Dimitar Hristov

composer, music theorist, pedagogue, public figure

02.10.1933 - 26.02.2017Sofia - Bulgaria

Prof. Dr. Dimitar Hristov graduated from the NMA “prof. P. Vladigerov” in 1956. He studied composition with Prof. Marin Goleminov. In 1963 he won a UNESCO scholarship. From 1969, he worked at the Institute of Music (today the Institute for the Study of Arts) at the BAS, where he was elected a senior research associate I degree (1983). From 1975 to 1979, he was Secretary General of the International Music Council at UNESCO.

Defended the scientific degree of Doctor of Art Studies (1975). Since 1976, he has been a professor of polyphony and introduction to musicology at the National Academy of Music “prof. Pancho Vladigerov”, as well as in polyphony, musical theater of the 20th century and modern polyphonic constructions, in polyphony and modern trends in music and arts at SU “St. Kliment Ohridski” and in the NBU.

He is Doctor honoris causa of NMA “prof. Pancho Vladigerov” (2013) and YZU “Neofit Rilski” Blagoevgrad (2009), honorary professor of NBU since 2003.
He has lectured at universities in Germany, France, Switzerland, Sweden, the Netherlands, the USA and Canada. In the period 1989-2005, he was the editor-in-chief of the magazine “Bulgarian Musicology”, published by the Bulgarian Academy of Sciences. In 1994, he started publishing the magazine “Music. Yesterday. Today”.

In the music of Prof. Hristov, the free forms stand out, in which the play with sound and rhythmic complexes, as well as the freedom given to the performers, reveal new radical original forms of expression and rethinking of musical genres in the direction of their peculiar theatricalization.
He has been honored with many prestigious international and national composition awards.


Stage music:

“Game” (staged 1978, Varna); “The Golden Fish” – chamber opera (premiere 1983, Blagoevgrad Chamber Opera).

Works for symphony orchestra:

Symphony in Two Movements No. 1 (1958); Symphony No. 2 (1964); Symphony No. 3 (1968); Symphonic Poem (1957); Aria for small symphony orchestra (for string orchestra) (1959); Overture (1960); Symphonic Episodes (1962); Concert Miniatures (1970); Fanfare Overture (1973); “Almost a Fantasy Game” (1981); “Playing Cellos” (1983); “Perpetui mobili in pianissimi” (1986); “Groups-troupes with small solos of the conductor” (1987); “Quiet Adagio” (1988); “Cantilena on Two Tones” (1989); “Carousel of Suffering” (1990); Collapse into Silence (1991); “Up high I’m looking for you” (1993); Flow, Flow (1993); I Rise in Chaos (1994); “I open her up, take a look” (1995); “There, Above, Shining…” (1997); “It Was Foretold” (1999); “It’s So Quiet Here” (2000); “Shimmering, Burning” (without wind instruments) (2004); “Excited Up” – for piano and orchestra (2005); “Wandering turn” – for piano and orchestra (2007); “Lights up – rises” (2010).

Concerto for Violin and Orchestra No. 1 (1965); Concerto for Violin and Orchestra No. 2 and No. 3 (1996); Concerto for Cello and Orchestra (1969); Concerto for Piano and Orchestra No. 1 (1955); Concerto No. 2 (for piano and largest wind symphony orchestra) (version for smaller orchestral ensemble) (1982); Concert No. 3 “Angel in Heaven” (1991); Concerto for three snare drums and five instruments (1967); Triple concerto for piano, violin, cello and orchestra (2009).

For string orchestra:

Symphonieta (1956); Chamber Suite for 2 piccolos, 13 strings, percussion and piano (1966); Concert Miniatures (1970); “Gone with the Wind” (1991); “Wait for your pizzas!” (1994); “Cold and Warm” (2001); Concert Variations on Beethoven’s Eroica Theme for Piano and String Orchestra (2002); “I lower my forehead” for solo cello and strings (2002).

Chamber Music:
Two Dances for Trumpet and Piano (1960); “Three Canons for Three Violins Accompanied by Three Instruments Playing on Three Tones” (1981); “Suite in 3/4 and without tutti for the 12 (8) instruments” (1983); “Book of Additive 12 Cellos” (1988); Almost Conductorless Marches for flute, clarinet, violin, cello, piano and conductor (1988); “January” for 4 reciters and performers of percussion instruments by Y. Radichkov (1989); “Drip, drip, drip…” for wind quintet (flute, oboe, clarinet, bassoon, horn) (1993); “I want your bliss” for flute, violin and cello (1993); “Sad Bites” for two violins (or violin and viola) (1995); “Quietly lights and rejoices” for clarinet and percussion (2001); Rocking Onward for Cello and Harp (2001); Sonata for flute and piano (2005); “Beautiful in 2” for flute and harp (2006); Sonata for flute and piano (2007); “Reminiscences of the Night” on material from own piano nocturnes (2013).


