Cultural Dynamics and Choral Music in Bulgaria During the Communist Era, 1944-1989 by Gabriela Hristova

Cultural Dynamics and Choral Music in Bulgaria During the Communist Era, 1944-1989

The following account is a summary of my sabbatical research in Bulgaria in the fall of 2014. The information presented does not claim to thoroughly evaluate the cultural and political complexities that occurred during the totalitarian period from 1944 to 1989, but rather offers a summarized look at the choral traditions of the country and the impact of the political climate on their development.

“The human voice is more eloquent singing than speaking.” ~ Marcel Cellier

Having realized this truth, the Bulgarian people consider singing to be one of the highest forms of artistic expression. The singing traditions of the Bulgarian nation are rooted in the Byzantine era, and even further back to the times of the ancient Thracian civilization and the territories near the Trigradska river known today as the place where the mythological musician Orpheus lived, who, as the myth goes, crossed over to the underworld to look for his beloved wife Euridice.

For a small nation with limited presence on the world stage, Bulgaria’s singing traditions are strong because they stem from both the oral dissemination of Bulgarian folklore over the centuries and the strong Christian faith of the Bulgarian people. Established in 681 AD as a kingdom, Bulgaria went through periods of greatness and defeat. It was once one of the most powerful countries in the Balkans and it saw one of its most glorious times under Tsar Simeon (c. 864-927), when music and literature reached true greatness. However, over the course of their 1300 years of history, the Bulgarian people not only celebrated prominent accomplishments, but also suffered through centuries of slavery and oppression. These experiences formed and shaped Bulgarian folklore traditions. The people embraced singing as a powerful expression of their everyday life struggles, joys, and faith. The Bulgarian folk song traveled and evolved through the centuries, forming a rich legacy, the foundation of organized singing traditions, and the creation of world class choral literature during the 20^th century.

Bulgarian organized singing began during the Bulgarian Revival Period (1762-1878) and became one of the most significant cultural activities following the country’s liberation from the Ottoman Empire.^[1] The socio-economic developments that occurred during the Revival Period ultimately led to the liberation of the Bulgarian people from Ottoman rule. Even though vocal formations singing folk tunes existed at times, the first really significant event in the history of Bulgarian choral singing was the formation of a male chorus singing four-part secular repertoire in 1868 by Yanko Mustakov. Around the same time, music as a subject entered the public schools, and more vocal ensembles for unison singing (still small in size) began to form. After the liberation from Ottoman rule in 1878, choral singing quickly became popular in the absence of a professional musical establishment; its increasing momentum prompted the emergence of the first generation of Bulgarian composers, and also led to the gradual institutionalization of a Bulgarian musical culture.[2]

Between 1901 and 1926, forty singing organizations, many of which had within their structures mixed, male, and female choirs, were established around the country. Some of these organizations also created their own youth singing groups called Detski Kitki (Children’s Bouquets). The first Detska Kitka was established by Dimo Boichev in 1905, in Plovdiv. The artistic activities of these children choirs were independent from the activities of the public school choirs. The initiative for children choirs gained such momentum that in 1912, it led to the formation of the Union of Bulgarian Children Choirs in Sofia, which was 14 years before the establishment of the Bulgarian Choral Union in 1926 (initially known as the Union of Folk Choirs in Bulgaria). The latter played a significant role in the growing numbers of other new choirs. By 1944, the organization had 144 choir memberships, a significant number for a small country with 70 major cities and around 150 smaller towns, and still developing its cultural identity.

One specific characteristic that tied together all of these ensembles was their makeup of amateur singers — until 1944 Bulgaria did not have professional choral ensembles. Yet, these ensembles exposed their audiences to Western choral works and music of great artistic value that had not been previously accessible. They collaborated with instrumental ensembles to bring the finest examples of vocal-instrumental music of the Western world to their audiences.

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At the beginning of the twentieth century, the emerging choral ensembles created demand for choral music and stimulated the creation of literature, which also fostered a professional and mutually beneficial relationship between composers, conductors, and singers. The repertoire performed by Bulgarian choirs at the time included literature by Russian and Western composers, but the majority of it was choral arrangement of indigenous folk material.

The first generation of Bulgarian composers, Emanuil Manolov (1860-1902), Dobri Hristov (1875-1941), Georgy Atanasov (1882-1931), Panyot Pipkov (1871-1942), Alexander Morfov (1880-1934) and others, relied entirely on the folklore traditions as a source of thematic material that inspired their creativity.^[3] They took folk melodies and arranged them for multiple voice parts. Their strong draw and connection with the folk song existed not only because of the melodies’ self-contained beauty, but also because they captured and preserved the spirit of Bulgarian people, their struggles, strife, and ways of life.   These folk songs kept Bulgarian people’s spirit alive during the centuries of oppression, and along with their Christian faith preserved in the secluded monasteries in the mountains around the country, helped them persevere. At the beginning of the twentieth century, the folk melodies and songs naturally found their expression and a permanent place in Bulgarian ‘classical’ choral music.

The second generation of Bulgarian composers, Pancho Vladigerov (1899–1978), Marin Goleminov (1908–2000), Petko Stainov (1896–1977), Philip Kutev (1903-1982), Parashkev Hadjiev (1912-1992), and others — most of whom had sought music education in elite Western-European schools and then returned to Bulgaria – continued the trend of arranging pre-existing folk material and writing music for choir; however, their arrangements showed more of the composers’ individual styles. They created a repertory of music, distinctly Bulgarian in sound, and again, strongly rooted in Bulgarian folklore.

