Едно непознато писмо на Димитър Ненов до Маргарита Лонг
An unknown letter by Dimiter Nenov to Marguerite Long

Summary/Abstract: The text deals with an unknown for the time being and very impressive letter in Bulgarian and French by Dimiter Nenov to the French pianist Marguerite Long. The composer and the world-famous performer met in Poland, in 1949, as members of the jury of a prestigious European contest for young pianists, the International Frederic Chopin Competition held in Warsaw. The letter was written in 1950 and has never been published. Placed in the context of intercultural interactions, it provides evidence of the active and close contacts between Nenov and notable European figures as well as of the European accessibility of Bulgarian musical performance and composition. It is not known if he has posted the letter or just had an intention to do so. We could only make assumptions in this respect, as the personal correspondence of the composer in his archive, owned by the Scientific Archives of BAS, had not produced written evidence or documents, proving the sending of the letter. Most probably, the French pianist has not written back as there is no reciprocating letter in the archives. In this short yet practical letter Nenov comments on some burning issues relating to his works such as the misprints that have crept in his published works; low fees and last, but not least, lack of initiative on the part of publishers. He notes with approval Pancho Vladigerov’s comradely cooperation in the latter’s capacity of an editor. He states clearly his wish to promote his works regardless of the situation both in Bulgaria and other European countries. He strongly doubted that Marguerite Long herself would take to performing Toccata for Piano, and if that were the case, he would be pleased Ventsislav Yankov, a gifted and famous in Europe Bulgarian pianist, also mentioned in the letter, to perform the piece. In his letter, Nenov mentions also some burning issues, almost prophetic of the life of this first-rate musician and the isolation he would face in the decades to come. On the one hand, this letter gives yet another proof that Dimiter Nenov, with his spiritual potential and mentality, his great erudition and his oeuvre of an accomplished musician, with his professional and personal contacts has overcome the constraints of Bulgarian cultural life. On the other hand, it points to some general issues concerning the attitude towards individuality and creative work; issues which directly relate as well to the existence of the personal archive of this remarkable Bulgarian musician.

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