Болгарская национальная идея в фортепианной музыки Б. Бартока и Д. Лигети
Bulgarian national idea in the piano music of B. Bartok and D. Ligeti

Summary/Abstract: The article is dedicated to explanation of the Bulgarian phenomenon in the 20th century music based on Thracian ancient roots of Bulgarian dancing culture. The «new barbaric» feature of irregular rhythms of Bulgarian folk music in fast tempos of western European music of the 20th century including a number of piano works by B. Bartok and D. Ligeti became a renovating feature that was revealed through actualization of historic memory about Eastern European sources of the musical culture of the west. B. Bartok was the first to discover super national importance of the Bulgarian folklore feature for renovation of image and musical and technique language in avant-garde feature of the 20th century music. The article is revealing historical and musical roots for a number of music works by B. Bartok and D. Ligeti discovering parallels between the composers in conceptualization of Bulgarian national tradition and importance of its accumulation. The article also focuses on usage of metric signatures and beaming that are typical for dancing rhythms of Bulgaria by the Hungarians. Quite a lot of attention is paid to the usage of the Bulgarian folk instrument gaida sound imitation. The sound imitation of that musical instrument originated from the Greek ison-burdon is characteristic of the Bulgarian church music. The author also defines “ cluster layer overlapping ”of black and white keys, accords of 2nd and 4th and 2nd and 5th together with quite spread in Bulgarian folk music pentatonic and pentachoric scales within the range of minor 5th as characteristic stylistic components of the Bartok and Ligeti’s piano style

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