Avantgarde im Königreich Jugoslawien (German Edition)

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He performed piano concertos with many orchestras, recorded a wide catalogue of solo and concerto works in Germany, Hungary and Bulgaria, and was a juror at the Chopin International Piano Competition in Warsaw.

As an architect he designed a number of public buildings in Bulgaria, including several railway stations and a baldachin above the main entrance of the iconic St Alexander Nevsky Cathedral in Sofia, since mysteriously disappeared. As the first Music Editor of Radio Sofia later to become Bulgarian National Radio he founded the first radio orchestra in the country and established for the station music commissioning, recording and broadcasting policies which were to become pivotal factors in the development of Bulgarian music and composers, and in preserving the musical heritage of the country, in line with the best European practices of the time.

He wrote on music and was—together with other leading Bulgarian composers of the time such as Pancho Vladigerov, Marin Goleminov, Lubomir Pipkov and Veselin Stoyanov—a co-founder of the Contemporary Music Society , later to become the Union of Bulgarian Composers. As a professor in piano at the Sofia State Conservatoire, he taught some of the notable Bulgarian pianists and composers of the next generation, including Lazar Nikolov and Trifon Silianovski. As a composer he developed a distinct personal style, encompassing a wide classical range, traditional Bulgarian heritage and contemporary developments of the day—not without rare visionary glimpses into the future.

Among his most significant compositions are two symphonies, a piano concerto, two oratorios Christmas and Thrace , the symphonic Rhapsodic Fantasy and Four Sketches , several vocal cycles, a piano sonata, Toccata , and Cinema Suite ; numerous works remain unfinished. With the establishment of Communism in Bulgaria in , Dimitar Nenov found himself in a highly unfavourable position.

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This automatically made him the object of suspicion, something further exacerbated by his educational history and the years he had spent across Europe. After his early piano studies with his mother and the renowned Bulgarian pianist Andrei Stoyanov, Nenov had studied architecture, piano, music theory and composition in Dresden, architecture and piano in Bologna, and finally with Egon Petri a pupil of Ferruccio Busoni in Poland.

He had toured the Continent extensively as a pianist and spent years in Dresden as music director of a ballet company before returning to Bulgaria—during the period of the last Bulgarian Kingdom—to hold key positions both as musician and architect. Although Bulgaria was not a member of the Soviet Union, such signals from Moscow were received with a reverence sometimes greater than that accorded them in the Union itself.

All recordings of Nenov at Bulgarian National Radio were destroyed on the orders of its then director Nayden Naydenov. After the first, most fierce period of the regime, Nenov saw something of a rehabilitation—he was even awarded the state Dimitrov Prize the year before his death. However, it is clear that years of hostility and humiliation had taken their toll, and when Nenov died in a pall of obscurity remained over both his music and his personality.

To this day his compositions remain unknown outside Bulgaria. With the division of Europe, Western orchestras largely ceased to perform music by Bulgarian composers. The works of Vladigerov, Pipkov, Goleminov and Nenov had previously featured in the concert programmes of many of them, including the Berlin and Vienna Philharmonic Orchestras, the London Symphony Orchestra and the Philadelphia Orchestra.

Nothing was to change after the fall of Communism in Printed parts and scores were commissioned for the recording by the pianist himself—these works remain unpublished, and all pre-existing parts were handwritten.

It is a monumental work that pushes the classical and romantic traditions of sonata form and thematic development to their limits. It connects them with contemporary trends of objectivity and constructivism in an aesthetic symbiosis of late romantic and early modern trends, and is imbued with the melodic vocabulary of traditional Bulgarian music in a subtle, yet recognizable and personal way.

Drawing on the traditions of the instrument and the genre—including those from the piano concertos of Beethoven, Brahms, Rachmaninov, Liszt, Scriabin and others—the solo part embraces further developments: The work is conceived in one continuous movement, which can be divided into three sections. This both pays a nod to the traditional three-movement piano concerto, while also exhibiting rare and innovative structural developments.

The first section opens with an ecstatic theme, to become one of the landmarks of the concerto. Constructed in sonata form without recapitulation, this section displays a degree of freedom more typically characteristic of a rhapsody or improvisation. The main subject is contrasted with a very simple second motif in the Lydian mode, which then permeates the second and third sections of the concerto, so establishing itself as a second main idea of the work.

This theme undergoes a rigorous development in multiple variations, many of which are very different from the original, to the point where connections with it become unrecognizable. Some examples are the Brahmsian chorale of the solo piano with apparent liturgical connotations, the contrasting—and menacing—military march, and several dance-like episodes.

The third section of the concerto resembles a scherzo-finale, its whimsical theme being a remote, albeit clearly distinguishable, variation of the opening theme of the first section.

Synonyms and antonyms of Avantgarde in the German dictionary of synonyms

The general climax is a recapitulation of the memorable chorale from the middle adagio section, now triumphant as an ecstatic orchestral celebration. The dream-like coda, reminiscent of celebratory Eastern-Orthodox bell-ringing, combines motifs from the three main themes of the concerto: Thus the whole continuous movement of this concerto is built as a single over-arching sonata form of gigantic dimensions, exceeding even those achieved in the symphonies of Mahler and Bruckner—although longer as a whole, these symphonies consist of several movements, some of them in sonata form, whereas here the concerto is conveyed as a single continuous sonata form spanning nearly forty-five minutes.

Group of pioneers of a spiritual developmentExamples belong to the avant-garde.

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Synonyms and antonyms of Avantgarde in the German dictionary of synonyms. Examples of use in the German literature, quotes and news about Avantgarde. Avantgarde und Reaktion — Gashebel und Bremse der Geschichte. Bayreuth muss Spitze, muss Avantgarde sein. Die Avantgarde ist bereits ein Klassiker.

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