Atanas Ourkouzounov Combines Traditional and Contemporary Elements in Fascinating Ways. Joey Lusterman October 1, Strings By Mail Atanas Ourkouzounov | Toccatchenitsa for solo guitar – Composer : Atanas Ourkouzounov Model: DO Instrumentation: Solo Guitar Level. Strings By Mail Atanas Ourkouzounov | Tanzologia for cello and guitar – Level: 4 Number of Pages: 24, plus separated parts Instrumentation: Chamber Music.
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Sometimes it happens with the guitar, sometimes not; it might happen in front of a computer or with pen and paper. How do you get your ideas and how do you go about manifesting them? Again, movement, kaleidoscopic whirling, loss of gravity. You seem to have a never-ending source of inspiration at hand! It is highly inspiring to work with such people—it motivates me ourkuzounov perform on a higher level, as well.
Another project for next year is to record my guitar concertos in Denmark, together with my engineer Leif Hesselberg. There were no musicians in my family, but in Bulgaria the folk music is very much alive and present in everyday life.
Atanas Ourkouzounov | Tanzologia for cello and guitar
Mie and I have several concerts coming up, and we also have a plan to make a new album of entirely Bulgarian music. The use of microtones? Rhythms tossing and springing to and fro. During my childhood I was fascinated by the folk musicians that used to gather in the square at night in the village where my grandparents lived in the Balkan mountains. I think that everything in existence is related to the oukrouzounov process: Everything is connected to the music we create. Our arrangements of pop and jazz tunes are mostly made by Mie; I only work with the guitar parts.
My grandfather used to sing folk songs and he often invited musicians to come and play in his house.
Discography | Atanas Ourkouzounov
The bases are the rhythms and the different modal scales that we use in this part of the world. Atanas Ourkouzounov is one of most interesting personalities in the Bulgarian contemporary music. Atwnas it will hopefully turn out as an interesting mixture of three different views: Several internationally recognized performers have played his works.
I am very fond of Indian music and its underlying life philosophy that regards existence as a huge interconnected network; an approach that is most appealing to me. He studied guitar, chamber music, analysis, ethnomusicology and improvisation at the Paris Conservatory and graduated in with unanimous vote the first prize in guitar.
Kutchiika titcha pred dramuliika Bulgaria. I think it feels natural to play this music on the guitar, and I actually think so in general when it comes to traditional music from different parts of the world.
He also writes about music, focusing mainly on contemporary music for classical guitar. Leif and I have already made several records together and it is a joy and privilege to work with him. I have no rules about how the work should go ahead.
Ourkouzounov has written over works for guitar-solos, duos, trios, quartets, instrumental ensembles, and four concerti-a number of which have won important prizes, and a majority of which have been published by leading publishers Doberman-Yppan, Henry Lemoine. I would especially like to mention the clarinet-player Ivo Papazov, and Thedosii Spassov, who plays kaval [a traditional wooden flute].
He is an excellent and smart musician, with the stamina and drive to put his soul into the work until he has done his very best. I soon give up the desire to understand what time-signature is present, and surrender and tag along on the journey. So I pick up my guitar in order to try out something, or I go deeply into my own imagination to intensely figure out what a musical idea might sound like.
Wellcome | Atanas Ourkouzounov
Na ti mome dzivri Bulgaria. In addition to eight CDs on which Ourkouzounov plays, more than 60 CDs of his music performed by others are currently available. Then, sudden shifts of perspective, showing views of floating harmonies and charged waiting.
When it comes to these types of arrangements, we take the song, dance, or theme and try to create a functioning structure or form, which means that you are more free to put a bit more of yourself into the music.
When Atanas Ourkouzounov plays, things are cooking. One way of maintaining a cultural identity was to keep the folk music alive. And right now I am also working on my fifth sonata for guitar.
What are the main challenges in transferring this music to the guitar? Polegnala e Tudora Bulgaria. There have been interesting blends of musical influences, such as Orthodox Slavic music, Turkish and Arabian maqamthe musical tradition of the Gypsies, Jewish, Armenian—all of these are being mixed and that is the main reason this music is so rich.
The rhythms and the ourkouzoounov time-signatures?
As a guitarist you have a dazzling technique, making it possible for you to perform highly intricate and difficult passages while still maintaining the expressive content. Ange Turell is a Swedish guitarist and composer. If you have ever encountered the dance music of the Balkans, with its frequent use of uneven time-signatures, or the sometimes harsh and other-worldly beautiful harmonies of the singular Bulgarian female choruses whose singing has fascinated so oukouzounov of us, you may feel partly at home with the tonal language and rhythms Ourkouzounov frequently employs.
Yes, most Bulgarian composers are strongly influenced by the folk music.