One does not usually hear the name of this beautiful Balkan country associated with that of the King of Instruments. Bulgaria is smaller than the state of Kansas; thus, it will surprise some readers to learn that this little country has organs, organists, and composers who write for the organ. Bulgaria's official religion is Orthodox Christianity, and for five centuries, until the 19th century, it was a province of the Ottoman Empire. These factors tend to mitigate against development of an organ culture.
There is evidence that some organs existed here in ancient times. One interesting archeological artifact was found near the village of Tatarevo: a Roman gladiator tombstone from the 3rd century A.D. complete with the sculpture of a hydraulos.1
Although there is historical data about Catholic missions active in Bulgaria in the 17th and 18th century, there is not a single shred of information about the use of even the smallest positive in a worship service. The earliest source that locates an organ in a church (or anywhere else, for that matter) comes from the 19th century. This instrument is connected with the name of Domenico Francesco Martiletti (1810-1883), a Franciscan monk, organist, composer, teacher, conductor and physician. In 1861 he arranged for the building of an organ for the newly built Catholic cathedral of St. Ludwig, in the city of Plovdiv. The dedication concert, performed by Martiletti, became an important event. The Bulgarians present at the concert were charmed, as was a high Ottoman official attending, who reportedly said, "this is the first organ we hear in Bulgaria."2
This instrument actively participated in worship services: "on major religious holidays (Christmas and others) in the church, they had performed larger musical pieces with choir, orchestra and organ. The orchestra and choir have performed mostly religious music."3 The cathedral owned a rich music library which included organ music. Organists of the cathedral were Ivan Govedarov, Venandi Sarsakov, Benedict Chuvalkov, Anton Markov, and the important Bulgarian musician and music scholar Angel Bucureshtliev (1870-1950), who studied organ in Prague. Alvadjiev writes that, "He [Bucureshtliev] also had the name of a capable organist. He had gotten that name in 1899 when he performed the music for the funeral of the princess Maria-Louisa on the big organ in the Catholic church."4 In the same book one can read about the Czech musician Anton Teiner, who came to Plovdiv in 1899: "The Catholic church in Plovdiv was crammed with people, who came to hear the classical songs and pieces performed by Teiner on the 2000-voiced organ."5 After nearly 40 years of service, this instrument remained very popular. Unfortunately the organ did not survive long. It was destroyed by fire on July 14, 1930. The same fire destroyed most of the church archive, so that there is no record of the organ's builder, size, or disposition. The organ reportedly had approximately 2500 pipes, and it "had been played in four Western churches, and was presented to us by a church in Budapest."6
At the end of the 19th century, a new Catholic church was built in Sofia, the Church of St. Joseph. There was an organ in it, but it was destroyed, together with the whole church, when Sofia was bombed by the American Air Force and the British RAF at the end of WWII (March 1944). This instrument was played by the monks Avgustin Plachkov, Ferdinant Alatinov, and by Sister Cecilia. It was a two-manual instrument, but, again, there is not any information about its builder or disposition.
According to the Bulgarian composer and organist Trifon Silianovsky (born 1923), there were two small positives at the women's college nearby, which were played by Father Ferdinant Alatinov.7
In 1937 in Bulgaria a Sauer instrument was installed in the newly built Bulgaria Hall. This organ had four manuals, seventy-two stops, 4892 pipes (electro-pneumatic action), and it was dedicated by Joseph Bonnet. Other concerts closely followed, featuring the German organist Gunter Ramin, the Bulgarian Valentin Kazandjiev, and others. Unfortunately, this organ was also destroyed completely in the bombing of Sofia in March 1944.