During the period from 1862, when Bulgaria was still under Ottoman rule, to 1944, when the country fell under communist rule, the choral art naturally developed on the foundation of the folk singing traditions, and quickly evolved into its own art form. The momentum gained by many enthusiastic singers, creative composers, and talented conductors continued into the next period (1944-1989); however, elements of it would be transformed ideologically to serve the political purposes of the new communist government.

***

On September 9, 1944, less than a year before the end of World War II, the political structure in the country changed. Bulgarian communists declared a victory over German fascism, followed by the forceful removal of the government of the Kingdom of Bulgaria by the People’s Liberation Revolt Army. This turning point led to radical reforms towards communism and the establishment of a new government. The Kingdom of Bulgaria became the People’s Republic of Bulgaria, and was completely reshaped by large-scale political, economic, and social changes.

In the next decade, the newly established Communist government consolidated its power, nationalized, and collectivized all private property. Farm land, gardens and parks, plants and factories, restaurants and businesses, public buildings, schools, libraries, theaters, and opera houses were now government owned. The intellectual elite of the country was purged by the newly established government,^[4] new bureaucratic structures were put in place and various government agencies were formed to control and censor the press, radio, television, all cultural institutions, and any other social organizations. Life, in all of its forms, was monitored and controlled by the centralized government headquarters.

Entities such as the Ministry of Propaganda, the Ministry of People’s Enlightenment, and the Management for Cultural Creativity, and the People’s Indoctrination, began to play immediate roles in the artistic initiatives and life of all cultural institutions, their artists, musicians, writers, poets, actors, academics, and journalists.

Two key functions of the Ministry of the People’s Enlightenment were to subsidize art organizations and to support their musicians, actors, writers, and artists. Every medium to large-sized city had an opera, theater, orchestra, art gallery, choral organizations both professional and amateur, and community centers that offered an array of art, crafts, writing, folk dancing, and music classes. These institutions were fully subsidized and financially supported by the government. Favorable conditions for the promotion of art and literary works were created through music festivals, art expositions, film festivals, poetry and literature forums, and others. Additional subsidies promoted the popularization of folk music and the development of cultural life in rural areas and small villages. Government stipends were available for elite artists and musicians for international travel, internships, and educational programs. Government funds were also directed to retirement programs and health care for artists and musicians. Most aspects of Bulgarian cultural life were government-operated and subsidized. Ultimately, the Ministry of the People’s Enlightenment evolved into a government branch named Directorate for People’s Culture, which held total power in matters of art and culture.^[5]

Clearly art and music were important to the government, but their importance was in large part as political tools, and not so much for the edification of the Bulgarian people, who had been intentionally stripped of their intellectual elite in the recent past by the same government. The arts were politicized for the purpose of conditioning the masses to embrace the new communist ideology. State support of the arts was the mechanism for creating the ‘new man’ needed to ‘build the future of communism.’ Music and art were the platforms showcasing the success of the new ideology to the Western world, and the artists, musicians, and writers became the means to promote it. Further, the financial stability for all art and music professional organizations came with a catch: censored artistic creativity and artistic product that followed government expectations, and glorified the communist ideology. Art and music became instruments of communist propaganda.

Many examples in the large spectrum of musical life speak of this controlled climate: on July 5, 1954, a government decree banned the listening of Western pop music; in 1968 the Beatles were banned from coming to Bulgaria to give a concert at the ninth Festival of Youth and Students in Sofia; many Bulgarians born at the beginning of the communist era learned about Elvis Presley only after his death in 1977.^[6] Additional, the Party strongly discouraged religious practices. After 1944, the church ceased to be a place for social life, and the notion that religion and faith in God must not come before one’s loyalty to the Communist Party became an underlying factor in the creation of art and musical works.

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It is the nature of any art to reflect on cultural perspectives and historical changes, adapt to socio-economic and political environments, and offer a look at the human experience. The direction of choral art in Bulgaria in the period of 1944 – 1989 was toward adapting to the new political climate and meeting ideological expectations. Perhaps not in its entirety, but in a large number of choral repertoire from the period, its distinct outlook was defined by the incorporation of political texts and musical idioms that served to popularize the Communist Party ideology. However, the art also continued to evolve through the relationships between composers and choral ensembles, its strong bonds with the folklore, and the natural human needs for social connection and artistic expression.

The relationships between government authorities, composers, and performers during the communist era were complex. Following the “Soviet general line,” the government called for new music to draw on popular national traditions and to communicate to the public in easily accessible ways. Political messages were woven into works such as choral marches, patriotic hymns, and mass songs written in ‘the spirit of the new time,’ which also became people’s day-to-day intellectual experiences. The tone of the music was serious and artificially enthusiastic. Additionally, much of that repertoire was widely recorded and used for radio and television broadcasts, at communist parades, events, political conferences, and Party celebrations. The sounds of such works dominated the aural environment and daily lives of Bulgarians.

