Gheorghi Arnaoudov: Difference between revisions
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The antecedents of his music can be found in Russian [[Alexander Scriabin|Scriabin]], the French mystic/modernist [[Olivier Messiaen|Messiaen]], the Franco-American [[Edgard Varèse|Varèse]] and, more recently, in the work of the Pole [[Krzysztof Penderecki|Penderecki]] and Estonian [[Arvo Pärt]]. The influence of composers like [[Anton Webern|Webern]] and [[Morton Feldman]] can perhaps also be felt in the lack of any kind of conventional process or development. This is a music of stasis, a kind of intense [[minimalism]] that tells no conventional stories but rather meditates on an idea. |
The antecedents of his music can be found in Russian [[Alexander Scriabin|Scriabin]], the French mystic/modernist [[Olivier Messiaen|Messiaen]], the Franco-American [[Edgard Varèse|Varèse]] and, more recently, in the work of the Pole [[Krzysztof Penderecki|Penderecki]] and Estonian [[Arvo Pärt]]. The influence of composers like [[Anton Webern|Webern]] and [[Morton Feldman]] can perhaps also be felt in the lack of any kind of conventional process or development. This is a music of stasis, a kind of intense [[minimalism]] that tells no conventional stories but rather meditates on an idea. |
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In a series of works of Gheorghi Arnaoudov (born 1957) composer’s vision is directed towards attaining a new aesthetic of pure music (Adorno), aestheticizing renaissance sound purity. By using various techniques (including also techniques legitimizing the language of Musical Avant-garde) and their substance rethinking is achieved a new music-sensuous semantic field. <ref>{{cite web |title= |
In a series of works of Gheorghi Arnaoudov (born 1957) composer’s vision is directed towards attaining a new aesthetic of pure music (Adorno), aestheticizing renaissance sound purity. By using various techniques (including also techniques legitimizing the language of Musical Avant-garde) and their substance rethinking is achieved a new music-sensuous semantic field. <ref>{{cite web |title= Valchinova-Chendova, Elisaveta Prof. D.Sc., New Bulgarian University: Art Music like a New Sound Sensuousness |url=http://www.auditum.org/EN/Art_Music_like_a_New_Sound_Sensuousness.pdf |date= |work= |publisher=Department of Music Studies, |
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Aristotle University of Thessaloniki - International Conference Beyond the Centres Musical avant gardes since 1950 |Thessaloniki, 1-5 July 2010}}</ref> |
Aristotle University of Thessaloniki - International Conference Beyond the Centres Musical avant gardes since 1950 |Thessaloniki, 1-5 July 2010}}</ref> |
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Revision as of 01:53, 29 July 2010
Gheorghi Arnaoudov (born 1957) is a Bulgarian composer of stage, orchestral, chamber, film, vocal, and piano music. Representative of the 21st century classical music, with roots in minimalism.
Life
Gheorghi Arnaoudov graduated in composition with Alexander Tanev and contemporary music with Bojidar Spassov from the State Academy of Music Pancho Vladigerov. At the same time, he attended summer courses working with Brian Ferneyhough Ton de Leeuw. His artistic career started in the early 1980s. At the same time, he did research work in the fields of electronic music, music theory and musique concrète, as well as ancient far-Eastern and ancient Greek music. He has won many international and national awards, including the Grand Prix of the European Broadcasting Union (1985), the Golden Harp Prize from Jeunesses Musicales (1985), the Special Prize of the Union of Bulgarian Composers (1986), and the Carl Maria von Weber International Prize for Music (1989). He is the author of scientific and theoretical articles in music, as well as of reviews in musical and scientific periodicals, mainly in the spheres of the aesthetics of modernism and postmodernism, communications in the music, the contemporary arts, musical semiotics, and the theory of contemporary music. In 2000 Gega New released a CD with Arnaoudov's music called "Thyepoleo. Orphic Mysterial Rites" [1]. The texts used by the composer are the original preserved Orphic hymns. For this project he consulted renown Thracologist Alexander Fol, who wrote the programme notes. In 2008 he presented To date Arnaoudov has produced numerous symphonies, oratorios, concertos and has won several international prizes. He currently teaches in the "Theatre" and "Music" departments of New Bulgarian University. In 2009 he was appointed associate professor in Composition and Harmony.