Disposition of the old (Sauer) organ in the Bulgaria hall (1937-1944):
I. Manual
16' Bourdon
8' Prinzipal
8' Flute Harmonique
8' Gemshorn
8' Großgedackt
8' Gamba
4' Oktave
4' Rohrflöte
22/3' Spitzquinte
2' Superoktave
2' Waldflöte
Scharf III
Mixtur V
8' Trompete
II. Manual
8' Ital. Prinzipal
8' Singend Gedackt
8' Quintatön
8' Salicional
4' Kleinprinzipal
4' Blockflöte
2' Schwiegel
13/5' Terz
11/3' Quinte
1' Glöckleinton
Cymbel IV
16' Sordun
8' Krummhorn
4' Regal
4' Waldhorn
Harfe Celesta
Tremolo
III. Manual
16' Quintade
8' Hornprinzipal
8' Konzertflöte
8' Nachthorn
8' Viola
8' Vox Celestis
4' Fugara
4' Flauto Traverso
22/3' Nachthornquinte
2' Piccolo
13/5' Nasat
1' Sifflöte
Echomixtur V
16' Fagott
8' Trompette Harmonique
8 Oboe
4' Clairon
Tremolo
IV. Manual
8' Spitzflöte
8' Unda Maris
8' Echobourdon
4' Singend Prinzipal
2' Flautino
Campanelli V
8' Vox Humana
4' Schalmei
Tremolo
Pedal
32' Grand Bourdon (resultant)
16' Prinzipalbaß
16' Kontrabaß
16' Subbaß
16' Echobaß (transm.)
102/3' Quintbaß
8' Oktave
8' Baßflöte (transm.)
8' Cello (transm.)
4' Choralbaß
4' Flötenbaß
2' Flachtflöte
1' Bauernflöte
Pedalmixtur
16' Posaune
8' Trompete (transm.)
4' Clairon (transm.)
Couplers: II/I, III/I, IV/I, III/II, I/P, II/P, III/P, IV/P, Superoktav III, Superoktav III/I, Superoktav IV, Suboktav III, Suboktav III/I, Suboktav IV.
Four Combinations, Tutti (without couplers), General Tutti, Walze (rollschweller), couplers to walze, hand stops on/off, reeds on/off, II, II and IV enclosed.
The only "older" organ that has partially survived is the instrument in the Catholic church St. Paul of the Cross in the city of Rousse. After completing the church in 1892, three different firms submitted their projects for a new organ: E. F. Walcker, for a two-manual/pedal organ with 12 stops; Gebr. Rieger, one-manual/pedal; and H. Voit (Karlsruhe), two-manual/pedal and 13 stops. The last offer was realized. The organ was completed in 1907 and installed in 1908. The dedication recital was played by the Bucharest organist Emanuel Pol, who played works by Matioli, Guilmant, Bordese, Dubois, as well as his own composition. This organ is in poor condition today. There is an ongoing fund-raising campaign for its restoration.8 Until very recently this organ was the only one in a church in Bulgaria, and still is the only organ in the country with pneumatic action, but now it is completely unplayable.
Disposition of the organ in the Church St. Paul of the Cross:
I. Manual
16' Bordun 16
8' Prinzipal
8' Viola di Gamba
8' Flauto Amabile
4' Oktave
Cornett III
II. Manual
8' Geigenprinzipal
8' Salicional
8' Vox coelestis
8' Lieblich Gedackt
4' Rohrflöte
Pedal
16' Subbass
16' Zartbass 16
Couplers II/I, I/Pedal, II/Pedal, Sub II/I, Super I, one (Tutti) piston; hand stops on/off, Walze (rollschweller), Manual II enclosed
Remarkably, the next organ in Bulgaria was built 66 years later. In this long period, one talented young organist tried to convince the authorities in the Bulgarian Music Academy to build an organ, but to no avail. This musician, Ivan Minovsky, studied organ in Germany and became acquainted with the organ builder Karl Schuke. Unfortunately, this very talented young man committed suicide in 1969.
