Last creation:
Concert for violin and orchestra No.2
in A-dur
Written in the nature:
/ 27 May 2009, Wednesday - 20 September 2009, Sunday /
|
Последна творба:
Концерт за цигулка и оркестър No.2
в A-dur
Написан в периода:
/ 27 май 2009, сряда - 20 септември 2009, неделя /
|
|
|
Emona is a village in eastern Bulgaria, situated close to Cape Emine, the Black Sea, the administrative center of Municipality Nessebar, Burgas.
With its permanent population of 29 people and an average altitude of 108 meters and the coast is known for its virgin nature and clean environment, which can be found almost anywhere on the Bulgarian Black Sea coast. There grow unique plants, which are listed in the Red Book of Bulgaria and are protected by the Biological Diversity Act.
Emona is the birthplace of legendary Thracian warrior Rhesus [Ρήσος, Res], a participant in the Trojan War.
The image of the Thracian king Rhesus, an ally of the Trojans and killed by Odysseus and Diomedes, was described by Homer in the X song "Iliad":
"... I saw with my own eyes his wonderful horses, unsighted
with excellent growth and color, whiter than snow.
And the speed of the wind they vihrovit similar.
Gold and silver chariot was decorated, bright
And gold is its wondrous light weapons,
decent weapon is not deadly to stand,
and the immortal gods live forever blessed ... "
Rezos horses and hunting in the Rhodopes. Rhesus is presented as the son or the river god Strymon (Struma River), or as the son of Hebros - personification of the Maritsa river, or as the son of the god of war Ares. According to legend he was a man received a divine nature - has turned into antropodemon. Mentions that Amfipolis had his temple - Heroon.
Or the ancient fortress of Emona "Aristeum" has stood in place of "Old Fortress" at Cape Emine in Emona village. Navigation is the site of present-day lighthouse. The remains were found and in the construction of the lighthouse. Nowadays, almost erased.
In 1278 was conquered by the Byzantines in 1366 by Savoies. In 1367 the inhabitants of Emona rose in rebellion and expelled alien garrison. In late 1369 and early in 1370 the castle was in possession of the despot Dobrotitsa.
In 1388-1389, he was conquered by the Turks, and finally fell in March 1453
Near the village is the protected area and the famous Irakli camping with the same name.
|
Емона е село в источна България, разположено непосредствено до нос Емине на Черно Море, с административен център община Несебър, област Бургас.
Със своето постоянно население от 29 души и средно 108м надморска височина и крайбрежие, е известно с девствената си природа и чистата околна среда, която не може да се срещне почти никъде по българското крайбрежие на Черно море. Там растат уникални растения, които са вписани в Червената книга на България и са защитени от Закона за биологичното разнообразие.
Емона е родното място на легендарния тракийски войн Резос [ Ρήσος, Рез ], участник в Троянската война.
Образът на тракийския цар Рез, съюзник на троянците и убит от Омир и Диомед, е описан от Одисей в X песен на "Илиада":
“… Видях с очите си конете му чудни, невидяни
с превъзходен ръст и цвят, по-бял от сняг.
А по бързина те са на вятъра вихровит подобни.
Злато и сребро украсяват колесницата му , блестяща
И златно е дивно неговото въоръжение светло,
прилично е това оръжие не на смъртен да стои,
а на безсмъртните, вечно живи богове блажени…“
Резос отглеждал коне и се занимавал с лов в Родопите. Резос е представен или като син на речния бог Стримон (реката Струма), или като син на Хеброс – персонификация на река Марица, или като син на бога на войната Арес. Според легендата той е човек, получил божествена същност - превърнал се е в антроподемон. Споменава се, че в Амфиполис е имало негов храм — Хероон.
Крепостта Емона или античното "Аристеум" се е издигала в местността "Старата крепост" на нос Емине при село Емона. Намирала се е на мястото на днешния фар. Останките и са открити при строежа на фара. В днешно време са почти заличени.
През 1278 г. е завладяна от византийците, през 1366 г. от савойците. През 1367 г. жителите на Емона се вдигнали на бунт и прогонили чуждоземния гарнизон. В края на 1369 г. и началото на 1370 г. крепостта е във владение на деспот Добротица.
