Български книжици
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Полезни връзки
Национална Библиотека "Св. Св. Кирил и Методий"
Дюкян Меломан
Словото - българска вируална библиотека
Фондация "Елизабет Костова"
Вестник "Култура"
Антикварен магазин "Светлоструй"
Вестник "Литературен вестник"
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По следите на индоейвропейците. От номадските племена през неолита до древните високоразвити култури
Раздел: Православна литература, Музика
Издателство: Sredets Choral Society
Народност: българска
първо издание, 2017 год.
меки корици, 0 стр.
Цена: 13,00 лв  
Прикачен файл:
Sredels Chamber Choir was founded by Alexander Kuyumdzhiev in 1973 in Sofia.(Sredets is the medieval name of Sofia - the capital of Bulgaria). Sredets Chamber Choir devotes most of its attention to in-depth work on the purely vocal repertory of Bulgarian orthodox music, discovering, reviving and promoting for the first time works of 12th to 20th century.
The repertory of the Sredets Chamber Choir includes also masterpieces from all musical ages and styles, a cappella and with orchestra.
The international concert tours of the choir include Austria, Belgium, Czech Republic, Germany, Greece, Hungary, Italy, Russia, Poland, etc.
Among the numerous activities of the choir are the radio-recordings in Bulgaria, Poland, Czech Republic, Italy, Germany; the three gramophone-records and two CDs; the TV films: Bulgarian Music through the Centuries - 8 series, Bulgarian Orthodox Music, Bulgarian Christmas Songs, Latin Magnificat by H.Schutz and Missa Solemnis in C KV139 by W.A.Mozart (Bulgarian National Television - Sofia), Liturgy of St. John Chrysostom by D. Christov (TV Krakow, Poland), and Ancient European Music Sacra (TV Belgrade, Yugoslavia).

In the 9th century Bulgaria adopted the Christianity in its eastern (Byzantine) model. The beginning of the third civilization in Europe after the Greek and Latin ones, was set. The culture of Slavia Orthodoxa, first formed in Bulgaria, became the basis for the development of the Russian culture in the 10ft century and of the Serbian and Valacho-Moldavian ones in the 12th and 13th centuries. To represent Bulgarian heritage with such a significance through the centuries (Middle Ages, Renaissance or National Revival and Modern Times), was the aim of the performers of this CD.
The 14lh and 15th centuries in the Balkans, known as Paleologues Renaissance, is an age of unparalleled musical creativity. We know about 80 names of composers of that time. One of the most famous among them is Joannes Koukouzeles, Bulgarian by birth on his mother’s side - composer, singer, and theoretician. The sources attribute to 'him a great number of chants (№8, MS 2406 from 1453, National Library of Athens). His pupil, Dimitrios Ookianos, wrote a unique piece labelled In Imitation of Bulgarian Lament Melody (№ 4, MS 2599 from 1352, National Library of Athens). Unique are also the chants included in the Palausov’s copy of the Synodikon of King Boril (№ 2, MS 289 from the end of the 14lh century, National Library of Sofia St. St. Cyril and Methodius). Up to now we do not know their parallels in musical literature. It is suggested that the last Bulgarian Patriarch of the 14th century - Euthimius, was the editor of this Synodikon. The chants are representative for the musical school at the capital Tirnovo.
After the fall of Bulgaria under the Ottoman yoke in 1396, many highly educated Bulgarians fled the country. With their activity the so-called Second South Slavic Cultural Influence is linked. The traces of Bulgarian music are revealed in the musical school of the Putna monas­tery in Valacho-Moldavia. Ten chant books of the end of the 15th and 16th century, written in Greek and Bulgarian, are known from that school. The most famous composer there was Protopsaltes (first singer) Eustathie who composed his pieces in both languages (№9, MS 511 from 1511, Library of the National Historical Museum of Moscow). The Putna monastery was one of the mediator centres between the Slavic South and the Slavic East. Four recently discovered chant books from the 17th and W centuries corroborate this suggestion. Contain­ing chants, designated as Bulgarian, these books are representative for the musical school of Bolgarskij Rospev in the Karpathian monastery Great Skit in Ukraine (№ 5, MS 375 from 1700, Library of the National Historical Museum of Moscow; № 6, MS 10846 from 1676, Central National Library of Bucharest; № 7, D.V.Rasumovsky’s copy of the 2"" half of the 19'" century, National Library of Moscow, Fund 380).
During the Bulgarian National Revival of the 18lh and 19"’ centuries, one of the biggest musical schools in the Balkans functioned at the Rila monastery. Joasaph of Rila and Meophit of Rila were its most distinguished representatives (№3 and 10, MS 145, Library of the Xenofontos monastery on Mount Athos and MS 287, Library of the Institute of Arts at the Bulgarian Academy of Sciences).
By the end of the 19th and the first half of the 20lh century some Bulgarian composers payed special attention to the orthodox music. D. Christov (№ 11-19) and P. Dinev (№ 1) wrote one of the first modern liturgical pieces. The Liturgy of the former was created in 1924 on the occasion of the consecration of the Patriarchate Cathedral St. Alexander Nevski in Sofia. The composer has used in it melodies from Bolgarskij Rospev, marked by him as old-Bulgarian tune. This Liturgy is the most significant and representative acapella work in the Bulgarian choir literature of the 20th century. It is notable with its compositional artistry, its richness of melodical invention and religious emotion. The Liturgy of D. Christov is comparable to and has found its place among the masterpieces of the orthodox music such as the Liturgies ol P.l. Chaikovsky, S. Rachmaninov and Al. Grechaninov.
Svetlana Kuyumd/hleva
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