by Anton Kuznetsov

The Implications of a
Union of Bulgarian Composers
in a Socio-Political Context
over Three Transitional
Periods

Content

page

Introduction

The socio-political ground for the genesis of

a postmodern condition in modern Bulgarian culture

Polarity or pluralism
in the Union of Bulgarian Composers

Conclusion

Bibliography

Introduction

The key aims of this text are to create a perspec2ve on the postmodern cultural condi0on in
Bulgaria, and the inevitable situa2on of its genesis at the beginning of modern Bulgarian history, as well as
its crucial impact on Bulgarian culture produc2on and other aspect of modern living. Further, the text will
cri2cise the relevance of the current issues discussed in Bulgarian media and culture produc2on ini2a2ves
and events, which ignore the ini2al problem imposed on Bulgaria by the inherent postmodern cultural
condi2on and the estrangement, both on a local and interna2onal level, as a result of the bidirec0onal
exo0cism and the problem of na2onal iden2ty caused by the complicated and disadvantageous geo-poli2cal
situa2on a@er the Libera2on from the OComan Empire.

Addi2onally, in order to trace the causal link of this problem before and a@er 1989, I will examine
the wri2ngs of Bulgarian musicologist Ivelina Nikolova about the ideological polarity in the Union of
Bulgarian Composers [UBC] during the Communist regime and how the former reects in the games of
social capital, publicity and inuence.

Finally, the text will cri2cise the UBC and the lack of crea2ve space it claims to provide, the failure to
address important issues and to defend the role of contemporary composers in society, and to analyse the
reasons behind this failure and what could be the consequences for prospec2ve composers and structures
involved with the performa2ve arts and the Art music tradi2on in Bulgaria.

The socio-political ground for the genesis of a postmodern cultural

condition in modern Bulgarian culture
s
s

In order to understand the environment within which a contemporary Bulgarian composer has to
exist nowadays, it is important to establish a link with the primary framework, the roots which provided the
format necessary for the development of Art music prac2ces in Bulgaria. With the following sec2on I am
oering a causal link between the pre-ins2tu2onal structures which were both dependent on and
inuenced by a na2onalist society, ini2ally formed as a reac2on to the Bulgarian Unica2on problem, and
later exalted by gloried militarism, due to the recently granted independence and the newly established
monarchy, and the no2on of iden2ty crisis as a result of the Wests condemna2on of the cultural divergence
in Bulgaria a@er the Libera2on from the OComan Empire.

A@er the Russo-Turkish War, Bulgaria faced numerous problems indica2ng an iden2ty crisis.
Previously exis2ng under the cultural repression by the OComan Empire, there was no state to prompt the
forma2on of a formal na2onal culture. It was later that revolu2onary polemic wri2ngs and poetry were
received as the Bulgarian product of intellectual thought. In the course of history, the natural inclina2on
towards Western thought and lifestyle collides with the ini2al inuence of the Orient on Bulgarian language,
temperament and culture in general. The result from this occurrence is a process of bidirec0onal exo0cism.
In this process the sense of individuality is very o@en irrelevant without the direc2on provided by the
collec2ve mind and, at the same 2me, the manifesta2on of na2onal ideals seems too defensive, as if
defending the na0onal is an act of confessing a weakness. The reason behind this bears a very strong
similarity to the aVtudes of Western countries towards Russian culture a@er the fall of the Soviet Union. As
Irina Aristarkhova writes:1
Much of the cultural exchange that took place during this period in art, academic circles, or civil
society (with notable excep2ons, of course) was experienced as dissa2sfying. There are
numerous and dierent reasons for this one day someone should write on this subject but
here I will only point out that such contacts o@en resulted in profound misunderstandings, not only
in terms of reference (linguis2c or otherwise) but also in emo2ons and inten2ons. We Russians
were o@en asked to conrm exis2ng truths on the issues of Marxism, gender poli2cs, democracy,
Russian character, etc., in ways that seemed to miss the point from the beginning. Reac2on
followed on our part the only reac2on that seemed available: defending our way of life, even
though it was not clear what that had come to mean. In this respect, the 1990s could well be
called a defensive decade in Russian intellectual and ar2s2c history as Russians were asked to
conrm whatever their new friends thought had happened to us under Soviet rule with the visitors
o@en assuming a higher ground with more advanced approaches and methods in both art and
thought. Even when the situa2on was more complex than this, the feeling of inadequacy and lack
of ability to respond led to a feeling of closure and voicelessness.

