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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When it comes to conductors, I often listen to the interpretations of Carlos Kleiber. Atanas Ourkouzounov – Guitar.

The use of microtones? Ourkouzounov has written over ourkouzoujov for guitar-solos, duos, trios, quartets, instrumental ensembles, 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. My grandfather used to sing folk songs and he often invited musicians to come and play in his house.

Atanas Ourkouzounov Combines Traditional and Contemporary Elements in Fascinating Ways

Several internationally recognized performers have played his works. When it comes to these types of arrangements, we take the song, dance, or theme and try to create a functioning structure or form, which means that you are more free to put a bit more of yourself into the music.

He also studied theory, music ethnology, improvisation, and chamber music. He studied guitar, chamber music, analysis, ethnomusicology and improvisation at the Paris Conservatory and graduated in with unanimous vote the ourkouzouonv prize in guitar.

Ourkouzunov seem to have a never-ending source of inspiration at hand! Has your own music forced you to keep expanding your technical capacity? In addition to eight CDs on which Ourkouzounov plays, more than 60 CDs of his music performed by others are currently available. That is the reason for ourkiuzounov influence still being so strong.

Ourkouzounov | Atanas Ourkouzounov | Free Listening on SoundCloud

Yes, most Bulgarian composers are strongly influenced by the folk music. What I do know for certain is that I really want and need to write music often. I would especially like to mention the clarinet-player Ivo Papazov, and Thedosii Spassov, who plays kaval [a traditional wooden flute]. He also writes about music, focusing mainly on contemporary music for classical guitar. I remember what it was like when I started playing the guitar—pretty ourkouzounoc I found it boring lurkouzounov practice all of those classical arpeggios, tremolos, and the like.

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I am very fond of Indian music and its underlying life philosophy that regards existence as a huge interconnected network; an approach that is most appealing to me. How do you get your ourkouzzounov and how do you go about manifesting them?

One way of maintaining a cultural identity was to keep ourkouzonuov folk music alive. I cannot fully explain how I get my ideas. It is highly inspiring to work with such people—it motivates me to perform on a higher level, as well. During my childhood I was fascinated by the ojrkouzounov musicians that used to gather in the square at night in the village where my grandparents lived in the Balkan mountains.

Other recordings by Atanas Ourkouzounov: Rhythms tossing and springing to and fro.

About Search Contact Sign In. Our arrangements of pop and jazz tunes are mostly made by Mie; I only work with the guitar parts. The two of you are creating something fresh, making a new piece of music, while the melody still remains. Ourkouzounov grew up in Sofia, the capital of Bulgaria.

His guitar playing eventually took him to France, where he studied at the Paris Conservatory with teachers such as Olivier Chassain and Arnaud Dumond. And right now I am ourkouzoknov working on my fifth sonata for guitar. Apart from all this composing and performing, Ourkouzounov also teaches constantly, including at the Ourkousounov Maurice Ravel in Paris.

Eventually it resembles the process of composing. Atanaas and I have already made several records together and it is a joy and privilege to work with him.

Atanas Ourkouzounov | Tanzologia for cello and guitar

Everything is connected aatanas the music we create. Kutchiika titcha pred dramuliika Bulgaria. There are several Bulgarian musicians who create an exciting fusion of traditional music and jazz, and that inspires me a lot. Mie and I have several concerts coming up, and we also have a plan to make a new album of entirely Bulgarian music.

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I also often tune the third and sixth strings one half-tone down. So it will hopefully turn out as an interesting mixture of three different views: What are the main challenges in transferring this music to the guitar? Then, sudden shifts of perspective, showing views of floating harmonies and charged waiting. Another project for next year is to record my guitar concertos in Denmark, together with my engineer Leif Hesselberg.

Atanas Ourkouzounov is one of most interesting personalities in the Bulgarian contemporary music. I have had the pleasure of hearing some of your performances together with the flutist Mie Ogura, and the interplay between the two of you is really astonishing.

It is like watching a movie where you are the one creating the storyline, and of course you want to know how it all ends!

The process is hard to describe, but I feel this excitement and it is impossible to let go once I have started. Sometimes it ourkuzounov with the guitar, sometimes not; it might happen in front of a computer or with pen and paper. There were no musicians in my family, but in Bulgaria the folk music is very much alive and present in everyday life.

Atanas Ourkouzounov | Tanzologia for cello and guitar

I soon give atamas the desire to understand what time-signature is present, and ourkouozunov and tag along on the journey. The wide inspiration of his musical language is the result of a subtle use of the forms, an endless and original rhythmical search and a colour work which leads the guitar to explore new territories and sonorities.

As a guitarist you have a dazzling technique, making it possible for you to perform highly intricate and difficult passages while still maintaining the expressive content. Melodies rapidly winding through flickering semitone-vegetation. The rhythms and the uneven time-signatures? Again, movement, kaleidoscopic whirling, loss of gravity.