1968: Прометеевият комплекс при реставрацията на идеологическия диктат и личното ѝ отхвърляне от композитори на Новата музика (Ив. Спасов, С. Пиронков, Л. Николов)
1968: The Prometheus complex in the restoration of the ideological dictate and its personal rejection by composers of New music (Iv. Spassov, S. Pironkov, L. Nikolov)

Summary/Abstract: In the analysis of the ideological canon of socialist realism by P. Sloterdijk the thesis of the so-called "Prometheus Complex", which according to him is part of the life-affirming normative model of Soviet art, which in musical art is associated with the genre of symphony. In the period of the so-called "Restoration" after 1968we can speak of a new kind of apologetics of Prometheus' beginning. In fact, it was not until 1968 that the Prometheus complex was truly "regulated": of the socialist realist art, its brightest incarnations are pointed out, among which the above-mentioned Symphony No. 2, Raichev's "New Prometheus" occupies a central place. In the literature, in the autobiographical speech of Lazar Nikolov and Ivan Spasov also after the fateful 1968/69, one can see ignoring the official Prometheus complex. The restoration of socialist realism is revealed as the ideology of the omnipotence of socialist art and music after 1968 - embodied and as the symbol of Prometheus - the new, victorious Prometheus of the ideological canon. However, it does not even touch on the outcome / creation of Prometheus' tragedy and symbolism in New Music and Modernism. Prometheus' beginning of the protest stands out with Lazar Nikolov, Simeon Pironkov and Ivan Spasov.

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