The assessment of composers’ and performers’ artistic accomplishments in the areas of musical innovation and means of expression was highly critical. Compositions that fell outside of the above criteria, were often censored or criticized by the government as decadent and bourgeois. ‘Formalism’ and abstruse harmonic experimentation were pointedly criticized (e.g., jazz music was banned as it was deemed ‘politically inappropriate’). Some composers found ways to live with communist policies and take advantage of government sponsorship. A number of them proved willing during the high Stalinist period to compose in genres and styles such as mass songs, cantatas, and oratorios dedicated to the Communist Party. Some composers who cooperated and followed the idea that culture must be close to the people were tolerated and applauded. Many others, even those known for their communist beliefs, were forced to adapt to writing in the spirit of the ideology. Other composers, who did not have any political preferences, were dubbed ‘formalists’ and people who propagated ‘bad Western European culture.’^[7]

As a balancing act, many Bulgarian choral composers continued to use thematic material for their works from the rich folklore, finding inspiration in the unique melodic, rhythmic, and timbral characteristics of Bulgarian folk melodies. Numerous arrangements of folk songs with creative musical ideas, stylistic elements, and unique harmonic sonorities, entered the choral repertoire and remain present in concert programs to this day. Yet, the core emotional tone of these compositions was the historically-ingrained sadness and lament of Bulgarian folk tunes. After a while, some Bulgarian choral conductors categorized the choral repertoire of the time as suffering from thematic monotony. Noted in an interview given by one of the greatest Bulgarian conductors, Vasil Arnaudov, was that ‘our choral music is predominantly slow and missing genuinely lively, fast, and joyful works.’^{[8] [9]} On the other side of the repertoire spectrum were the ideological songs, with dominating and artificial celebratory tone lacking artistic interest, and in the middle was the limited choral literature available for study and performance from the Western world. What was allowed from Western music was predominantly Renaissance madrigals and part-songs from the Romantic era, as well as some opera choruses with a secular character. Choral works of sacred nature were not accessible as they were seen as promoting religious ideology.[10] The composers of choral music wrote very little to no spiritual works.

For the next few decades, Bulgarian choral composers retained their connection with Bulgarian folklore, but strove in the manner of socialist realism for more direct and accessible expression in their compositions: Pancho Valdigerov (1899-1978) combined his Western European training with writing in the Bulgarian village style of folk music; Petko Staynov (1896-1977) composed many part-songs and larger unaccompanied works in the style of the first generation of choral composers, with strong folk influence and simple structural forms; Lyobomir Pipkov (1904-1974) wrote many compositions with a predominantly patriotic character, but also with strong melodic, harmonic, and rhythmic connections to folk music (oratorio Wedding, 1934; Cantata 1958; Oratorio of Our Time, 1959); Todor Popov (1921-2000) wrote in an easily accessible style, combining folk elements, but featuring the melody as the most important aspect (Bright Festival 1959; Song for the Great Day, 1968); Konstantin Iliev (1824-1988 ) and Krasimir Kyurkchiiski (1936-2011) were among the most innovative composers of the time, combining distinct folk material with modern harmonies and aleatoric techniques.

Examples of the ideological compositions that remain representative of that time period are^[11] : Pesen za Rudozem (Song about Rudozem, a mining area in Southeast Bulgaria) by Lyobomir Pipkov; Traktor, Sarevnovanie (Competition), Tragvaite Stopani (Farmers, Lets Go), Partiina Pesen (Song for the Party) by Philip Kutev; Pesen za Savetska Rusia (Song for Soviet Russia), Balada za moiat zavod (Ballad for My Factory), Lenin, Pod Znameto na Partiata (Under the Party Flag), by Todor Popov; Cherveno Zname (The Red Flag), Septemvriicki Ogniove (September Fires), Pesen na Komunista (The Song of the Communist), Rabotnikat (The Factory Worker), Fabrika (Factory), by Geogy Dimitrov; Zdrastvuite Bratushki (Salute to Our Russian Comrades) by Kiril Stefanov; Napred Bortci za Mir (Peacemakers Lead) by Dimitar Terziev, and many others, all in the spirit of political praise, glorifying the communist leadership, applauding the success of Bulgarian agriculture, and saluting our ideological commander, Russia. Church choirs retracted to only limited worship assistance. The composers of choral music wrote very little to no spiritual works.

One of the significantly positive outcomes of this period was the strong encouragement of singing as a social activity, under the totalitarian umbrella. Regardless of the political climate, choral music evolved into an outlet for artistic and cultural expression. It remained democratic in the sense that it embraced the need for music making and promoted an understanding of the purpose of such art. In his Dialogues on the topics of choral singing (Sofia 1964) Prof. Georgy Dimitrov ^[12] (1904-1979) noted: ‘Anywhere where people lived and worked, they also sang.’^[13] Amateur choirs existed in the cities and villages, in factories and institutions. By 1964, the Bulgarian Choral Union had 5600 registered choir memberships, demonstrating the phenomena of choral singing. And despite the repertoire directives, the dominating ideological themes, and limited exposure to Western literature, choral singing created a cultural space, so to speak, in which people of different views and backgrounds could participate in a unifying artistic platform.

***

A unique characteristic of many choral organizations, both professional and amateur during the totalitarian period, was their financial stability secured through government subsidies. In 1954, the government established the Central Council for Arts of the People, later renamed to Center for Amateur Artistic Enterprise. This centralized management was significant in promoting, financing, and monitoring the ideological outcomes of all amateur choral ensembles. Government budgets also allowed professional choral organizations to maintain their artistic and administrative personnel, run their concert seasons and artistic activities, and travel financially-secured. Musicians and artists also enjoyed retirement benefits and economic stability. Being government-subsidized, choirs, especially the professional ones, were expected to demonstrate the highest musicianship.

