Ľubomir 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, producing 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 Bartók 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.
1 review for Ľubomir Pipkov: Complete Piano Music, Volume Two
MusicWeb International :
‘I have eagerly awaited [for this album] it and it certainly doesn’t disappoint. Once again, pianist Dobromir Tsenov’s booklet notes are really helpful as well as insightful in charting Pipkov’s development.
The [Suite Bulgare] demonstrates how well he was able to incorporate folksongs into music that would be acceptable in concert halls. […]
However, what lifts Pipkov’s music to another level from pure folk-inspired works is his inventiveness, so that while the root of the music is easily recognisable, in Pipkov’s hands it is transformed into a genuinely original piece. […]
Whether there are any more of Pipkov’s works for piano to be recorded I don’t know but I shall be eager to hear them if so. Sometimes dissecting pieces to impart an impression of what the listener could expect to hear is somehow superfluous, though obviously for the expert there is an academic interest and Dobromir Tsenov’s insightful notes fulfil that thoroughly. For me, though, it’s all about how happy a listener I am made to feel and this composer delivers that in every single piece. Ľubomir Pipkov achieved his aim of helping to create a recognisably Bulgarian sound in classical music and as such will always occupy a special place in the country’s musical heritage. The music is thoroughly enjoyable and Tsenov’s playing is crystalline in its clarity; he meets the obvious challenges with aplomb. I would be really interested to hear him tackle anything; I can imagine his Bartók and Janaček would be masterful.’
MusicWeb International :
‘I have eagerly awaited [for this album] it and it certainly doesn’t disappoint. Once again, pianist Dobromir Tsenov’s booklet notes are really helpful as well as insightful in charting Pipkov’s development.
The [Suite Bulgare] demonstrates how well he was able to incorporate folksongs into music that would be acceptable in concert halls. […]
However, what lifts Pipkov’s music to another level from pure folk-inspired works is his inventiveness, so that while the root of the music is easily recognisable, in Pipkov’s hands it is transformed into a genuinely original piece. […]
Whether there are any more of Pipkov’s works for piano to be recorded I don’t know but I shall be eager to hear them if so. Sometimes dissecting pieces to impart an impression of what the listener could expect to hear is somehow superfluous, though obviously for the expert there is an academic interest and Dobromir Tsenov’s insightful notes fulfil that thoroughly. For me, though, it’s all about how happy a listener I am made to feel and this composer delivers that in every single piece. Ľubomir Pipkov achieved his aim of helping to create a recognisably Bulgarian sound in classical music and as such will always occupy a special place in the country’s musical heritage. The music is thoroughly enjoyable and Tsenov’s playing is crystalline in its clarity; he meets the obvious challenges with aplomb. I would be really interested to hear him tackle anything; I can imagine his Bartók and Janaček would be masterful.’
—Steve Arloff, MusicWeb International