Brass Quartet (1954); Concert Miniatures for String Quartet (1970); String Quartet (1970); “Give me comfort!” for flute, viola, harp and harpsichord (“Concert Miniatures”) (1993); Quartet for Flute, Viola, Harp and Harpsichord (1972); “Double Bass Goes to Heaven” for violin, viola, bassoon and double bass (1993).


“I want your bliss” for flute, violin and cello (1993); Piano Trio No. 1 for violin, cello and piano (2014); Piano Trio No. 2 for violin, cello and piano (2016).

For cello and piano:

Sonata (1953); “Researchers” (1986); “The Cello Leaves the Right Hand of the Piano” for cello and piano right hand (1992).

For solo cello:

Sonata (1965); Reflections on a Lonely Cello (1991)

24 Harp Etudes: (2002-2007).

For piano:

Two Improvisations (1957); Piano Sonatas: #1 (1962), #2, 3, 4 (1974), #5, 6 (1992), #7, 8 (1994), #9, 10, 11 (1997), #12 (1998), #13 (2000), #14 (2001), #15 (2002), #16 (2003), #17, 18 (2004), #19, 20 (2005), #21, 22 (2006), #23, 24 (2007), #25, 26 (2008), #27 (2009 y.), No. 28, 29, 30 (2010), No. 31, 32 (2011); Concert Miniatures for Solo Piano (1970); “Tango for you, friends” (1984); “Chaconne” for solo piano (1984); “Stew’s Buckle” (1992); “Hoods after the terrible rain” – 7 plays (1992); Nocturnes #1 – #12 (2011-2012); Four Ballads (2015).

For piano ensembles:

“Welcome to us” for 2 pianos for 8 hands (1983); “I wander there” for piano 4 hands (1998); “I sink, I rise” for piano 6 hands (1998); Sonata for 2 pianos 4 hands (1999); “The Terrible Installation” for 1 pianist and three assistants (1999); “There is nothing ironic” for 7 left hands on 1 piano (2000).

Vocal music:
3 songs for bass and piano, so-called N. Vaptsarov (1961); I and II cycle of songs for soprano and piano, t.P. P. Slaveikov (1981); A cycle of 4 songs for soprano and piano to the tune of P. Yavorov (1985); “Three recitations with singing” for baritone and piano, T. P. Yavorov (1992); “Easter” – 9 songs for soprano to the text of Kiril Hristov (2003).

Choral music:
“Choir Book” 21 a cappella canons on folk texts for three-part female choir (1982); “3 songs “Barely, barely theatricalized” (acappella) (1982).

Selected literature by Prof. Dr. Dimitar Hristov:
“Polyphony” (co-edited by Z. Manolov) (S., 1965); “Western Horizons. A musical travelogue. FRG, France, Netherlands, USA.” (S., 1966); “Compositional ideas in the fugues of J.S. Bach’s “Well-Tempered Piano” (S., 1968); “Hypothesis of polyphonic construction” (S., 1970); “The Composer and Public Consciousness. About the third musical practice” (S., 1975); “Towards the theoretical foundations of melody”: T.1. “An attempt to outline an analytical approach to the individual melody” (S., 1973), T.2. “An attempt at the classification of melodic manifestations” (S., 1982), T.3. “An attempt to explain the melodic phenomenon” (S., 1988); “Textbook of polyphony” (co-author A. Angelov) (S., 2001); “Fundamental prerequisites for the composer’s imagination” (2009).

Selected literature for Prof. Dr. Dimitar Hristov:
Lalova, Kapka. “Literary-theatrical and musical-dramaturgical aspects of the play. (On the experience of the opera “Igra” by Dimitar Hristov.)” (S., 2002);
Chokoeva-Angelova, Bilyana. “Monology in the cello work of Dimitar Hristov (polyphonic transformations of constructions)”;
Karapetrov, Konstantin. “The Tragedian and his Hell. A look at Dimitar Hristov” (S., 2007)
Nedelcheva, Ganka. “The piano nocturnes by Dimitar Hristov in the Bulgarian and world experience” (Interpretative ambiguity of technological parallels with Chopin’s nocturnes), S., 2015
Nedelcheva, Ganka. “The 12 faces of the night in the nocturnes for piano by Dimitar Hristov” (One possible performance vision), S., .2015