This tendency towards estrangement and retreat into a sullen, warm private world, unnameable
and biological, the impregnable aloofness of a weird primal paradise family, ethnicity, na2on, race,2 as
a result of a long cultural isola2on, was amplied by the contradictory no2on of being liberated from the
1

Irina Aristarkhova , Beyond Representation and Affiliation: Collective Action in Post-Soviet Russia, in
Collectivism after Modernism, ed. Blake Stimson and Gregory Sholette (Minnesota: University of
Minnesota, 2007), 254.
2

Julia Kristeva, Nations without Nationalism (New York: Columbia University Press, 1993), 3.

Orient and at the same 2me cri2cised for not living up to European cultural standards. The following text is
an extract from an early issue of The Musical Times exemplifying the domineering and paternal aVtude
towards Bulgarian aCempts at emancipa2ng Western ins2tu2onal structures, and folk music sung at social
events and eld labour:3
Though Bulgarian music as a separate en2ty cannot be said to have dis2nct existence, this is not
because the Bulgarians are des2tute of the musical ins2nct or are incapable of enjoying music.
Un2l quite recently the Bulgarians were cut o from almost all Occidental inuences; all that they
had experience of was some of the rude airs of the Southern Slav peoples who have innitely
less of the crea2ve or execu2ve musical faculty than the Czechs, Poles, or Russians and the
dis2nctly Oriental music of the Turks and Turkish gipsies
A@er Bulgaria became a principality, with an army of its own, the Government engaged a band of
Austrian military musicians, each member of which undertook to instruct a certain number of
pupils in the use of his special instrument, the pupils on aCaining prociency being dra@ed o to
the various provincial corps, which now possess each its regimental band
In the remoter parts of the provinces, and in those classes of the popula2on which have not yet
been touched by the conscrip2on, the musical ins2nct, such as it is, nds vent in extremely
primi2ve manifesta2ons, notably in tom-tomming, an extraordinarily widespread habit amongst
Orientals of various grades of civilisa2on
Peasant girls, going to or returning from their work in the elds, may be heard enlivening the
neighbourhood with a peculiarly barbarous chant, sung en2rely upon one note, with occasional
ascents to the octave
It will be readily seen from the foregoing remarks that music in Bulgaria is in a transi2on stage,
with a decided tendency to dri@ away from the Oriental and semi-barbarous form of the past

However, the rst sign of concern about the endangered authen2city of Bulgarian songs is evident
in an ar2cle 2tled Rhythmical Founda2ons of Our Folk Music,4 published in the rst ethnographical journal
of the Bulgarian Academy of Learning. The author, Dobri Hristov,5 one of the most praised representa2ve of
the 1st genera2on of Bulgarian composers, is presen2ng some of the rst available analysis of the rhythmic
structures and principles of the Bulgarian folk songs and an elucida2on of how this relates to tradi2onal
dances and social gatherings. Later in the text he describes the uneasy situa2on of the gradual ex2nc2on of
the variously developed cultures within specic regions in Bulgaria due to the process of modernisa2on.
There is an important emphasis on the primary aCempts of musical educa2on in Bulgaria which was mainly,
but not solely, carried out through military ins2tu2ons such as barracks. The author expresses his concern
about the social amnesia of authen2c Bulgarian songs replaced by na2onalist songs newly composed by
military servants. His main arguments are the discord between the inherent inclina2on of Bulgarian youth
towards their original culture and the aCempts of subs2tu2ng it with something that does not bear any
roots in Bulgarian tradi2ons. Moreover, he explains the danger of an iden2ty crisis where the country, not
following the example of other Eastern European countries, could remain without a symbol of na2onal
culture which is so important in 2mes of building a reputa2on in the European world. Therefore, he
suggests an elaborate plan of journeys to be made by people competent of cataloguing Bulgarian melodies
Unknown author, Notes on Bulgarian Music, The Musical Times and Singing Class Circular, Vol. 30, No.
555 (May 1, 1889), pp. 270- 271.
3

Dobri Hristov, Rhythmical Foundations of Our Folk Music, Collection of Folklore and Ethnography, Vol.
27, No. 1, 1913, pp. 1-51.
Online Encyclopedia of Bulgarian Composers, Dobri Hristov, http://www.ubc-bg.com/en/composer/211,
accessed 31 December, 2014.
5

and synthesising their manifesta2ons in a social structure, implying the interrela2on between the music
prac2ces and their u2lisa2on according to the values they embody. He also clearly states the necessity of
providing governmental funding for recording equipment.