As noted earlier, school and university choirs, amateur chamber choirs, community choirs, and choral formations of all makes, played a significant role in people’s social lives – most of the larger cities maintained amateur choirs through community centers, factories, plants, and other government agencies (post office, medical workers, transport agencies, teachers’ union, etc.). Their role as social outlets and places for gathering, along with ideological edification of the people, were vital to life in Bulgarian towns and cities.

Among the leading amateur choirs before 1989 were Georgy Kirkov (est. 1919); Postal Workers’ Choir (est. 1919); Academic Choir (est. 1933 as a men’s chorus) in Sofia; Rodina in Ruse (est.1936); Sofia Maidens’ Choir (est.1953); Hristina Morfova (est. 1954); the men’s choruses Kaval and Gusla (est. 1925); the Men’s Chorus of the General Management of the Army Core Engineers (ГУСВ); Morski Zvuci in Varna (est. 1925); Rodna Pesen in Burgas (est. 1896), and the children and youth choirs of the National Radio and major cities such as Dobrich, Shumen, Sliven, Plovdiv, Kazanlak, Yambol, Plovdiv, and others.

In the 1960s and 1970s, new chamber choirs continued to emerge. Among them were the Sofia Chamber Women’s Choir (1966), the Chamber Men’s Choir Sofia (1967), and the Women’s Chamber Choir at the Center For Culture Penio Penev (1968). These groups were established as the leading ensembles in the development of chamber choirs, specifically. Following their lead, in the 1970s, the new Chamber Women’s Chorus formed at the Academy for Music, Dance, and Fine Arts in Plovdiv (1975), the Chamber Ensemble Madrigal in Sofia (1972), and the Chamber Mixed Chorus Sredec also in Sofia continued the trend.

Another important development for the choral art in the country was the formation of the first school for choral singing, established by Petya Pavlovich in Kazanlak in 1967. The popularity of the school and the number of choral formations established in it grew quickly. By 1977, the school featured seven choral ensembles and 400 singers ages 5-55. On the contrary, in the public school arena during the late 70s and the 80s choral singing seemed to decrease. It moved out of the school system, to community centers for learning and smaller educational organizations not connected to the public school curriculum, where it continued to flourish.

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Due to the increased financial support, choirs had the ability to travel and participate in competitions and festivals on regional, national, and international levels. Many choral festivals and community choral events across the country became attractive for choral singers, and provided a platform for exposure and musical exchange. This not only encouraged the birth of new choral works and choral formations, but propelled higher standards in performance, and elevated the choral art to new cultural levels. The first National Youth Choral Festival was held in 1947 in Sofia, followed by Festivals of Choral Music for various choral ensembles. Among some of them are the choral festivals in: Varna; Plovdiv; Shumen; Burgas; Stara Zagora; Dobrich; Veliko Tarnovo; The Golden Diana in Yambol; Cantate Europe in Dobrich; The Festival of the Danube Cities in Silistra; the National Choral Festival held every five years (1959-1989); and the highly prestigious May Choir Festival and International Choir Competition in Varna. The year 1947 also saw the first participation of Bulgarian choirs in an international choir festival (Young Prague Festival, Czech Republic). It is important to acknowledge that the choral repertoire performed at these festivals, forums, and conventions featured mandatory works by Soviet composers such as Dmitri Schostakovich, Alexander Taneyev, Vissarion Shebalin, and others, most of which were in the spirit of marches, mass songs, and ideological hymns.

In the 1960s, the second and third National Choral Festivals showcased a continued advancement of choral singing with notable performances by choirs such as ‘Rodina’ from Ruse, ‘Morski Zvuci’ from Varna, ‘Dobrojanski Zvutci’ from Dobrich and others. At the same time, Bulgarian choirs also gained the acknowledgment of the international choral community participating in competitions in Debrecen, Hungary; Arezzo, and Gorizia, Italy; Llangollen, Great Britain; Tolosa and Cantonigros, Spain; Let the People Sing, BBC, London; Neerpelt, Belgium, and others.

It was not only the financial stability that brought choirs to the national and international scenes, it was also their artistry and skill. Bulgarian choral performance was generally characterized by strong timbral richness, sensitive musicality, expressive ‘southern temperaments,’ and artistry. The Western world is most familiar with the female choir, The Mystery of Bulgarian Voices, which began its artistic endeavors as a professional folk formation at the National Radio in 1952 (in 1990 it was moved to the National Television). The ensemble was able to begin concert touring across the world after 1988, giving hundreds of concert performances on the world’s most prestigious concert stages, and producing several albums, one of which received a Grammy Award in 1990. It is important to make the distinction that the ensemble specialized in the performance of traditional folk arrangements with authentic and indigenous sounds, and with singers trained to sing in the traditional folk style. Nevertheless, the choir gained an international fame of grand proportion and put Bulgarian choral music on the world stage.

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A significant historical moment during this period was the formation of the Department of Choral Conducting at the National Conservatory of Music in 1951, by Professors Georgy Dimitrov and Dimitar Ruskov (prior to that conductors and ensemble leaders were trained musically, but not in the specific discipline). Prompted by the government Committee for Education, Culture, and Art, the Conservatory leadership was asked to develop new programs to improve the quality of music education. At that important moment, Professors Dimitrov and Ruskov laid the foundation for choral conducting and education for future generations of Bulgarian musicians. In the years after 1951, new generations of professionally-trained conductors and teachers of conducting would shape the standards for choral singing, education, and performance.