The antecedents of his music can be found in Russian Scriabin, the French mystic/modernist Messiaen, the Franco-American Varèse and, more recently, in the work of the Pole Penderecki and Estonian Arvo Pärt. The influence of composers like Webern and Morton Feldman can perhaps also be felt in the lack of any kind of conventional process or development. This is a music of stasis, a kind of intense minimalism that tells no conventional stories but rather meditates on an idea.
In a series of works of Gheorghi Arnaoudov (born 1957) composer’s vision is directed towards attaining a new aesthetic of pure music (Adorno), aestheticizing renaissance sound purity. By using various techniques (including also techniques legitimizing the language of Musical Avant-garde) and their substance rethinking is achieved a new music-sensuous semantic field. [2]
Works
STAGE
- Offertorium I(after Herman Broch), (1988)
- Offertorium II (after Jorge Luis Borges), (1991)
- Transpatium (ballet), (1996)
- Choreordained (2 act ballet), (1996)
- "...the highest point of my inferiority...", (1998)
- Threshold (dance theatre work), (2001)
ORCHESTRAL:
- Symphony No. 1, (1984)
- Concerto for Orchestra, (1986)
- Concerto grosso,(1987)
- Kammerkonzert, (1988)
- Symphony No. 2, (1984)
- Laus Solis, (1996)
- The Colour of the Light, (1997)
- Variations on a Theme by Rachmaninov, (2001)
- Concierto Barroco, (2007)
CHAMBER MUSIC:
- String Quartet No. 2, (1988)
- Ritual III (Borges Fragment), (1993)
- Vihaya, (1995)
- Thyepolia, (1997)
- Kells, (1999)
- Variations for two pianos and percussion, (2001)
VOCAL:
- Footnote (…und Isolde/ns Winkfall lassen) (1991)
- Summe Deus, (1991)
- The Circle of Rites, (1991)
- The Way of the Birds, (1995)
- The Way of the Birds II, (1995)
- Thyepoleo, (2000)
PIANO
- Paysages sonores, (1983)
- Partita I, (1984)
- Ritual I, (1988)
- Incarnation in the Light (Ritual II), (1993)
- "...un pan de ciel au milieu du silence..." (after René Magritte), (1993)
- Svarog Ritual, (1994)
- Le temple du silence, 2 pianos, (1996)
- Et iterum venturus, (1997)
- Forgotten Songs, (2005)
- Monodies, (2009)
- Le Rappel des Rameaux, (2009)[3]
References
- Kostakeva, Maria 1994-2007. Musik in Geschichte und Gegenwart (MGG) The Biographical Encyclopedia. Bärenreiter und Metzler.
- Myers, Greg 2001. New Grove Dictionary of Music and Musicians by Stanley Sadie. Oxford University Press.
- Blum, Tobias. 2004. "Sakrale Einfachheit und wilde Energie" General Anzeiger (October 12).
- Maycock, Robert. 2007. "Voland Quartet, The Wigmore Hall, London" The Independent (January 4).
References
- ^ "Blum, Tobias: Sakrale Einfachheit und wilde Energie". General Anzeiger. Retrieved 12 Oktober 2004.
{{cite web}}: Check date values in:|accessdate=(help) - ^ "Valchinova-Chendova, Elisaveta Prof. D.Sc., New Bulgarian University: Art Music like a New Sound Sensuousness" (PDF). Department of Music Studies,
Aristotle University of Thessaloniki - International Conference Beyond the Centres Musical avant gardes since 1950.
{{cite web}}: Text "Thessaloniki, 1-5 July 2010" ignored (help); line feed character in|publisher=at position 30 (help) - ^ ""Le Rappel des Rameaux" in the New Bulgarian University Scholar Electronic Repository". Retrieved 28 July 2010.
External links
- Gheorghi Arnaoudov official site
- Classical Composers Database
- The Living Composers Project
- Union of Bulgarian Composers Database