Even though such funding was not provided, the process of conserving the endangered Bulgarian
folklore had begun. A few early folklore experts, the most prominent amongst whom was Vasil Stoin (b.
1880), had started travelling and wri2ng down texts, customs and melodies using tradi2onal Western
nota2on. Indeed, this resulted into inaccuracies or the inability to document musics incapable of being
wriCen down by means of Western nota2on. As Vasil Stoin himself claims in his memoirs published
posthumously,6 songs u2lising sophis2cated systems like microtonality were not documented and have thus
ex2nct. As a consequence of the process of preserva2on, later composers, who were born in the ci2es or
were ini2ally part of the newly formed elite which was not as closely connected to peasant culture, were
becoming acquainted with the folk tradi2on through its systema2c conserva2on.

Heretofore, the text supported the claim on bidirec0onal exo0cism as a social phenomenon formed
by na2onal problems and the ini2al iden2ty crisis imposed on Bulgarian culture. As music ins2tu2onal
structures were developed much later, due to the expense of material resources like musical instruments,
performance space, prin2ng, etc., and the lack of audience resembling 20th-century Western concert-goers,
pluralism in music developed respec2vely much later. It is important to stress that at the beginning of the
20th century there already had been prominent Modernist literature and poetry that was to coexist with its
Na2onalist and Realist counterpart. Symbolists like Pencho Slaveikov, Peyo Yavorov and Dimcho Debelyanov
were wri2ng at the same 2me as Ivan Vazov, who is regarded as a paternal gure embodying na2onal
ideals, or Geo Milev, exemplifying the barbarous transcending poetry with Socialist connota2ons. Pluralism
in Bulgarian Art music, hence the inherent postmodern cultural condi2on consis2ng within it, occurs with
the establishment of the major music ins2tu2ons. Before tackling the subject about the prevailing
postmodernism in the Union of Bulgarian Composers and the imputability of the former in the concep2on
of the laCer, I would like to draw aCen2on to another major ins2tu2on which has played a signicant role in
the establishment of the UBC in Bulgarian Art music the Bulgarian Na0onal Radio.

In 1935 Dimitar Nenov,7 a name primarily connected with virtuoso culture and the Roman2c
expressionist language, and at the 2me of his appointment also carrying the post of treasurer of the UBC,
was appointed as the musical director of the Na2onal Radio. In 1976 an excerpt from his memoirs regarding
his work in the radio was published in the journal Bulgarian Music.8 In the following paragraph I present
several conclusions made in regards to the role of the radio as an economic environment and the level of
publicity for Bulgarian composers.

To start with, the author men2ons a general lack of recordings of both Bulgarian performers and
composers. This made dicult the fullment of the appraisal of na2onal values. In his reec2on on solving
the problem with the Bulgarian song, which implies edi2ng folk melodies with the sole purpose of
transcending them into concert repertoire, he men2ons the miserable air2me which is given to raw
unedited folk music played by non-professional musicians only 15 minutes weekly. The rest of the
musical programs is devoted to commissions of Bulgarian composers, and, more specically, composers
from the UBC, to compose original songs, without imita2ons or foreign inuences (every song was due to a

Vassil Stoin, Bulgarska Narodna Muzika [Bulgarian Folk Music] (Sofia: Nauka i Izkustvo, 1967).

Online Encyclopedia of Bulgarian Composers, Dimitar Nenov, http://www.ubc-bg.com/en/composer/

205, accessed 31 December, 2014.
Ekaterina Docheva, Dimitar Nenov on edited folksongs in the late 30s, Bulgarian Music, Vol. XXVlll
No, 1, 1977, pp. 21-24.
8

ltering process). This way, the Na2onal Radio, more specically Dimitar Nenov in the years immediately
a@er the forma2on of UBC 1935-1937, worked as an intermediary between the union and the
governmental funds spared for culture produc2on. It is obvious that when such an ins2tu2on is the main
source of commissions, the music input is censored, or ltered as Dimitar Nenov himself puts it, in a way
that it must correspond with the ideological inten2ons of the radio prompted by the overall social moods.
Otherwise, with the lack of general orchestral and concert-going culture, it was prac2cally impossible to
survive as a composer. However, it is hard to outline a clear direc2on within this issue. The ques2on
remains: was the social situa2on, which perhaps implies the very reason for the existence of the radio,
altering the prac2ce of composers, or is the inclina2on of composers towards working with folk elements as
means of acquiring iden2ty a natural reec2on of the social problems and even possibly altering the reason
for the existence of ins2tu2ons such as the radio?

