DOBRINKA TABAKOVA
She is a world-class composer. Her pieces have been performed by various ensembles, broadcast on air, played in cathedrals and on recordings such as the Collection of English Anthems, which features her piece "Praise" in honor of Elizabeth II. In 2014, her first album String Paths (ECM Records) was nominated for a Grammy. She also has dozens of other prestigious international awards in her biography, and has received praise for her compositions in publications such as The New York Times and The Washington Post.
She was born in Plovdiv thrity-six years ago, but has lived, studied and worked in London for twenty-six years. She is a world-class composer. Her music has been featured in Jean-Luc Godard's Adieu au langage, Rafael Bonacella's Anima choreography for the Sydney Dance Company, and numerous classical music festivals around the world. Her pieces have been performed by various ensembles, broadcast on air, played in cathedrals and on recordings such as the Collection of English Anthems, which features her piece "Praise" in honor of Elizabeth II. In 2014, her first album String Paths (ECM Records) was nominated for a Grammy. She also has dozens of other prestigious international awards in her biography, and has received praise for her compositions in publications such as The New York Times. and The Washington Post. During the next three years, she will be a full-time composer with the BBC Concert Orchestra, which, in addition to her previous works, will perform new work commissioned by BBC Radio 3. She recently became the first female composer working at the cathedral of the city of Truro. Last year, on the occasion of the 400th anniversary of Shakespeare's death, she wrote the cantata "The Immortal Shakespeare." It looks like we might never have enough space to list all the things that should be said about her.
In 2015, your name was on the list of ten contemporary composers that are changing classical music. How is the classical world changing?
Each new generation transfers a segment of its reality to art. We live in a fast-paced and oversaturated world, and this is inevitably reflected in the music being written. We are looking for reassurance, we need to know that others share our feelings and thoughts, even if we do not meet in person very often, but communicate with them virtually. We find kindred spirits in the sound of music.
When does a musician become a composer?
We are all musicians – singers, conductors, composers, performers. We are all excited about the abstract language of music and how we can convey it to the audience. Composers have the additional urge to express something personal, to add our own language or word order, and we pass this desire on to performers and interpreters who revive the notes we write on the page.
Dobrinka Tabakova, photo: Svetoslav Nikolov
Did you get advice from a teacher that you'll always remember?
In 1995, I was admitted to a prestigious summer course in France, the Centre Acanthes. It included students from major European conservatories, and I was fifteen years old – the youngest among those selected. One of the invited composers who led courses and lectures was the Greek architect and composer Iannis Xenakis. I liked his music, he wrote remarkable pieces for percussion – he really constructed his works using sounds. I was able to meet him and show him the pieces I had brought. Even then, my style was different from that of other students, and not just because of my age. He looked at the sheetmusic, looked at me, and said, "Don't be afraid to be different!"
What are the biggest personal challenges in your work?
As my own "boss" I have to be strict with my time, plan ahead and stay organized. Combining creative work with the tasks of everyday life is a challenge.
How have your compositions changed over the years?
Like all characters, music also acquires new layers and depths, self-knowledge, it builds on what came before. It's difficult to grow if you don't change.
photo: Sussie Ahlburg
Should classical music become a little more accessible, and why?
At its core, classical music contains very deep human truths. They are comprehensive and do not need to be easily digestible. However, I strongly believe in presenting music in a proper context. Last year I presented some of my works in my hometown Plovdiv. It was more than an hour of music that the audience could not have heard before coming to the performance. I often give presentations before or during the concert. This time I also talked about each piece before it was performed. Without using professional terms or deep theoretical analysis of the works – just a human conversation about the ideas behind each work. I think it would be useful for performers and composers to present music in this way. It is true that music has to speak for itself, but I can say from experience that some light directing won't get in the way.
What could make younger people "open up" to classical music?
It is condescending to say that some are "open" and others are not. If you've been immersed in classical music since you were a child, you don't have to think about it much, it's a language that remains accessible to you. There should be more concerts for children – the younger the better. Many orchestras in our country have the same programs you see all over the world, in which schoolchildren or groups of kindergarteners can attend their rehearsals and concerts. This is an important initiative that must continue. For those who are excited about a music, this will be a great way to get acquainted with it, and I hope it will then become a part of their lives.
Translated by Maria Vassileva