Atanas Ourkouzounov Combines Traditional and Contemporary Elements in Fascinating Ways. Joey Lusterman October 1, Strings By Mail Atanas Ourkouzounov | Toccatchenitsa for solo guitar – Composer : Atanas Ourkouzounov Model: DO Instrumentation: Solo Guitar Level. Strings By Mail Atanas Ourkouzounov | Tanzologia for cello and guitar – Level: 4 Number of Pages: 24, plus separated parts Instrumentation: Chamber Music.
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He studied guitar, chamber music, ourkouzoinov, ethnomusicology and improvisation at the Paris Conservatory and graduated in with unanimous vote the first prize in guitar. Atanas Ourkouzounov is one of most interesting personalities in the Bulgarian contemporary music. Ourkouzounov grew up in Sofia, the capital of Bulgaria. My own arrangements are mainly from the classical domain, with pieces from such composers as Bartok, Debussy, and Ligeti.
The bases ourkouzouonv the rhythms and the different modal scales that we use in this part of the world. During my childhood I was fascinated by the folk musicians that ourkouzouunov to gather in the square at night in the village where my grandparents lived in the Balkan mountains.
The process is hard to describe, but I feel this excitement and it is impossible to let go once I have started. Melodies rapidly winding through flickering semitone-vegetation. I would especially like to mention the clarinet-player Ivo Papazov, and Thedosii Spassov, who plays kaval [a traditional wooden flute]. Again, movement, kaleidoscopic whirling, loss of gravity. He also writes about music, focusing mainly on contemporary music for classical guitar.
His guitar playing eventually took him to France, where he studied at the Paris Conservatory with teachers such as Olivier Chassain and Arnaud Dumond.
Kutchiika titcha pred dramuliika Bulgaria. I soon give up the desire to understand what time-signature is present, and ourkouxounov and tag along on the journey.
It is like watching a movie where you are the one ourokuzounov the storyline, and of course you want to know how it all ends! Then, sudden shifts of perspective, showing views of floating harmonies and charged waiting. About Ouekouzounov Contact Sign In. Our arrangements of pop and jazz tunes are mostly made by Mie; I only work with the guitar parts.
I also often tune the third and sixth strings one half-tone down. How do you get your ideas and how do you go about manifesting them?
Mie and I have ouekouzounov concerts coming up, and we also have a plan to make a new album of entirely Bulgarian music. Apart from all this composing and performing, Ourkouzounov also teaches constantly, including at the Conservatoire Maurice Ravel in Paris.
Discography | Atanas Ourkouzounov
The rhythms and the uneven time-signatures? Eventually it resembles the process of composing.
One way of maintaining a cultural identity was to keep the folk music ougkouzounov. I am very fond of Indian music atajas its underlying life philosophy that regards existence as a huge interconnected network; an approach that is most appealing to me.
Other recordings by Atanas Ourkouzounov: Sometimes it happens with the guitar, sometimes not; it might happen in front of a computer or with pen and paper. What are the main challenges in transferring this music to the guitar? The wide inspiration of his musical language is the result of a subtle use of orukouzounov forms, an endless and original rhythmical search and a colour work which leads the guitar to explore new territories and sonorities. Atanas Ourkouzounov performs widely as soloist and with the Japanese flautist Mie Ogura.
In addition to eight CDs on which Ourkouzounov plays, more than 60 CDs of his music performed by others are currently available. A version of this article originally appeared in the magazine Gitarr och Luta.
Na ti mome dzivri Bulgaria.
The music of Eastern Europe and the Balkans is not rooted in the same fundamentals as Western musical practice, with its principles regarding harmony, harmonic progression, and counterpoint. It is highly inspiring to work with such people—it motivates me to perform on a higher level, as well. When it comes to these types of arrangements, we take the song, dance, or theme and try to create a functioning structure or aatnas, which means that you are more free to put a bit more of yourself into the music.
Yes, most Bulgarian composers are strongly influenced by the folk music. Has your own music forced you to keep expanding your technical capacity? Polegnala e Tudora Bulgaria.
There have been interesting blends of musical influences, such as Orthodox Slavic music, Turkish and Arabian maqamthe musical tradition of the Gypsies, Jewish, Armenian—all of these are being mixed and that is the main reason this music is so rich.
Another project for next year is to record my guitar concertos in Denmark, together with my engineer Leif Hesselberg.
Works | Atanas Ourkouzounov
He also studied theory, music ethnology, improvisation, and chamber music. You have composed so much, made several recordings, and also tour a lot. There are several Bulgarian musicians who create an exciting fusion of traditional music and jazz, and that inspires me a lot. My grandfather used to sing folk songs and he often invited musicians to come and play in his house. Several internationally recognized performers have played his works.
You seem to have a never-ending ourkouaounov of inspiration at hand! I think that everything in existence is related to the creative process: That is the reason for this influence still being so strong. Folk music of Bulgaria is apparently of great importance to you.
Atanas Ourkouzounov | Tanzologia for cello and guitar
And right now I am also working on my fifth sonata for guitar. There were no musicians in my family, but in Bulgaria the folk music is very much alive and present in outkouzounov life. Leif and I have already made several records together and it is a joy and privilege to work with him. And so is the variety—ranging from your own original compositions to arrangements of popular music.
I have no rules about how the work should go ahead. Ourkouzounov has written over works for guitar-solos, duos, trios, quartets, instrumental attanas, and four concerti-a number of which have won important prizes, and a majority of which have been published by leading publishers Doberman-Yppan, Henry Lemoine.