Svatba!

       Stirring harmonies, compelling rhythms, bold asymmetry, and powerful melodies—these were the qualities that first drew me to Bulgarian choral folk music. I still vividly remember the first time I encountered the ethereal sounds of Bulgarian women’s choirs. I was completely entranced by the beauty of their harmonies, as well as the uneven rhythmic structure of their melodies. Something about this tradition was so novel and innovative, yet pleasing to Western ears. I listened to just about every folk song I could find, and it quickly became clear that I should share this music—and this culture—through my medium: the wind ensemble.

Much of Songs of Bulgaria draws on traditional Bulgarian folk melodies featured in Le Mystère des Voix Bulgares, an album by the Bulgarian State Television Female Vocal Choir that brought global attention to the country’s rich choral traditions. This album saw great success following its release in 1975 (the second edition won a GRAMMY Award), building on folk melodies passed down orally for much of Bulgaria’s history. Many of the melodies from that album found their way into Songs of Bulgaria, though I’ve also interwoven original material, crafted in the same spirit, to create a personal interpretation of this unique musical language. The result is a blend of ancient traditions and new expressions—an homage to Bulgarian folk music, reimagined through the colors of the wind ensemble.

While Songs of Bulgaria was a joy to compose, it was also one of the most challenging works I have written. To faithfully capture the essence of Bulgarian music, I immersed myself in extensive research into its cultural and musical conventions. During this process, I became intimately familiar with the nation's musical characteristics and history.

The first movement, “Svatba!” (“The Wedding”), is a celebration of life, culture, and unity. It captures the joyous spirit of a Bulgarian wedding, a ceremony filled with music, dance, and the vibrant interplay of light and dark—musical contrasts that echo the country’s deep-rooted cultural and spiritual dualities.

The second movement, “Pesen na Naroda” (“Song of the People”), turns toward the more somber and reflective side of Bulgarian life. Inspired by struggles that have shaped the nation, particularly through the turbulent 20th century, it is a hymn of resilience. The delicate interplay between the solo oboe and English horn contrasts with the sweeping power of the full ensemble, symbolizing the enduring strength of a people who have faced centuries of struggle and hardship. As these voices gradually find harmony, they evoke a quiet strength and enduring spirit.

The final movement, “Bulgarski Tantsi” (“Bulgarian Dances”),  is a spirited dance, relentless in its forward motion. The melody surges ahead with unshakeable resolve, at times interrupted by chaos, noise, or conflicting ideas—but never truly derailed. This movement is about triumph—how the light within us can prevail, even when the world seems determined to extinguish it. In the end, the melodies do not just survive; they flourish, embracing the darkness and transforming it into a new kind of light.

I hope this piece will serve as a bridge between cultures, offering even a fractional glimpse into the indomitable character of Bulgaria and reminding us that in the darkest of times, resilience can transform adversity into hope.