Dobromir Tsenov - Lubomir Pipkov: Complete Piano Music, Vol. 3 - COMPACT DISCS [CD]
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With this volume, Dobromir Tsenov completes his survey of the solo piano music of his compatriot Lubomir Pipkov (1904-74), one of the leading members of the 'second generation' of Bulgarian composers who helped establish a national tradition of classical music, blending western forms with the rhythms of local folksong and folk-dances. The first complete recording of the piano music of his father, Panayot Pipkov (1871-1942), one of the 'first generation', sets it in context, in it's mix of folk roots and Lisztian bravura.
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- GenreClassicalDescriptionWith this volume, Dobromir Tsenov completes his survey of the solo piano music of his compatriot Lubomir Pipkov (1904-74), one of the leading members of the 'second generation' of Bulgarian composers who helped establish a national tradition of classical music, blending western forms with the rhythms of local folksong and folk-dances. The first complete recording of the piano music of his father, Panayot Pipkov (1871-1942), one of the 'first generation', sets it in context, in it's mix of folk roots and Lisztian bravura.ArtistDobromir TsenovTitleLubomir Pipkov: Complete Piano Music, Vol. 3FormatCDLabelToccata
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Lubomir Pipkov (1904-74) was one of the leading members of the so-called 'second generation' of Bulgarian composers. In later life he became fascinated with the ancient heritage of Bulgarian folk-music, writing a series of what he called 'metro-rhythmical studies' - piano miniatures that combine melodic immediacy and rhythmic complexity, with a character that might be loosely characterized as sounding like 'Prokofiev in the Balkans'. These works are performed by pianist and musician photographer Dobromir Tsenov.
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Lubomir Pipkov (1904-74) was one of the leading members of the so-called 'second generation' of Bulgarian composers. In later life he became fascinated with the ancient heritage of Bulgarian folk-music, writing a series of what he called 'metro-rhythmical studies' - piano miniatures that combine melodic immediacy and rhythmic complexity, with a character that might be loosely characterised as sounding like 'Prokofiev meets Bartok in the Balkans'. Indeed, Pipkov saw in the irregular rhythms of Bulgarian folk-dance a parallel with the rhythmic experimentation in contemporary composers like Debussy, Ravel and Stravinsky.
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