През 1388-1389 г. е завладяна от турците, а окончателно пада през март 1453 г.
В близост до селото се намира защитена местност Иракли и известният къмпинг със същото име.
|
|
|
Hristo Spasov Tsanoff: Stabat Mater speciosa (2006)
for STB soloists and SATB unaccompanied chorus
comments by Peter Fawcett based on a reading of the manuscript score.
There are hundreds of settings of the mediaeval hymn Stabat Mater dolorosa but surprisingly few of the slightly later companion hymn Stabat Mater speciosa , The former addresses Mary in the context of Christ's crucifixion, the latter in the context of the Nativity.
It is pleasing that Dr Tsanoff has sought to rectify this imbalance with a new setting of speciosa.
The text
The text consists of twenty-three 3-line stanzas.
The first ten (numbered 1 through Sb) celebrate Mary and the Nativity, and the prevailing mood is of ecstasy:
1-4: the joy of Mary
5 - 6: rhetorical and ecstatic questions
7 - 8: pity of the lowly stable
8a-8b: joy of the angels and of Joseph The next eleven (numbered 9 through 18} form a prayer to the Virgin:
9 -10: supplication for the gift of ardour and love
11-12: supplication for the gift of sympathy and penance
13/a/14: supplication for the gift of joy and ardour
15-18: invocation of Christ through Mary The last two stanzas (19 & 20) form an affirmation of the Christian faith.
Handling of the text
One looks for recognition and heightening of this structure of the text in a choral setting. (This may be my unjustifiable western-European bias for I have noticed a less obvious relationship between text and music in, for example, Bulgarian folk song, which seems to gain in power thereby; but I read Tsanoff's work as being in the mainstream of symphonic music.)
There are fermata at significant points but in general I don't see the musical devices being employed so as to bring out the structure of the text. The overall mood in the first part (1 - Sb) is not that different from the second part (9 -18} or the coda. Thematic material appearing in the first part is used again in the second, but in contexts where the text suggests a very different mood. This may be intentional, of course.
For example, the motif introduced at bar #30 for "0 quam laeta (O how jubilant)..." reappears at #118 for "et algori subditum (subjected to the cold)". Another instance, the "laughing" motif of #49 for "Quae gaudebat (0 how she was happy)" reappears at #130 for "Vidit ....vagientum (She saw ... crying)" and again at #204 for "Tui nati... poenas mecum divide (share my penance with your child)". The joyous theme of #153 "Nati Christus in praesepe (for Christ born ...}" is next used at #250 "Virgo ... non sis amara (Virgin, be not bitter)".
Musical idiom
The idiom is expressive, with advantageous use of rhythm, melisma, counterpoint, fugato, etc. The choral textures are varied by thinning and doubling of the parts, by the use of vocalese, and by combinations with the soloists to heighten the musical intensity. These variations in choral/vocal texture are used to good effect at changes of mood.
The underlay of words, and phrasing, is generally practical with just a few awkward spots, such as at the end of bar #3.
The harmonic language is chromatic, verging on atonal in places, and this makes the work more suitable for skilled singers only.
The added "Amen" has a grandeur which brings the work to a fine conclusion.
The work begins and ends in an F-minor tonality. This tonal centre gives way to a generally chromatic/atonal treatment through most of Part One but centring on G-major through the transition and into the first four stanzas of Part Two. Shift to a D-minor centre for the next two stanzas and then recall of the G-major themes, now F-major, before reprise of the opening F-minor material for the coda (stanzas 19-20).
Again it is possibly my bias, but I find this sequence of tonality surprising in relation to the structure of the text. To me, the harmonic structure is working against the textual structure; the expression of ecstatic joy on the one hand, and of earnest supplication on the other.
In conclusion
These comments have been made by way of constructive criticism. It has been a privilege to appraise the work.
A fully-professional choir might enjoy the challenges of the setting, and I wish Dr Tsanoff success in seeking a performance.
Peter Fawcett,
Hobart, Tasmania, Australia January 2007
Stabat Mater speciosa [ Hymn ]