Along with the newly formed Department of Conducting came the need for instructional materials on the subject. The first published text books that appeared in the next few years were Choral Conducting by Profs. Dimitrov, Rusov, and Goncharov, A Guide to Score Reading by Nikola Topuzov and Sia Chalakova, and A Collection of Vocal Warm-ups^[14] by Nadia Popova. Subsequently, Prof. Dimitrov also compiled four volumes (the first four of nine) of a Choral Anthology of repertoire for study and conducting, which are used as a repertoire resource for students and conductors to this day. Another source for repertoire, which played an important role in the dissemination of Bulgaria choral repertoire was the periodical Rodna Pesen (Our Song), featuring new choral works by Bulgarian composers. First published in the early 1930s, each issue included 10-12 choral selections. It also featured reviews of choral events, initiatives, and artistic activities on local and national levels. Throughout the period between 1944-1989, this periodical remained a main source for choral news and choral repertoire for conductors and choirs.

It is important to name some of the prominent choral conductors of the time, who successfully developed their choral ensembles and played a major role in the artistic advancement of choral singing: Georgy Dimitrov (1904-1979); Michail Milkov (1923-2003); Zahari Mednikarov (1924-2007); Stoyan Kralev (1929-2018); Marin Chonev (1932-2012); Hristo Nedialkov (1932 – 2013); Lilija Giuleva (1933-1992); Hristo Arishtirov (1933-2002); Vasil Arnaudov (1933-1991); Kiril Stefanov (1933-2005); Georgy Robev (1934-2002); Krikor Chetinyan (1943-2018); Dora Hristova (b.1947). These conductors have been acknowledged as conductors with high artistic standards, individualism, and charisma, who also worked as pedagogues, teaching and inspiring students and singers alike.

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In summary, the choral field in the period from 1944-1989 saw a steady, progressive development and artistic accomplishments. It blossomed into a leading art form for the country. A unique combination of several factors created the favorable environment for the advancement of the art – the government subsidized budgets that allowed choral organizations and their musicians and administrations to thrive; the abundance of thematic material from the nation’s folk heritage that became the foundational sound of the choral repertoire; the symbiotic relationship between composers and choral ensembles and the strong incline for singing; and the wide spread web of choral festivals, panoramas, and forums for choral singing that naturally provided platforms for choral performance, stimulated the creation of new repertoire, and raised the performance expectations to high levels of artistry. Additionally, the combination of the ideological platform established by the Communist Party and the strong influence from the Soviet Union dictating the politics in art and music, with the musical idioms of the thematic material coming directly from the Bulgarian folklore and incorporated in the sound of the choral works, produced a repertory uniquely representing the time period. Finally, the newly-founded Conducting Department at the National Conservatory of Music propelled the professional training of conductors and established the pedagogical approach to teaching conducting.

After 1989, with the fall of Communism, the forward momentum of choral art in Bulgaria was stalled for a period of years.^[15] With the change of the political and economic structure toward a free market, also came a stagnating change in the financial stability of all art institutions and entities. Government support for composers and conductors, promotion of choral music through festivals and conventions, and for all accompanying administrative structures, ceased. Choral organizations and ensembles, both professional and amateur, entered a period of financial hardship and artistic uncertainty. Choirs became smaller in size and numbers, and began to face the need for alternative subsidizing through donors, fundraising, and grants.

The Bulgarian Choral Union, established in 1926, received the status of a non-government organization in 1990. The number of choral ensembles, members of the organization steadily declined and is currently down to 30 choirs and 60 conductors, compared to 5600 choirs in 1967. The organization’s mission continues to be maintaining and rebuilding the strong singing traditions of the past, promoting choral musicians and choral education across the country, and creating new platforms for choral performance (e.g., the annual Panorama of Bulgarian Choral Art and the national initiative Bulgaria Sings).

On the other hand, with the opening of the national borders with the Western world, many opportunities for exchange of repertoire, pedagogy, travel, and performance become widely available after 1990. Yet, it would be several years until the cultural institutions, choirs in particular, found a way of rebuilding and re-establishing themselves within the new market economy and as part of a global community.

It is fair to say that the research on the choral traditions from the period between 1944-1989 is still new, and lacks sufficient published information on the subject. Similarly, for the preceding period from 1878 (Bulgaria’s liberation from the Ottoman Empire), to 1944, (Bulgaria’s fall under Communism), there is only one comprehensive research study written as a doctoral dissertation, The Choral Art in Bulgaria from the end of 19^th century to 1944 by Agapia Balareva (1992). Additionally, a small number of books offer biographical accounts on conductors and composers, as well as specific choral ensembles: For Ever Will Sing and Quarrel by Goritza Naidenova (2003) and The Chamber Choirs in Bulgaria by Evelina Krasteva (2012). In recent years, student dissertations and research papers, such as The Politicization of Music During the Totalitarian Rule in Bulgaria 1944-1989, by Stanimira Dermendjieva (2018), and The Bulgarian Professional Choral-Conducting School: Foundation and Development of the Choral Conducting Department by Evelina Kulinski (2017), have offered perspective on the period, from the distance of time.^[16] The choral world awaits further scholarly research that will offer new insights into the remarkable art of Bulgarian choral music.

