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GHEORGHI ARNAOUDOV Concerto for Violin Concerto for Violin, Strings, Percussion and Keyboards Concerto for Violin, Strings, Percussion and Keyboards is a musical work written in 2009-2010 and recorded in January 2011 in collaboration with the British violinist Roy Theaker and the orchestra of Bulgarian National Radio and its conductor Gheorghi Dimitrov. The concerto is written for violin with small string orchestra accompaniment coupled with a selected set of percussion and keyboards arranged in several configurations and assigned various tasks in each of the three parts of the work. In the first part – Molto Allegro, the selected set consists of kettle-drums and four tomtoms, which strengthen and emphasize the continuous, almost hysterical mechanical tension of a whole machine, built up on the basis of a virtuoso violin part. In the second part – Andante, it is the glockenspiel as a petite colorful tinge that accompanies the violin cantilena at the end of its first part. At the end is the third part – Moderato. Allegro moderato. Allegro with its harpsichord play, soloing celesta and percussion-like piano, that is, instruments assigned almost theatrical roles in a kaleidoscopic part bearing the subtitle "Manual de zoología fantástica" which was inspired by a few of the phantasmagoric creatures created by one of my most favorite authors J.L.Borges. I emphasize the role of these instruments albeit sometimes they just play slight touches building a common surrealist picture laden with all kinds of images and references to various styles. It is on purpose that I stress the orchestral structure because of its role in the entire piece and also because of its interaction with the soloing violin playing with almost no interruption. As far as the soloing part goes, it is usually one the greatest challenges to a composer, especially when he is not a violinist. Typically the traps of pianist thinking and the application of keyboard methods to a soloing violin are the most frequent temptation. It was something I was trying to avoid since I started working on this piece. In this case, my collaboration with Roy Theaker during my work on the concerto was more than fruitful. GHEORGHI ARNAOUDOV Gheorghi Arnaoudov (born 1957) is a Bulgarian composer of stage, orchestral, chamber, vocal, and piano music, a representative of 21st century classical music. He graduated from the National Academy of Music “Prof. Pantcho Vladigerov” attending at the same time the summer courses in the Academy of Fine Arts in Florence, Italy, as well as the International composer’s workshops. At present, Mr. Arnaoudov is appointed Associate Professor in Composition and Harmony at the New Bulgarian University in the "Music" and "Theatre" departments, as well as at the Faculty of Philosophy of the Sofia University St. Kliment Ohridski and in the National School of Music. His compositions include a number of symphonic pieces, chamber and solo instrumental, vocal and piano music, cycles of works based on old Bulgarian texts dating from the early Middle Ages, as well as on authentic archaic Orphic texts and rituals, studies of sound and fiction based on Gothic and Renaissance music, musical stage works, music for theatrical and film productions, performed and premièred at prestigious venues around the globe over the past years. This could be music of stasis filled with silence and vibrating sound or sumptuous and colourful surrealistic baroque sound canvas, a kind of intense minimalism that tells no conventional stories but rather meditates on an idea. Gheorghi Arnaoudov has won numerous international and national awards, including the Grand Prix of the European Broadcasting Union (1995), the Golden Harp Prize from Jeunesses Musicales (1995), the Carl Maria von Weber International Prize of Music (1989), and the National Music School Centenary Award (2004). Gheorghi Arnaoudov’s works have been released on a number of CDs, domestically and internationally. Michail Goleminov HYPERKLAVIER (2010) for piano and live electronics The core idea of HYPERKLAVIER is to create a situation of bidirectional interaction between musician and machine, featuring different transformative aspects, and treating the computer as a device that is not only repeating the performer’s patterns or playing prerecorded structures, but is also assisting the post-compositional process in it’s stage phase. In HYPERKLAVIER, I have assigned different roles to the computer – it is performer, co-composer and improvisation partner. The musical score is traditionally notated, with some little “freedoms” in terms of floating pitches and a kind of limited aleatorics. I first developed the software HYPERKLAVIER version 1.2, before composing the piece – many aspects of the music were influenced by improvising together with the computer in my studio. Actually, the music was born from that improvisation sessions. The program itself features, among various functions, spectral analysis and pitch tracking, and is reacting to harmonics, dynamics, density of the piano texture, and articulation. The HYPERKLAVIER software offers an additional function – it’s using tiny grains of the piano part, which undergo transformation and modification, to create sound banks during the performance (sounds are being organized in three sample collections – microtonal, well tempered and totally deformed), and is playing these sounds in a virtual synthesizer. The sound material undergoes deconstructive operations, the result of which is also sound, but sometimes of totally alienated substance and transformed almost to unrecognizability. At the same time, the modified sound continues to be an organic part of the dynamically developing and creative dialogue. In this sense, the work implements the supposition that construction and deconstruction are not polar opposites, but rather two aspects of the modeling of space. Different performances of HYPERKLAVIER can have much in common, but many details are unpredictable, as the software is reacting differently, driven by a significant amount of randomness that is intentionally implemented in the compositional algorithm on which the main functions of the software are based. From a performer’s perspective, the growing field for computer-controlled and computer-modified sound worlds does not limit or negatively affect performer’s creative space – the opposite, it fulfills the main goal of live electronics, namely to make it possible that everything sounds like “alive”, bringing the inner dynamics of the interaction. to the foreground. MICHAIL GOLEMINOV Michail Goleminov studied composition with Dimiter Tupkov and Konstantin Iliev and conducting with Konstantin Iliev at the state music conservatory in Sofia, then in 1985 continued his musical education in Austria and Holland with Roman Heubenstock-Ramati, Ton de Leeuw, Alexander Baltin (composition), Karl Österreicher (conducting), and Harald Osberger (piano). He also studied electroacoustic music with Dieter Kaufmann at Institute for Electroacoustic Music in Vienna. Between 1992 and 1998 he collaborated in a series of theatrical productions in Austria and took part in projects involving contemporary arts, mixed media, and intuitive and computer music. A participant in various concerts in Europe, North America, and Africa as pianist, composer, and conductor, he is the recipient of such international composition prizes as the Hambacher Preis, Sommerliche Musiktage Hitzacker, and Osterfestspiele Salzburg. His works span a wide spectrum of styles and genres, from chamber and orchestral pieces to computer music, video-compositions and music graphs, and have been commissioned by the Vienna Konzerthaus, Quebec New Music Society (Montreal), the MELO-x Saxophone Quartet, and other leading organizations and ensembles. Now a free-lance musician based in Sofia, he is the co-founder with pianist Angela Tosheva of the company Orange Factory psychoacoustic arts, an experimental center for musical creation, performance, publication, and education.