ПРЕВЪПЛЪЩЕНИЕТО НА „ЯПОНСКАТА НИШКА“ В ТВОРЧЕСТВОТО НА НИКОЛАЙ СТОЙКОВ
THE TRANSFORMATION OF THE „JAPANESE TRACE“ IN THE WORK OF NIKOLAY STOYKOV

Summary/Abstract: The contemporary Bulgarian composer Nikolay Stoykov is extremely attached to the image world of the Bulgarian musical folklore. Colorful as an author, he reconsiders and liberates authentic folk material with modern compositional language and thus breaks the traditional boundaries of musical structures. The subject of my monograph1 was the questions related to the artistic imagery in the choir work of Nikolay Stoykov and the original composer techniques used by the author. While I was researching and writing about the rich heritage of the composer – about 100 opuses, I encountered various unique and turning points of his life. Stoykov was taught composition by the unsurpassed Pancho Vladigerov. I thought this was the most important fact that largely influenced and shaped his compositional style. In one of the chapters of the monographic survey „Vocal Landscapes“ (Кroteva 2017, pp. 20 – 27), I point to a little-known fact – the meeting of Nikolay Stoykov with the Japanese lyrical art. Back in 1966 he wrote four exquisite pieces of „Tanka“ for a male voice and piano on poems by Ishikawa Takuboku. Nikolay Stoykov has various creative appearances. In addition to musical works, he has published three books with haiku poetry and poetic messages in which he has expressed himself „without notation“. The question of the influence of the short Japanese poetic forms on the composer’s creative invention was not in the focus of my work, and remained unexplored in depth. The theme of the International Science Forum „The East – So Far, So Close“ provoked me to trace the creative predisposition of Nikolay Stoykov to the Eastern cultures and to add extra touches to the portrait of this extremely interesting composer.

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