Shipwreck Library, New York
Posted on June 26, 2022
Bearing the improbably long title FOOTNOTE (…und Isolde/ns Winkfall lassen…)–an imaginary interlude to the second act of “Tristan und Isolde” after the text of James Joyce, this 15-minute work is scored for cello, chamber ensemble, and soprano Sprechstimme. As its name suggests, the piece is intended as an “imaginary interlude” for Act II of Wagner’s opera Tristan und Isolde, connecting the scene where Isolde parts from her maid, Brang?ne, and awaits a rendezvous with her lover Tristan. (The German in the title is partially invented, combining an archaic possessive with a word coined from semiotics. It may be translated as “…and Isolde’s episode of falling through all signs and significations.”) While adding a “Joycean interlude” to Wagner’s masterpiece might be considered an act of reckless arrogance, Arnaoudov pulls it off smartly, avoiding parody and pastiche and maintaining his own distinct voice. FOOTNOTE may be rooted in Wagner’s dense Romanticism, but it’s nourished and shaped by Arnaoudov’s twentieth-century idioms.
The text of FOOTNOTE is drawn from James Joyce’s poem “A Prayer,” an anguished cry for erotic obliteration written in 1924 and published in Pomes Penyeach. Sensitive to the melodrama of the poem, Arnaoudov places Joyce’s florid words in the mouth of a woman confiding her deepest desires and fears, a nocturnal monodrama reminiscent of Sch?nberg’s Erwartung. However, unlike Erwartung, there are no operatic fireworks to brighten the Sprechstimme—Isolde’s “prayer” is moaned, whispered, breathed into the night. This hothouse atmosphere is made even more exotic by a fragment of Latin inserted between Joyce’s stanzas: “Sanguis natura calidus et humidus est, colore ruber, qualitate dulcis.” From Hippocrates, it can be translated as: “Blood by nature is hot and moist, red in color and sweet in quality.”
IDEOLOGIES OF ECSTASY
by Mihail Nedelchev
Posted on 27 May 2022
Whichever work of Gheorghi Arnaoudov we point out, we choose, we will almost always meet with incarnations of the ecstatic, with expressions of the ecstatic. Will it be "Blachernae. The Veil of Our Lady" for symphony orchestra, or "Un pan de ciel aux millieu du sillence" (A piece of sky in the middle of silence) for solo piano (performed by Angela Tosheva), or"Incarnation dans la lumiere" (Ritual II) - again for piano, played by Boyan Vodenitcharov, or "The Way of the Birds" and "The highest point of my inferiority" (two of the sound poems, which follow the trail of creation, the result of collaboration with choreographer Mila Iskrenova; works overcoming the irresistible idea of gravity, and “The highest point of my inferiority” is defined as “a giant acoustic collage of sounds, acoustic, concrete, electronic /… / processed music intended for a dance theater performance.” Here we will also arrange the series of works by prof. Gheorghi Arnaoudov, the fruit of the influences of the Middle Chinese musical tradition - originated after an exciting creative practice in the Celestial Empire. the positor testified: “I was really shocked, shocked. I sat down and started saying prayers to myself, and as crazy as it sounded, I heard music. My mind was filled with sounds. /… / But to be honest, I wrote with help from above. According to Prof. Elisaveta Valchinova-Chendova: "The work is built on a basic sound complex of 5 tones" According to the composer, these are the sounds that can still be heard in the drops of the sacred spring on the south side of the temple. Tears that seem to continue to pray for our salvation, the drops of the spring are also the tears of the Virgin Mary (sound image in the descending third). ”
The great monograph of Assoc. Prof. Iliya Gramatikoff, dedicated as a layout and as a musicological concept, is dedicated to the overall magical work of Gheorghi Arnaoudov. The individual works of Georgi Arnaudov are analyzed in grandiose cultural and artistic-musical contexts (from the samples of the early Renaissance to Arvo P?rt). This possibility itself is an incredibly high assessment of what Gheorghi Arnaoudov has created.
BULGARIAN CONCERT EVENINGS
IN NEW YORK CONTINUES WITH
A BULGARIAN-AMERICAN PROGRAMME
World premiere of a work by Gheorghi Arnaoudov
Bulgarian National Radio - "Radio Bulgaria"
15 December 2021
On December 15, in the hall of the Bulgarian Consulate in New York, the trio Aram will present works by Bulgarian and American composers. Emmalie Tello – clarinet, Grace Coolidge – violin, and Lora Al-Ahmad – piano will perform works by George Gershwin, Florence Price, Samuel Barber, Peter Hristoskov, Lora Al-Ahmad.