 

Appendix

 Representative Bulgarian Choral Composers and Compositions

 The following list includes Bulgarian composers who utilized the bountiful melodies from the Bulgarian folk heritage as a source of inspiration in the creation of many choral arrangements, as well as original compositions.

 Early 20^th century:

Petko Stainov (1896-1977): choral ballads Тайната на Струмa (Struma’s Secret[17]);Урвич (Urvich); Конници (Horsemen).

Georgi Dimitrov (1904-1979): Лика-прилика (Like and Alike); Цъфнало е кокиче (Snowdrop Blooming); Рибарска наздравица (A Fishermen’s Toast); Вечерний здрач (Evening Dusk); Умрел Джерман (Dead Djerman, a Ritual for Rain).

Emanuil Manolov (1860-1902): Каква мома видях мамо (A Maiden I Saw, Mother).

Philip Kutev[18] (1903-1982): Бре Петрунко (Bre Petrunko); Драгана и славей (Dragana and the Nightingale); Закукала кукувица (The Cuckoo Song).

Marin Goleminov (1908-2000): Луд Гидия (Young Gidija).

Parashkev Handjiev (1912-1992): Перуника (Perunika)); Хороводец (The Folk Dancer).

Hristo Manolov (1900-1953): Жетвари (Wheat Harvesters).

Pavel Stefanov (1899-1961): Петлите пеят (The Singing Chanticleers).

Petar Dinev (1889-1980): many orthodox compositions.

Kiril Stefanov (1933-2005): multiple folk arrangements written for his Folk Ensemble Pirin.

Svetoslav Obretenov (1909-1955): Жълтата гостенка (The Yellow Guest); Три сестри (Three Sisters); Приспивна песен (Lullaby).

Aleksander Morfov (1880-1934): Баба Минковца (Granma Minkovca); Дамян танец води (Damian’s Dance).

Dobri Hristov (1875-1941): Ръченица (Rachenica), Дафино Вино* (Dafino Vino); Пусти моми Жеравненки (Those Maidens Jeravnenki); many orthodox compositions.

Liubomir Pipkov (1904-1974): contemporary madrigals Жълта пеперуда (The Yellow Butturfly); Нани ми, нани, Дамянчо (Lulay, Lula Damiancho); Приглушени песни (Whispered Songs)

Totalitarian period 1944-1989:

Dimitar Petkov (1919-1997): Защо ма, майчо, изкути (Why Did You Raise Me, Mother); Месечинко лю, грейливка (Little Moon shining bright); Очи, очи (Eyes, Eyes).

Todor Popov (1921-2000): Стара са майка ни ложe (Do Not Lie to Your Mother); Йо игра орo*; Хорал (Chorale); Градини в цвят (A Garden in Bloom).

Konstantin Iliev (1924-1988): Седенкарски песни (Working Bees Songs); Три импровизации върху Дон Кихот (Three Improvisations on Don Quixote); Задявки (Flirtations); Тихи песни (Quiet Songs).

Alexander Tanev (1928-1996): Облаче в пустиня (Little Cloud in the Desert); Мома момче излъгала (The Unfaithful Lover); Йове, малай моме[19] (Yove, Little Girl); Моя да бъде девойка (Mine Be the Maiden).

Ivelin Dimitrov (1931-2008): wrote multiple compositions for his chamber ensemble Polyphony.

Ivan Spassov (1934-1996): Мехметьо, севда голема (Mehmetyo, My Sweetheart); Бегала Рада (Running Rada).

Krasimir Kyurkchiyski (1936-2011): Калиманку, Денку[20]* (Kalinmano Denku); Пиленце пее (Little Bird Singing); Божур Калинкa думаше (The Peony and Kalinka); Руфинка болна легналa (Love-Sick Rufinka); Мори зажени се Гюро (Gjuro is Getting Married); Дилмано, дилберо[21]* (Dilmano, Dilbero).

Hristo Nedyalkov4 (1933-2013): composed over 400 works for children choir.

Petar Lyondev (1936-2018): Ergen Deda (The Grandpa Bachelor); Вокализа за хор (Vocalize for Choir); Огреяла месечинка (Little Moon Rising); Шопски Лазар (Shopski5 Lazar); Безмълвен разказ (A Silent Story).

Kiril Stefanov (1933-2005): Алтън, Маро (Altan Maro*); Стига йоди (Stiga Yodi*); Яне, мори (Yane Mori[22]*); Вила сей горa (The Rolling Forest); Я ти постилам шарени черги (Colored Rugs I Will Lay Out for You).

Nikolai Stoikov (1936): Калугерине (The Monk); Урок по гъдулка (Fiddle Lesson); Щурче-свирче (The Cricket-Musician).

Stoyan Babekov (1936): Калино, какина (Kalino, Little Sister); Месечинко виторожко златo (Golden Moon); Безсмъртните (The Immortal); many orthodox compositions.

Second half of 20^th and beginning of 21^st century:

Georgy Kostov (b. 1941): composed over 1000 choral compositions for children choir.

Alexander Tekeliev (b.1942): Монолог (A Monologue); Амазонка (The Amazonian); Зимен спомен (A Winter Memory); Достойно ест (Blessed Be); Отче наш (Our Father).

