The Symphony Orchestra of the Bulgarian National Radio is beginning the new year with a concert on 18 January, in Bulgaria Hall in Sofia. The programme compiled by guest conductor Plamen Djurov is colourful and features select works, pleasing to the ear, with intriguing stories and messages to convey.

Soloist is young violinist Liya Petrova who will be playing one of Mozart’s “evergreens”. There will be an emblematic work by a Bulgarian composer, as well as a masterpiece of romanticism.

“It is always a pleasure to work with the Symphony Orchestra of the BNR,” says Prof. Plamen Djurov. “I sometimes say to myself: what a pity it is that the audience does not always get to know the names of the wonderful musicians from the orchestra. In our circles we know their names well – as soloists or lecturers – but not everyone realizes that this orchestra is made up of magnificent musicians. I compiled a programme that is more complex stylistically. Toccata by Dimitar Nenov – the first work that will be performed - is very popular. It was composed for piano. Interestingly, this is the first time we have two different orchestrations of a Bulgarian work. One is by renowned Bulgarian composer Lazar Nikolov, and the other, which will have its premiere at the concert, is by Ivan Staykov, Nenov’s youngest student. Remarkably, for years the composer performed his Toccata from memory, before putting it down on paper. The piece has a “solid construction” built into it by the architect, who is a superb composer and pianist. In the 1920s Nenov graduated architecture in Dresden, in the 1930s he specialized in Italy and practiced the profession for some time. The second work is Violin Concerto No. 5 by Mozart, which he wrote while he was still a teenager. The soloist Liya Petrova is a charming girl who has been reaping success on the concert stages of the world. We shall also perform the popular Symphony in D minor by César Franck – a masterpiece of French romanticism, a work with so much fantasy, in terms of timbre, as well as dramatic flair. There is sensuality and sensibility there, at the same time. A great organist and composer of organ music, it is as if this wasn’t enough for Franck, so he turned to the symphony orchestra to tap the potential of the human breath, the human sensibility and present, vividly and declaratively, sorrow, doubt, apotheosis, the flight from desperation to hope… It is a work that could help listeners in our day, accustomed to perceiving music as “musical wallpaper”, see the difference between the surrogates that surround us and genuine works of art.”

Tibor Varga, Switzerland, Louis Spohr, Germany, Vaclav Humel, Croatia are just some of the international competitions Liya Petrova is a laureate of, not forgetting her latest distinction - first prize at the Carl Nielsen International Music Competition in Denmark. She took her first steps in music at the age of 4, at 5 she gave her first concert – in Bulgaria Hall to the accompaniment of the Sofia Soloists Chamber Ensemble with conductor Plamen Djurov.

“We have played together through the years at so many concerts and tours. Prof. Djurov and the “soloists” have taught me a great deal, we have had so many good times together,” Liya Petrova says. “They are my musical family. Last year we had a major tour of Japan. Music is a way to communicate, and when people share so much time on stage, a solid bond between them is formed. Tutors are a very important, fundamental, though not the only element of a musician’s education. I have been fortunate to have learnt from wonderful tutors. Evelina Arabadjieva, whom I started with at the Lyubomir Pipkov music school is a very important figure in my professional training. I am now about to complete my studies with Antje Weithaas at the Hochschule für Musik “Hans Eisler”, Berlin. To my mind experience and sharing, the exchange of ideas and energies are just as important as the entire process of education. I have played with Martha Argerich three times, and that was an incredible, unforgettable experience. She is an outstanding musician, and that goes without saying, but being on stage with her one realizes the kind of person she is, the kind of energy emanating from her. This energy is “infectious”, not just the phrase or the beautiful sound. The most difficult victory? I think it is the inner struggle, it is to remain absolutely true to oneself, never mind the vogue or the preferences of others. Yes, that is perhaps the most difficult victory of all.”

English version: Milena Daynova