“Bulgarian Concert Evenings” in New York is a festival presenting classical and contemporary chamber music performed by famous Bulgarian and foreign artists. Due to the pandemic, some of the recent concerts were online, but the tradition has been revived since the end of October.
The festival was created by Pavlina Dokovska who initially was in charge of the organization. In recent years, the organization has been carried out by Lora Chekoratova, in collaboration with Anna Stoycheva and several other Bulgarian expats.
Over the years, dozens of Bulgarian musicians have participated in the festival, including the radio quartet MusicAnts, which opened the festival’s 5th season with a concert at Carnegie’s Weill Recital Hall.The upcoming event is organized by Lora Al-Ahmad in honour of Pavlina Dokovska. And the programme will also include the world premiere of "Seven and one Nights" by Bulgarian composer Gheorghi Arnaoudov. The work is inspired by Jorge Luis Borges' "Seven Nights", says the composer. Some time ago, Lora Al-Ahmad, a Bulgarian pianist and composer in New York, told Gheorghi Arnaoudov that they were organizing a concert by Bulgarian and American authors.
Watch the concert...
World premiere of "…down and up…" by
Plovdiv, November - December 2021
Future Unforgettable Phase VI will commence with its main exhibition – Rudi Ninov’s solo show Colour Words in Prologue (Sarieva, Plovdiv, November 19 – December 30, 2021); at the same place and in the same period of time, it will organize an exhibition gesture entitled Hand-woven kozyak, 2.40õ1.70 cm. and realized as situation, experiment and proposal for future “meeting places”; it will also include a proposition for a mind map with Luchezar Boyadjiev’s artwork The Mad Carpetmaker = Ëóäèÿò êèëèìàð, 2021, serving as a complementary example of the aforementioned logic. The event Collectors’ Forum, lecture and discussion with Peruvian collector Carlos Marsano, will open up a different perspective on art collecting as a process of interconnecting different types of logic and ensuring an artwork’s continuity. The concluding project Phase VI will announce and publish the newly composed Manifesto of Happiness, 2021 by the ULTRAFUTURO collective (Boryana Rossa and Oleg Mavromatti). Furthermore, Phase VI of Future Unforgettable will develop yet another possibility for outpouring its visual, textual and social potentiality with the “sound mural” of Prof. Gheorghi Arnaoudov – Bulgarian composer of symphonic, chamber, film and theater music, lecturer at New Bulgarian University. In its forthcoming manifestations, Phase VI will feature a collaboration with the artist Rada Boukova.
Watch Artists Interviews: Prof.Gheorghi Arnaoudov / FUTURE UNFORGETTABLE - PHASE VI / ...down and up...
IMAG(IN)ED MUSIC STORIES
8 June 2021 - 8 August 2021
Order the book HERE
Vernissage on Tuesday, 8 June, from 5:00 to 7:00 p. m., in compliance with all anti-epidemic measures and with controlled access.
The exhibition presents over 250 works from the latest graphic art by Yassen Panov. All of them are illustrations, created in the period February–June 2020 for the first deluxe edition of Iliya Gramatikoff’s new musicological research, The Instrumental Concertos by Gheorghi Arnaoudov: Surrealistic Rereadings of Musical History (IAS – BAS, 2020).
The illustrations take the form of digital collages, integrating original drawings and various other graphic material from diverse historical epochs and styles, ultimately creating an entirely new and distinctly phantasmagorical visual narrative that seemingly drifts beyond the course of time and at the same time roams around layers of history.
Although conceived as a whimsical figurative accompaniment to a text, musicological as genre and musical in structure and verbal expression, Panov’s collages go beyond an illustration’s conventional decorative function as they are placed in a situation of constructive and creative dialogue with Gramatikoff’s text. Some interpret the ideas presented in the text through pictorial means, others add new layers of meaning through intertextual correlations encoded in the graphic elements; yet others express in images the spirit of Arnaoudov’s music that is being analysed.
CONCERTI BY INTERNATIONALLY ACCLAIMED COMPOSER GHEORGHI ARNAOUDOV
COLLECTED IN A MONOGRAPH
Gheorghi Arnaoudov’s Concerti: Surrealistic Reinterpretations of Musical History by Assoc. Prof. Ilia Gramatikov is a musicological study on the oeuvre of internationally acclaimed Bulgarian composer Gheorghi Arnaoudov, whose works are performed across the world, from Canada to China.