There are only mild manifesta2ons of pluralism in Bulgarian Art music un2l the appearance of
Konstan2n Iliev9 as the principal conductor of the Soa Symphony Orchestra. In the following sec2on I will
analyse the ideological issues throughout the history of the UBC as means of commen2ng on the
Prometheus no0on and how it leads to pluralism in the UBC, at rst resul2ng in the evolu2on of a cultural
pedigree and later in the forma2on of an ideological polarisa2on.

Polarity and pluralism in the Union of Bulgarian Composers

When looking at the current online encyclopaedia of the UBC, a signicant part of each composers
entry consists in professional references to previous composers. The establishment of the sense of
importance given to the cultural pedigree is a result of the tendency at the beginning of the 20th century of
people with higher stature to educate their ospring in Western cultural centres. This tendency was a result
of the above-discussed processes of Europeanisa2on and is one of the main factors for the inherent
postmodern cultural condi2on. It was the perfect ground for what in Taruskins terms would be cultural
colonialism.10 Each one of the famous composers who had been educated abroad was treated as a torchcarrying idol who would be able to inform and authen0cate Bulgarian Art music, quasi musical Prometheus.
As the Encyclopaedia of Bulgarian Composers accounts:11
The members of the Contemporary Music Society belonging to the so-called second genera2on
were respectul to the heritage of their predecessors, while at the same 2me answering to another
call, which was to include Bulgarian music and music culture into the context of the European 20th
century. They completed their music educa2on in pres2gious European centres like Dresden (Petko
Staynov and Dimitar Nenov), Berlin (Pancho Vladigerov), Vienna (Vesselin Stoyanov and Andrey
Stoyanov), Paris (Lubomir Pipkov and Marin Goleminov) or Prague (Assen Dimitrov) and upon their

Online Encyclopedia of Bulgarian Composers, Konstantin Iliev, http://www.ubc-bg.com/en/composer/9,

accessed 31 December, 2014.
9

10

Richard Taruskin, Nationalism: Colonialism in Disguise?, The Danger of Music (Berkeley: University of
California Press, 2010)
Elisaveta Valchinova-Chendova, Preface, Encyclopedia of Bulgarian Music, trans. Vladimir Molle (Sofia:
Union of Bulgarian Composers, 2003)
11

return were ac2vely involved in Bulgarian musical life. Except composers they were also teachers,
performers and prominent public gures. They were the personali2es whose authority and
crea2ve achievements shaped the future genera2ons of musicians and thus the character of the
Bulgarian music culture as a whole.

However, apart from the tendency towards a postmodern approach in u2lising folk tunes in the
context of the Western symphonic tradi2on, another outcome is the failed aCempt to import the no2on of
aristocra2c culture in an economic system which could not sustain it. Hence, the deni2on of bourgeois art
music in Bulgaria would not be any cri2cal avant-garde convic2on but instead, since at its ini2al
manifesta2on in Bulgaria it had a similar eect on society, German Expressionism and the popular
classics.

A perfect example of this would be the forma2on of the current Soa Symphony Orchestra which
was founded in 1928 as the Academic Symphony Orchestra and consisted primarily in students from the
State Conservatoire. Organised and conducted by Alexander Popov, who previously studied in Vienna and
returned to his home country because he was summoned for military service, it was an ins2tu2on ran by
peoples belief in its na2onal importance. In 1937 it was renamed to Royal Symphony Orchestra as a tribute
to the royal family, and as a mechanism of a royal ins2tu2on to acquire pres2ge. What the ochestra
received in return, as Pavel Popov men2ons,12 was part of the funds spared for feeding the warhorses. The
absurd situa2on escalates when, whilst touring the country, the recep2on they receive by common folk
embodied respect as if the musicians were of noble stature or close to the nobility. When, in fact, the
orchestra rarely had the chance to meet anyone from the royal family. Whats more, the only connec2on
between the royalty and the orchestra was their annual engagement to perform in a concert aCended by
the Bulgarian nobility.

In order to analyse the transi2on between the UBC before and a@er 1944, I will examine Ivelina
Nikolovas wri2ngs on the problems of leadership in the union published in the musicological journal
Bulgarian Musicology.13 Her main concepts are the idea of the leader who embodies the ethics and
morality of an abstrac2on or a common tendency (e.g. the Communist rule or a musical aesthe2c) and the
crucial force of discourse in these condi2ons. These two no2ons collide in the division of composers in the
beginning of the 60s into two groups WE-composers and THEY-composers in connec2on with the
dierences dealing with the resolu2on of the problem concerning na2onal and modern prac2ces in music.
This provides us with the ques2on: Is the existence of the role of a leader of the UBC a result of seeking
tolerance towards pluralism or is such a role an outcome from the necessity of having an authorita2ve
gure who represents the alia2on of the union with Socialist ideas?

