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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And so is the variety—ranging from your own original compositions to arrangements of popular music.

Yes, my technique is grounded in the music I write. Everything is connected to the music we create.

His guitar playing eventually took him to France, where he studied at the Paris Conservatory with teachers such as Olivier Chassain and Arnaud Dumond. Ourkouzounov has written over works 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.

Atanas Ourkouzounov | Tanzologia for cello and guitar

Apart from all this composing and performing, Ourkouzounov also teaches constantly, including at the Conservatoire Maurice Ravel in Paris. One way of maintaining a cultural identity was to keep the folk music alive.

He offered them food and alcohol, so they went on playing for hours and hours. Atanas Ourkouzounov – Guitar. This music is so well-written and perfect when it comes to structure and balance that nothing needs to be changed or added. But Lurkouzounov do use different kinds of alternative tunings. What are the main challenges in transferring this music to the guitar?

Did atanss grow up in a family of musicians, or how did you get to know this tradition? You seem to have a never-ending source of inspiration at hand! He studied guitar, chamber music, analysis, ethnomusicology and improvisation at the Paris Conservatory and graduated in with unanimous vote the first prize in guitar. So it will hopefully turn out as an interesting mixture of three different views: Mie and I have several concerts coming up, ourkouzoumov we also have a plan to make a new album of entirely Bulgarian music.


What I do know for certain is that I really want and need to write music often. I also often tune the third and sixth strings one half-tone down. Atanas Ourkouzounov grew up in Sofia, Bulgaria, where he began guitar studies with Dimitar Doitchinov. When Atanas Ourkouzounov plays, things are atnaas.

Discography | Atanas Ourkouzounov

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. I cannot fully explain how I get my ideas. And right now I am also working on my fifth sonata for guitar.

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.

There have been interesting blends of musical influences, such as Orthodox Slavic music, Turkish and Arabian maqamthe musical tradition of the Gypsies, Jewish, Armenian—all of these are being mixed and that is the main reason this music is so rich.

I remember what it was like when I started playing the guitar—pretty quickly I found it boring to practice all of those classical arpeggios, tremolos, and the like. Another project for next year is to record my guitar concertos in Denmark, together with my engineer Leif Hesselberg. I think it feels natural to play this music on the guitar, and I actually think so in general when it comes to traditional music from different parts of the world.


Kutchiika titcha pred dramuliika Bulgaria.

Sometimes it happens with the guitar, sometimes not; it might happen in front of a computer or with pen and paper. Atanas Ourkouzounov is one of most interesting personalities in the Bulgarian contemporary music. My own arrangements are mainly from the classical domain, with pieces from such composers as Bartok, Debussy, and Ligeti.

Ange Turell is a Swedish guitarist and composer. The music of Eastern Europe and the Balkans is not rooted in the same fundamentals as Western musical practice, with its principles regarding harmony, harmonic progression, and counterpoint. Polegnala e Tudora Bulgaria.

The process is hard to describe, but I feel this excitement and it is impossible to let go once I have started. If you have ever encountered the dance music of the Balkans, with its frequent use of uneven time-signatures, or the sometimes harsh and other-worldly beautiful harmonies of the singular Bulgarian female choruses whose singing has fascinated so many of us, you may feel partly at home with the tonal language and rhythms Ourkouzounov frequently employs.

When it comes to conductors, I often listen to the interpretations of Carlos Kleiber. The bases are the rhythms and the different modal scales that we use in this part of the world.

Has your own music forced you to keep expanding your technical capacity?