This is the first of its kind complex research problematising Arnaudov’s compositional solutions in the concerto genre, focusing on his mature concerti composed after 2007. The subjects studied in the book are placed within a maximally broad historical horizon, ranging from the time of the emergence of the concerto type of compositional thinking (a transitional period on the threshold of the early baroque) to the present, seeking to bring forth the specific characteristics of Arnaoudov’s interpretation of the genre. The analysed opuses are placed in a relevant cultural context through providing semantic references to of the greatest artworks, writings and creative practices typical of other arts. The monograph offers a research strategy and a musicological approach relevant to the creative intentions of the composer as well as to the specifics of his pieces. An overall concept is formulated of the author’s mature style based both on the main subjects of research and other his works, analysed at different levels and adduced as supplementary argument about the offered assumptions. A critical apparatus is added to typologise and characterise the author’s mature style, the specifics of his compositional technique and the texture of his compositions.
The book was written under a three-year research project, Contemporary Music Composition, Theory and Philosophy, funded by the Bulgarian National Science Fund, Ministry of Education and Science, and published by the Institute of Art Studies, BAS.
# 277 MUSICAL LEGACIES:
JORGE LUIS BORGES
Posted on July 29, 2020 in Themed Shows
The great Argentinian writer Jorge Luis Borges has had an enormous influence on artists, writers, philosophers and thinkers of all kinds, and composers are no exception. We spoke with renowned Borges scholar Daniel Balderston about the life and times of Borges and with composers Carla Kihlstedt, Diego Vega and Gheorghi Arnaoudov about how his work inspired their musical creations.
hlor u fang axaxaxas mlo – mvmt 3 (excerpt) and hlor u fang axaxaxas mlo – mvmt 2 by Diego Vega
The Squonk. The Ink Monkey by Carla Kihlstedt
Borges Fragment (Ritual III) by Gheorghi Arnaoudov
Marching to Carcassonne by Alexander Goehr
Hochigan by Carla Kihlstedt
Relevant Tones. A podcast about the most fascinating time in classical music history: right now. Hosted by composer Seth Boustead, Relevant Tones features interviews with and music by some of the most creative figures in contemporary classical music, themed shows exploring new trends in classical music and frequent live streamed shows featuring conversations and music performances.
THE INSTRUMENTAL CONCERTS
OF GEORGI ARNAUDOV
A Surrealist re-readings
of Musical History
Institute of Art Studies - Bulgarian Academy of Science,
First edition with illustrations of Yassen Panov, Sofia 2020.
400 pages, ISBN 978-954-8594-92-9
What is it that makes Arnaoudov’s artistic world so recognisable, while mystifying
at first with its seeming eclecticism, as if mirroring and if not resounding
the very diversity of contemporaneity?
How might I depict in words his musical language, so abundantly infl uenced
by Borges, referred to as the alchemist of words himself, whose texts Arnaoudov
admires for their exhilarating, intoxicating power, as he has often admitted
in interviews and writing?
Isn’t Arnaoudov’s tonal world precisely that musical equivalent to Borges’s
universe and his library of Babel winding into eternity composed of an indefi -
nite and perhaps infi nite number of hexagonal galleries, with vast air shafts
between, uncountable volumes in a multitude of languages and versions, and
a spiral stairway, sinking abysmally downwards and soaring upwards to remote
Might he not be the librarian and reader in one, and the writer as well,
rearranging, rereading, rewriting volume upon volume of stories born by his
imagination as a result of encountered texts, images, sounds, places, events
or anything else he has experienced up and down the fl oors of the winding
stairway or across the vast shelves of the library of the universe?
In this act of rewriting interpretations further fl exed through his personal attitude
and individual expression, would a surreal meeting of personalities of different
ages not be possible, a homogeneous blend of tonally narrated texts and
timbrically depicted images, as well as matching with ultimate precision technological
devices from diverse artistic practices into effective artistic mechanisms?