The next organ was built again in the Bulgaria Hall (1974). The builder was Alexander Schuke (Potsdam), and the organ has three manuals, 55 stops, and mechanical action:
I. Hauptwerk
1. Principal 8'
2. Bordun 16'
3. Koppelflöte 8'
4. Trichterpfeife 8'
5. Oktave 4'
6. Spitzflöte 4'
7. Quinte 22/3'
8. Oktave 2'
9. Cornett IV
10. Gross-Mixtur VI-VII
11. Klein-Mixtur IV
12. Fagott 16'
13. Trompete 8'
14. Holzprincipal 8'
15. Spitzgedackt 8'
II. Schwellwerk (enclosed)
16. Viola da Gamba 8'
17. Principal 4'
18. Nachthorn 4'
19. Rohrnassat 22/3'
21. Feldpfeife 2'
22. Terz 13/5'
23. Spitzquinte 11/3'
24. Septime 11/7'
25. Sifflöte 1'
26. Mixtur V
28. Dulcian 16'
29. Hautbois 8'
30. Schalmei 4'
Tremulant
III Brustwerk
31. Holzgedackt 8'
32. Quintadena 8'
33. Principal 4'
34. Rohrflöte 4'
35. Dulzflöte 4'
36. Sesquialtera II
37. Gemshorn 2'
38. Quinte 11/3'
39. Oktave 1'
40. Scharff IV
41. Vox humana 8'
Tremulant
Pedal
42. Principal 16'
43. Subbass 16'
44. Quinte 102/3'
45. Oktave 8'
46. Bassflöte 8'
47. Bass-Aliquote II
48. Oktave 4'
49. Pommer 4'
50. Flachflöte 2'
51. Hintersatz IV-V
52. Mixtur VI
53. Posaune 16'
54. Trompete 8'
55. Feldtrompete 4'
Mechanical key action, electric stop action, general and division thumb pistons and toe studs, separate division reeds on/off, Walze (Rollschweller)
The dedication concert of the new organ was played by Wolfgang Schetelich, followed by the Russian/ Soviet organist Leonid Roisman, the Czech organist and teacher Jiri Rheinberger (no relation to Joseph Rheinberger), and the young Neva Krysteva. This organ is still standing.
Alexander Schuke built two more instruments in Bulgaria: one in the town of Dobrich in 1988 (two manuals, 55 stops, mechanical action), and another in 1989 in the city of Varna (three manuals and 53 stops, mechanical action). Both instruments are in concert halls. The concert hall in Varna is now used for all kinds of activities, from a shopping mall to a movie house. This organ is completely abandoned, despite the fact that it is relatively new and a very good-sounding instrument.
Disposition of the organ in Varna Cultural Center:
I. Manual
16' Bordun
8' Principal
8' Spillpfeife
8' Gambe
4' Oktave
4' Gemshorn
Rauschpfeife II
2' Flachflöte
Mixtur VI
Scharff IV
16' Trompete
8' Trompete
II. Manual
8' Gedackt
8' Geigen Prinzipal
8' Holzflöte
8' Salicional
8' Schwebung
4' Oktave
4' Blockflöte
4' Fugara
22/3' Nassat
2' Waldflöte
13/5' Terz
Mixtur V
16' Bombarde
8' Hautbois
4' Schalmei
Tremulant
III. Manual
8' Principal
8' Holzgedackt
8' Quintadena
4' Oktave
4' Rohrflöte
Sesquialtera II
2' Oktave
2' Spitzflöte
11/3' Nassat
1' Sifflöte
Mixtur V
8' Vox Humana
Tremulant
Pedal
16' Principal
16' Subbaß
102/3' Nassat
8' Oktave
8' Gedackt
4' Oktave
4' Pommer
2' Nachthorn
Mixtur V
16' Posaune
8' Trompete
4' Clairon
8' Solotrompete (horizontal)
16' Solotrompete (horizontal)
32 pistons, pleno (free combination), reeds off, hand stops to Walze (rollschweller), II Manual enclosed
Another organ in a concert hall was built by Rieger-Kloss (from the former Czechoslovakia) in the city of Blagoevgrad. It is a two-manual instrument with 20 stops and mechanical action. This organ is still used for concerts and for teaching, because of the efforts of the active organists Simona Genkova and Velin Iliev.
There are two organs in music academies: one in Sofia, one in Plovdiv. The Sofia instrument was built by Jehmlich (Dresden) in 1974 and has two manuals and 20 stops. The Plovdiv organ was built by Werner Bosch (Kassel). This organ was built in 1958, but was moved to Plovdiv in 1991. It has one manual (and pedal) and five stops. It is important to mention that this instrument was donated to Plovdiv by Mr. Kamen Kenov, a Bulgarian living in Basel. His noble ambition is to make Plovdiv the center of organ art in Bulgaria. Mr. Kenov also donated an organ for a church in Plovdiv: a two-manual, 12-stop instrument built by E. F. Walcker in 1961 and subsequently moved in 1991 to the Catholic Cathedral St. Ludwig. All Plovdiv organs have mechanical action.