Stephan Mutafchiev[23] (1942-1997): Донка на порти седеше (Donka at the Gates awaiting); Седнало е Джоре, дос (Sednalo e Djore Dos*); Мари, Маро (Mari Maro*).

Milko Kolarov (b.1946): Защо чука капчука (Why the Waterdrops Fall[24]); Малка коледна приказка (A Little Christmas Story).

Julia Tsenova (1948-2010): Приспивна песен (Lullaby); Посока (Direction); Чудното хоро (The Wondrous Dance); Събуди се, ясно слънце (Awake Bright Sun).

Stephan Dragostinov[25] (b.1948): Притури се планината (The Mountain has Tipped); Рофинка (Rofinka); Планино, Стара планино (The Old Mountain); Пет строфи по Леонардо (Five Verses by Leonardo).

Philip Pavlov (b.1949): Свети Никола (Saint Nicholas); Дъжд (Rain); Дяволита песен (A Mischievous Song); Златна есен (Golden Autumn); Петльови работи (Roosters Business).

Velislav Zaimov (b.1951): Во царствие твоем (In Your Kingdom Lord); Нека бъдем по- добри (Let Us be Better); Тебе поем (To Thee We Sing); Спаси ни, Сине Божи (Save Us Son of God); Херувимска песен (Cherubic Hymn).

Bibliography*

1. Арищиров, Х. (2004).Тази Магия – Хоровото Изкуство. Благоевград: издателство Неофит Рилск

            Arishtirov, H. This Magic – the Choral Art. Blagoevgrad, BG: Neofit Rilski; 2004

2. Баларева, А. (1968). Българското Хорово Акапелно Творчество. София: държавно издателство Наука и Изкуство

            Balareva, A. The Bulgarian A Cappella Choral Art. Sofia, BG: Nauka i Izkustvo; 1968

3. Баларева, А. (1992). Хоровото Дело в България: от средата на ХIX век до 1944. София: издателство на Българската Академия на Науките

Balareva, A. The Choral Art in Bulgaria From the Middle of 19^th Century until 1944.         Sofia,   BG: Bulgarian Academy of Sciences;1992

4. Димитров, Г. (1964). Беседи по Въпроса за Хоровото Изкуство. София: държавно издателство Наука и Изкуство

            Dimitrov, G. Discussions on the Subject of Choral Art. Sofia, BG: Nauka i Izkustvo; 1964

5. Еленков, И. (2008). Културният Фронт. София: издателство Институт за изследване на близкото минало

Elenkov, I. The Cultural Front. Sofia, BG: Institute for Research of the Recent Past; 2008

6. Кисьова, В. (2013). Българското Хорово Творчество и Хорово изпълнителско Изкуство – взаимна връзка и обусловеност. София: издателство Алманах, Национална Музикална Академия Проф. Панчо Владигеров

Kisyova, V. Bulgarian Choral Art and Choral Performance – mutual connection and         conditions. Sofia, BG: Almanah, National Academy of Music Prof. Pancho Vladigerov;        2013

7. Коларова, Е. (2000). Към Проблема на Развитието на Хорово Изпълнителското Дело в България: история, особености, перспективи. София: издателство Мега Музика

            Kolarova, E. About the Development of the Choral Performance in Bulgaria: history,        specifics, perspectives. Sofia, BG; Mega Music; 2000

8. Кръстев, В. (1992). В Челото на Световната Хорова Култура. София: Издателство Дума,

            Krastev, V. In the Forefront of the World’s Choral Culture. Sofia, BG: Word; 1992

9. Кръстева, Е. (2012). Камерните Хорове в България. София: издателство Институт за Изследване на изкуствата

            Krasteva, E. The Chamber Choirs in Bulgaria. Sofia, BG: Institute for Research in the       Arts; 2012

10. Найденова, Г. (2003). Bечно Ще Пее и Спори, документално-мемоарен сборник за Васил Арнаудов. София: издателство Фондация Ет цетера

            Naidenova, G. For Ever Will Sing and Quarrel. Sofia, BG: Foundation Et Cetera; 2003

11. Соколов, Б. (1979). Изтъкнати Български Хорове и Техните Диригенти, исторически развой, концертни изяви, задгранични турнета, и художествени постижения. София: издателство Музика

Sokolv, B. Prominent Bulgarian Choirs and Conductors – development, concert     performances, international touring, and artistic accomplishments. Sofia, BG:Music;   1979

12. Христова, Д. (2007). Мистерията на Българските Гласове. София: издателство Бул Корени

            Hristova, D. The Mystery of Bulgarian Voices. Sofia, BG: Bul Koren; 2007

13. Кулински, Е. (2017). Българската Професионална Хорово-Диригентска Школа, cъздаване и развитие на специалност „Хорово дирижиране“ София: дисертационен труд, Национална Музикална Академия Проф. Панчо Владигеров

Кulinski, E. The Bulgarian Professional Choral-Conducting School: Foundation and Development of the Choral Conducting Department. Doctoral Dissertation. Sofia BG: National Academy of Music Prof. Pancho Vladigerov; 2017

[1] In 1393 the Ottomans invaded Bulgaria and established their rule over the country. Bulgaria remained oppressed under the Ottoman yolk until 1878.

[2] The National Academy of Music was established in 1921; the First Opera Troupe in 1921; the National Philharmonic Orchestra between 1922-1927; the National Opera Philharmonic Orchestra in 1935; the King’s Military Symphony Orchestra in 1936.

