The idea for Songs of Bulgaria was first conceived in my freshman year of college—two years before a note would ever hit the page. I was introduced to Bulgarian folk music in my music theory class, only because one of the vocal students had sung in a traditional Bulgarian women’s choir before. After listening to recordings of these choirs, I was immediately entranced by the beauty of the music.

Along with this astonishment came a sense of confusion. With this music carrying such power, how had I never heard anything like it before? Was studying music theory at a respected university the only way one would reasonably come into contact with traditions like these? I immersed myself in just about every Bulgarian folk song I could find, and it gradually became clear that I wanted to share this music, and this culture, through my artistic medium: the wind ensemble.

For many months, my desire to create was strongly at odds with my reservations and anxieties. I regularly questioned why I deserved to share this music and tell these stories. I consulted one of my respected mentors, Farkhad Khudyev, about writing in different cultural styles. His guidance helped me find confidence in authenticity, and this gave me the final push I needed to write the version of the piece I had envisioned from the beginning.

At its heart, Songs of Bulgaria is about the search for identity. The piece is comprised of three movements, each inspired by a traditional Bulgarian folk song. Many of these melodies are inspired by songs featured in Le Mystère des Voix Bulgares, an album by the Bulgarian State Television Female Vocal Choir that gained global notoriety after its release in 1975 (the second edition even won a GRAMMY Award). In addition to this source of inspiration, Songs of Bulgaria also contains a great deal of 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.

The opening movement, “Svatba!” (“The Wedding”), is a lively dance that captures the spirit of the Bulgarian people. This chapter illustrates a Bulgarian wedding ceremony, filled with music, dance, and the vibrant interplay of light and dark. This is symbolic of the heart of Bulgarian culture.

The middle movement, “Pesen na Naroda” (“Song of the People”), reveals the darker aspects of Balkan history. Focusing on shifting power dynamics and the ebb and flow of cultural revolutions, this chapter explores the resilience of the Bulgarian people. Two soloists are featured throughout: the oboe and English horn. The delicate interplay of these voices contrasts with the sweeping power of the full ensemble, symbolizing the enduring strength of Bulgarian cultural tradition amidst centuries of turbulence and change.

The final movement, “Bulgarski Tantsi” (“Bulgarian Dances”), is a synthesis of the ideas from the first two movements. This conclusive chapter is made up of many spirited dances that gradually brighten and search for identity—symbolizing a yearning for cultural connectivity and retention of spirit. Unrelenting ostinatos and polyrhythms illustrate this developing culture and propel the music to a stunning finale of brass choruses and swirling woodwinds. In its conclusion, Songs of Bulgaria finds its identity in the dichotomy of Bulgarian history and learning to accept both the dark and the light as integral parts of its culture and eternal spirit.