Although there are a small number of electronic organs here and there (one of these is in the so-called Sofia Palace of Art), these are all of the pipe organs in Bulgaria: a total of eight, including the unplayable instrument in Rousse and the abandoned one in Varna.
Currently organists are also in short supply. The most important name is undoubtedly Professor Neva Krysteva. She is the true matriarch of Bulgarian organ art in modern times. She studied organ in Moscow with Leonid Roisman, and in Prague with Jiri Rheinberger. Currently she is the only organ professor in Bulgaria. Patiently, through the years, she has taught a considerable number of young organists, and thus she can be called the creator of the Bulgarian organ school. Other important artists include Velin Iliev (who studied in Brno with Alena Vesela), Ani Tosheva (studied in Prague with Milan Schlehta), and Stefan Dalchev (studied in Lübeck). In addition to these names, one must also mention Simona Genkova and Mariana Grigorova (both studied organ in Bulgaria, Germany and Czechoslovakia), Hristo Buzhev (from Lovech), and others.
There are four Bulgarian organists who live outside the country: Maria Baidanova lives in Vienna and teaches organ there; Yanka Hekimova lives in Paris and is one of the major concert organists of our time; Peter Shopov is living in Lübeck; and Sabin Levi is living in the United States.
Many Bulgarian composers write for organ: Vasil Kazandjiev, Velislav Zaimov, Neva Krysteva, Sabin Levi and others. There are a number of recordings on Bulgarian organs, although most of them are in LP format, but some exist also as CDs. Among them is the interesting recording made by Velin Iliev, which includes the organs of Sofia, Dobrich, and Varna. Another is by Neva Krysteva made on Sofia's Schuke, which includes music from Bulgaria, Russia, Moravia and other Slavic states.
Neva Krysteva teaches organ in the Bulgarian Music Academy, while Velin Iliev and Simona Genkova teach in Blagoevgrad. Currently, there are about fifteen organ students in Bulgaria. There is no organ major, so this discipline can be studied either as a minor or as an elective. In 1999-2000 an organ history and design course was offered by the German organist and scholar professor Ulrich Theißen in the New Bulgarian University in Sofia.
To be a Bulgarian organist is not easy. One has to deal with opportunism, misunderstanding, sometimes plain negligence. The profession of church organist does not exist. Many people don't know what an organ is. Organists working in Bulgaria must endure many things. Their principal instruments are in concert halls, and those halls must be shared; there is also a lack of funding--for concerts, for maintenance, and for teaching. The future does not look promising. Still there is a real interest in the organ and organ music. The authors have never heard of a Bulgarian musician who decided to be an organist, or to write for the organ, who has ever given up that idea.
Acknowledgement: The authors wish to thank Dr. Michael Bauer from the University of Kansas for his help in completing this article.
Notes
1. May be seen in the National Archeological Museum in Sofia.
2. Cited by Balareva in "Horovi proiavi prez bulgarskoto vuzrazhdane" (Choir Activity in the Bulgarian Enlightenment), in "Bulgarsko Muzikoznanie" (Bulgarian Musicology), I, 1983.
3. I, Yanev, "Muzikalnoto minalo na Plovdiv" (The Musical Past of Plovdiv), unpublished manuscript, may be found in the Music Institute of the Bulgarian Academy of Sciences.
4. N. Alvadjiev, "Plovdivska Hronika" (Plovdiv Chronology), (Plovdiv: n.p., 1971), 299.
5. Ibid., p. 254.
6. S. N. Shishkov, "Plovdiv v svoeto minalo i nastoiashte" (Plovdiv in its past and present), (Plovdiv: n.p., 1926), 319.
7. Trifon Silianovsky, personal interview, 2001.
8. For more information about this organ and its restoration campaign, visit the following web site, which is devoted to all organs and organ art in Bulgaria:
