Оперите на Веселин Стоянов в контекста на европейското музикално съзнание от първата половина на XX век
Vesselin Stojanov's Operas in the Context of European Music Awareness from the First Half of XX c.

Summary/Abstract: The aim of this study is an attempt to define the contribution, peculiarities and innovation of the composer in the operas “Women’s Monarchy” and “Salambo”, to situate “Sly Peter” too, in accordance with their conceptuality, due to the hard times in which they were created, without discrediting the conditions, erudition, experience and, of course, the aesthetics of the composer. Apparently the opera is part of the idea of the Bulgarian intellectual of musical prosperity, of our Europeanization, of musical institutionalization. Naturally, this is not a general opinion, the furious resistance of some of the greatest Bulgarian men against us having opera (both as an institution and as musical scenic art) is well known. Mostly men of letters point out the priority of the theatre. The unique thing is that in this country the theatre and the opera, drama and music, will develop simultaneously -unlike the world practice in this respect. For the trio Vladigerov -Pipkov - Stojanov the problems were not in harmony, polyphony or orchestration. They were masters of that. Their problems were on a conceptual level. The process of adaptation - opera and folklore seemed to be over. They were predestined to create the norms, acquiring the character of presentable tradition and therefore connected with certain intentions of the epoch. These young musicians possessed macte animo plus a doze of aggressiveness, thanks to which they would reject most of the old opera models and with the self-confidence acquired in the West (where they studied and became erudite), they would rapidly affirm the new dramatic schemes, dominated by the modern musical aesthetic conception. “Women’s Monarchy”was the first attempt to apply modern techniques in the Bulgarian opera, to abandon folklore every day singing and skipping several stages, Vesselin Stojanov cou rageously attempted to reproduce the rhythm, syllabics and sonority of Bulgarian speech. “Salambo” was undoubtedly the aesthetic manifesto of Vesselin Stojanov and one of the most original operas in Bulgarian music creation. “Sly Peter” cannot fit into the theme that I am interpreting. Because both as dramaturgy and from a purely music aspect “Sly Peter” was a combination of techniques and discoveries, which Vesselin Stojanov made in his previous opera, but it also carried the print of a placard and conceptual ambiguity, i . e. it cannot be defined as innovational/ modern work.

• Details
• Contents