Simply put, the WE-composers represent the ideology of the party, as opposed to the THEYcomposers who represent the social and ar2s2c dominion of the individual. This division condi2oned the
misunderstanding (perhaps also due to lack of informa2on and other geo-poli2cal reasons) of the modern
as a singular concept symbolised by the West, and generated the necessity of a single person embodying
Modernist values. This person was Konstan2n Iliev. Also having studied abroad with Modernist composers V.
Talih, Y. Ridki and Alois Habba, Iliev succeeded in defending the contemporary techniques and aesthe2cs in
music and at the same 2me u2lising the typical Socialist pathos and emo2onal concern for the social
welfare in his discourse. The emphasis on prominence, excep2onality and individuality during his direc2on

12

Yuliana Aleksieva,Seasons of the Sofia Philharmonic, http://www.kultura.bg/media/my_html/2059/

b_filhrm.htm, accessed 31 December 2014.
Ivelina Nikolova,The Leadership Problem in the Union of Bulgarian Composers in the 1960s and the
1970s from the Viewpoint of Publicity and Public Space, translated by the author of this essay, Bulgarian
Musicology, XVll, no. 2 (Summer, 1992), 33-41.
13

led to the pluralisa2on of ar2s2c trends which, on its part, prompted the sense of threat towards a single
na2onal idiom. As means of exemplifying the pluralis2c trend I would suggest listening and comparing three
recordings of composi2ons which were successfully published and performed at approximately the same
2me and in the same social condi2ons.14 Combined with the ambiguous dichotomy between the WE- and
THEY-composers, the culture of massively organised events had started disintegra2ng and the tendency
towards personal entrepreneurship emerged. This was partly due to the total bureaucra2sa2on of
composers ac2vity:Gradually it [ac2vity carried out by composers] has changed into a mundane prac2ce,
where there are constantly socio-ideological events to be marked. The ar2cially exalted way of life as a
result of constant ideological feasts has taken away the emphasis from the problema2c.15

Conclusion

As a result of a fragmented aVtude towards an aesthe2c commonly associated with Modernist
values, Bulgarian Modernism is only postmodern in its concep2on. The reciprocal rela2ons between this
no2on and the total bureaucra2sa2on of composers is the core reason for the disintegra2on of most UBC
structures and ac2vi2es a@er 1989. It seems that when polarised deni2ons exemplifying ideological
emblems are aCached to major aesthe2cs represen2ng values with various applicabili2es, the remainder is
a cultural product lacking content beyond the mo2va2on of funding cultural events for the sake of culture
and interna2onal representa2on. In a contemporary context, the disorganisa2on of the UBC leaves the
composer with a mirage for ar2s2c opportunity. As an ins2tu2on it includes very limited crea2ve space,
very rarely calls for scores, and almost no publicity at all. This results in a withdrawal from the ins2tu2on
and reliance on private ini2a2ves, o@en connected with European crea2ve programmes or the patronage of
the America for Bulgaria founda2on.16

1. Marin Goleminov Three Miniatures for Soprano and Chamber Orchestra, Miniature I: Old Ritual,
performed by Simphony Orchestra of Bulgarian National Radio (composed 1965), available on Spotify:
open.spotify.com/track/7k9VAHkVBvzyWEGiVcZcEK, accessed 1st January 2015.
2. Konstantin Iliev Musical Moments, performed by Plovdiv Philharmonic Orchestra (composed 1972),
available on Spotify: open.spotify.com/track/1Ack5HPIo23DtX2N5ASqZa, accessed 1st January 2015.
3. Vassil Kazandjiev Kukeri Dance, from Picture from Bulgaria, performed by Varna Symphony
Orchestra, https://www.youtube.com/watch?v=7GyE630ko2s&list=PLw9duflSwbxwA7p3uc--ucoA3_Jn1X0G&index=8&spfreload=10, accessed 1st January 2015.
14

15

Nikolova, The Leadership Problem, 38.

This tendency is best exemplified by the Ardenza Music Foundation and its initiatives: Vivapiano
Competition a piano competition for non-professional pianists, funded by the America for Bulgaria
Foundation; and the AmBul festival for American and Bulgarian for new or neglected works by American
and Bulgarian composers, http://www.ardenzamusic.org, accessed 1st January 2015.
16

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10