Friday, 10 July 2020
Saturday, 11 July 2020
Plovdiv Roman Theatre
OPERA OPEN 2020:
THE GATES OF DREAM
Multimedia performance with works by Bach, Vivaldi, Moore, Gluck, Mozart, Beethoven, Verdi, Bellini, Chilea, Messian, Orff, Arnaudov
Space gives birth to ideas, acoustics, experiences, memories and prophecies. Space has its dreams. We tried to hear and perceive them - and to interpret them with the means of music, dance, visual arts, through specific locations and masterings of the Ancient Theater. What is the world we dream, and what is the dream we live? The Theater of Dreams will open its gates and invite us ...
Conductor – Dian Tchobanov, Director – Nina Naydenova, Choreography –
Mariana Krancheva, Staga Design – Petko Tanchev,
Choir, Orchestra and Balett of State opera Plovdiv
Saturday, 7 December 2019
Kultura, by Mitko Novkov
ON THE EDGE OF SILENCE, CROSSING TIMES
Of course, anyone familiar with the history of contemporary classical music will immediately think of John Cage and his famous play "4.33", also called "Play of Silence". However, it seems to me that the difference between John Cage's "4.33" and Georgi Arnaudov's FOOTNOTE (… und Isolde / ns Winkfall lassen…) is radical: Cage insists on coincidence, his favorite book is "I Jin", "Book of Changes" ", And his play becomes a container for this coincidence - a listener will cough, a chair will creak here, a program will rustle there; "4.33" is filled with different sounds, I would even call them noises, which actually make up its content.
While in FOOTNOTE (… und Isolde / ns Winkfall lassen…) we have an organized, loud, deliberate, and even, if you will, forced, insistent, disciplining silence, which is so obligatory, so imperative, that not only the orchestra or the singer, but also the audience itself does not dare to joke. Cage lets the sounds invade the silence, Arnaudov forces the sounds to sink (or rise) into the silence; It is no coincidence that Natalia Ilieva writes about his music ("Red Scrolls"): "In fact, only the work of Georgi Arnaudov fit into the idea of ??silence - with the indescribable beauty of natural sound, the clear line in the air and sound ?, in the idea of ??heaven."
- Mitko Novkov, Cultura, Sofia.
Monday, September 8, 2019
SHIPWRECK LIBRARY, New York
by Allen Ruch in BORGES
Borges was fascinated by the tango, and published several “milongas”—Argentine folk songs filled with passion, honor, and vengeance. There have been numerous works of music inspired by Borges, from lyrical settings of his poetry to surreal fragments of avant-garde classical inspired by his fabulist prose. This section of the Garden collects notes on these pieces and their composers.
Gheorghi Arnaoudov is a Bulgarian minimalist who writes unabashedly spiritual music designed to create “mystical spaces.” While secular music aspiring to religiosity is too-often riddled with clich?s, from “new age” music to “inspirational” film scores—even John Tavener occasionally indulges in sentimentality—the restlessly searching music of Gheorghi Arnaoudov avoids these pitfalls unerringly. Embracing dissonance and finding beauty in the strange, his music remains rooted in the avant-garde, but its elegance and poignancy feel entirely relevant and accessible. Difficult to categorize and impossible to predict, the music of Gheorghi Arnaoudov truly warrants the much-abused description of “unique.”
- Allen B. Ruch, Shipwreck Library, New York.
Saturday, June 22, 2019
ANNEX Theatre, Vancouver
BEFORE AND BEYOND TIME
Music on the boundary of two Millennia.
“Bulgarian composer Gheorghi Arnaoudov speaks a musical language that combines the traditions of European modernism – Western and Eastern – with a spiritualism and aesthetic mysticism that comes from Eastern traditions. This is music of stasis, a kind of intense minimalism that tells no conventional stories but rather meditates on an idea.
His vital use of a variety of literary sources, aesthetic ideas, and collaborations with other art forms distinguish his music in today’s European concert culture. These works, from Bulgaria’s most cosmopolitan compositional voice at the height of his powers, musically capture the freedom of flight and engage in timeless conversations with poets, philosophers, and folk traditions across the ages.”
Eric Salzman, New York
Featured on the program:
FOOTNOTE, (…und Isolde/ns Winkfall lassen…) : an imaginary interlude to the second act of Tristan und Isolde based on the poem A prayer by James Joyce : for Sprechstimme and chamber ensemble.
Also, on the program – Way of the Birds – I, II, III; Gates of Dream and other chamber works.
Conductor: Lesley Dala, Soprano Heather Pawsey
© 2020 - 2022, Gheorghi Arnaoudov
© 2020 - 2022, Paintings by Yassen Panov
Contact e-mail: garnaoudov(at)gmail.com