[3] Short list of composition is provided in the attachment to this article

[4] The Obliterated Bulgaria by Vili Lilkov and Hristo Hristov (publ. 2019) describes in detail the terror of the ‘Bulgarian holocaust’ and the disappearance of 30,000 Bulgarians that took place in the first few months after September 9, 1944.

[5] The Cultural Front, Evan Elenkov; Sofia 2008

[6] That Elvis was not known until after his death is a matter of general knowledge and a commonly-expressed sentiment in this writer’s experience.

[7] Dermndjueva, Stanimira: The politicization of music during the period of totalitarian rule in Bulgaria (1944-1989); Journal Muzikologija, publ. Serbian Academy of Sciences and Arts; January 2018.

[8] Translated from original language

[9] Naidenova, Goritza: For Ever Will Sing and Quarrel. Sofia, BG: Foundation Et Cetera; 2003

[10] After 1944, religious singing in Bulgaria stopped its development and the existing church choirs retracted to limited worship assistance only.

[11] At present these works are seen more as historical examples than standards in the Bulgarian choral repertory.

[12] Prof. Georgy Dimitrov was one of the founders of the Conducting Department at the National Conservatory of Music in Sofia in 1951

[13] Translated in English from the original language

[14] The titles are translated in English from the original language.

[15] I have personally experienced the drastic changes after 1989. Graduating from the National Conservatory of Music with a degree in Choral Conducting, I had no prospects for a professional career in the choral field at the time, which led me to immigrate to the US in 2001, like many other young musicians in the late 90s and early 2000s.

[16] Additional challenges in presenting the information of my research to the American reader, are due to the fact that Bulgarian choral music is not widely published outside of the country, as composers and publication rights of Bulgarian works are complicated and difficult to obtain.

[17] All Bulgarian titles included in this list are translated in English as closely as possible to their original meaning.

[18] Founder of the first ensemble for professional folk singing and dancing in Bulgaria. He collected hundreds of Bulgarian folk melodies and created many choral arrangements for that ensemble.

* Indigenous dialect, no exact translation in English

* Indigenous dialect, no literal translation in English

[19] Published in the US by Santa Barbara Music Publishing

[20] Founder of the Bulgarian Radio Children Choir

[21] Shopluk is a geographic region in the western mountains in Bulgaria

* Indigenous dialect, no literal translation in English

[22] Artistic Director of the National Folk Ensemble Trakia in Plovdiv

[23] Approximate meaning

[24] Artistic Director of the National Folklore Ensemble Philip Kutev

* The bibliography lists the entries in their original Bulgarian language followed by an English translation that is as close as possible to the meaning of the original tittle.

Notes

1. In 1393 the Ottomans invaded Bulgaria and established their rule over the country. Bulgaria remained oppressed under the Ottoman yolk until 1878.
2. The National Academy of Music was established in 1921; the First Opera Troupe in 1921; the National Philharmonic Orchestra between 1922-1927; the National Opera Philharmonic Orchestra in 1935; the King’s Military Symphony Orchestra in 1936.
3. Short list of compositions is provided in the attachment to this article.
4. In their book The Obliterated Bulgaria, the authors Vili Lilkov and Hristo Hristov (publ. 2019) describe in detail the terror of the ‘Bulgarian holocaust’ and the disappearance of 30,000 Bulgarians that took place in the first few months after September 9, 1944.
5. Evan Elenkov: The Cultural Front; Sofia 2008.
6. That Elvis was not known until after his death is a matter of general knowledge and a commonly-expressed sentiment in this writer’s experience.
7. Dermndjueva, Stanimira: The politicization of music during the period of totalitarian rule in Bulgaria (1944-1989); Journal Muzikologija, publ. Serbian Academy of Sciences and Arts; January 2018.
8. Translated in English from original language.
9. Naidenova, Goritza: For Ever Will Sing and Quarrel; Sofia, BG: Foundation Et Cetera; 2003.
10. After 1944, religious singing in Bulgaria stopped its development and the existing church choirs retracted to limited worship assistance only.
11. At present these works are seen more as historical examples than standards in the Bulgarian choral repertory.
12. Georgy Dimitrov was one of the founders of the Conducting Department at the National Conservatory of Music in Sofia in 195.
13. Translated in English from the original language.
14. The titles are translated in English from the original language.
15. I have personally experienced the drastic changes after 1989. Graduating from the National Conservatory of Music with a degree in Choral Conducting, I had no prospects for a professional career in the choral field at the time, which led me to immigrate to the US in 2001, like many other young musicians in the late 90s and early 2000s.
16. Additional challenges in presenting the information of my research to the American reader, are due to the fact that Bulgarian choral music is not widely published outside of the country, as composers and publication rights of Bulgarian works are complicated and difficult to obtain.
17. All Bulgarian titles included in this list are translated in English as closely as possible to their original meaning.
18. Founder of the first ensemble for professional folk singing and dancing in Bulgaria. He collected hundreds of Bulgarian folk melodies and created many choral arrangements for that ensemble.
19. Published in the US by Santa Barbara Music Publishing.
20. Founder of the Bulgarian Radio Children Choir.
21. The Shopluk is a geographic region in the western mountains in Bulgaria.
22. Artistic Director of the National Folklore Ensemble Philip Kutev.
23. The bibliography lists the entries in their original Bulgarian language followed by an English translation that is as close as possible to the meaning of the original tittle.