some of them Bulgaria learns from transcriptions of foreign review
publications, and about others from extensive comments in the Bulgarian press.
Others remain scattered in documents in various archives and as reminiscences
– his own and of contemporaries.
With his active presence on the stage in Sofia, this for
decades, and with the optimal control of his strengths and abilities, Peter
Raichev noticeably influences the notions of the Bulgarians about the roles
in which he presents himself. Performed before him and in parallel
with his appearances by singers such as Stefan Makedonsky, Panaiot Dimitrov
— Otito, Constantine Karenine, Lyuben Minchev, and for a short time — Todor
Mazarov, Georgi Belev and others, these parts acquire a special vitality
and richness. They are remembered for the feeling of genuineness and real
life they suggest. In his Italian repertoire Peter Raichev in a particular
way, raises a barrier in front of the pseudoitalian style, in front of the
incompetent choice of means and methods for the interpretation of the traditional
repertoire, which often enters the conceptions, tastes and the criteria of
cultures, born after their archetype in Western Europe.
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W.A. Mozart — Praktische Elementen des Generalbaß
Yavor Konov
Ausgehend von der Veröffentlichung Practical Elements
of Thorough-Bass (1976) von Joseph Patelson Music House, New York, USA,
unternimmt der Beitrag eine auf umfangreichen Angaben beruhende Untersuchung
des Weges von Mozarts Abhandlung, angefangen bei der deutschen Ausgabe Fundament
des Generalbass, angeführt in Die Musik in Geschichte und Gegenwart
(17 Bde, München, Deutscher Taschenbuch Verlag, Kassel-Basel-London,
Bärenreiter-Verlag 1949-73/R1989), über die Schüler Mozarts,
die möglicherweise mit der Notwendigkeit der Entstehung und Herausgabe
dieser Abhandlung verbunden waren, bis hin zu ihren ersten Veröffentlichungen
unter Berücksichtigung der Entwicklung der einzelnen Verlage bzw. der
Herausgaben bis heute.
Nach Darlegung zahlreicher “pro” und “gegen” der Urheberschaft
von Mozart, wird die These von Baird Hastings angenommen, daß diese
Abhandlung höchstwahrscheinlich ein Werk Mozarts ist und daß
dieses “im höchsten Maße interessantes Dokument, das einen neuen
Aspekt der Kreativität Mozarts offenbart, seine himmlischen Kompositionen
und seine außerordentliche geistreiche Ausdrucksweise (...) ergänzt
und selbst wenn es nicht nur von der Hand Mozarts stammt, mit Sicherheit
viel von seiner Zeit mit sich bringt.”
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Ein österreichisches Emblem des Barocks
Krassimir Deltschev
Der Beitrag unternimmt einen Versuch zur ikonographischen
Deutung eines österreichischen Barockemblems von der Titelseite des
Buches über Laute, herausgegeben von Wenzel Ludwig in Wien (1701) und
dem Erzherzog Joseph I. — In: Die Musik in Geschichte und Gegenwart (Allgemeine
Enzyklopädie der Musik). Im Bären-Verlag. Kassel/Basel, 1949-1951,
Bd. 1, S. 1313-1314.
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