- Kandov, Alexander
- Kanev, Stefan
- Karaatanassov, Vesselin
- Karadimchev, Boris
- Karadjov, Dimitar Ivanov
- Karadjov, Dimitar
- Karastoyanov, Assen
- Karastoyanova, Helene
- Kaucki, Venceslav
- Kaufman, Nikolai
- Kazandjiev, Vassil
- Kazassian, Vili
- Kenov, Nikola
- Kerkelov, Peter
- Kiradjiev, Vladimir
- Klinkova, Jivka
- Kniazev, Nikolay
- Kochev, Boris
- Kochev, Mihayl
Sofia - Bulgaria
composer, violinist, musicologist
Nikolai Badinski graduated from the State Academy of Music, majoring in Composition under Professor Pancho Vladigerov, in Violin under Professor Nedialka Simeonova and in Theory of Music. He took part in the master class of Wagner-R?geny and G?nter Kochan at the Akademie der K?nste in East Berlin as a postgraduate. In 1975 and 1976 he attended classes in Siena given by Dallapiccola and Donatoni, and since 1974 he took part in the Darmstadt Summer Courses. In 1976 he moved to West Berlin, where he has since worked as a freelance composer. In 1980 he received a one-year scholarship to the Villa Massimo, Rome, and in 1981-82 and 1985-86 he received stipends to live and work in Paris. He was composer-in-residence at the Djerassi Foundation (1987), and taught at a number of colleges and universities, namely in Stockholm and Copenhagen. In 1983 he became a corresponding member of the European Academy of Arts, Sciences and Literature in Paris. He is also a member of ISCM, the Union of German Composers, the International Herder Association, the International Wagner Society, etc. He composed over 140 orchestral, ballet, chamber, organ, instrumental and vocal works, as well as electronic music. In both his acoustic and electronically composed music he has a tendency towards polystylistic means of expression and use of different composition techniques. His works were performed in Sofia, Berlin, Rome, Paris, Venice, Stockholm, Salzburg, Basel, Baden-Baden, San Francisco, Chicago, Pittsburgh, Philadelphia, etc., including the West Berlin Philharmonic, the Berlin State Capella, the Dresden State Capella, the Symphony Orchestra of the German Radio in Baden-Baden, etc. He often lectured and reported on Bulgarian music and culture in many countries in Europe and America. Multiple LPs and other recordings of his works were made including his ballet The Storm released on a LP for UNICEF.
He was awarded the first prize at the 28th International Competition for Composers “Viotti”, the first prize for composition at the International Competition for Composers “Karlheinz Stockhausen”, the international prize “Trieste” for symphony music, the prize of Paris, the Rome prize “Villa Massimo”, etc.
website: Nikolai Badinski
The Storm – ballet in three acts for young people (1972, 1973, Berlin); Martialphony for 12 voices (with action) after Epigrams by M. V. Martialis (1975; 1984, Paris); Music to a Psychological and Fantastic Choreography (1983-86; 1987, Berlin).
Vocal and instrumental:
“We are still here, the Sun is turning on…” Cantata for medium voice/clarinet/vibraphone, French horn and trombone, after Salvatore Quasimodo (1970); Wise Thoughts for choir and orchestra (1983-84).
Music for orchestra:
Symphony ?2 AaAaN (1978); Knock at the Exit (1981-82); The Contaminated Bat surrealistically encountering Johann Strauss and Bach (1991-92).
Concert suites: ?1 and ?2 from the ballet The Storm (1972).
Violin Concertos: ?2 (1971-72), ?3 (1971-72).
The Songs of Orpheus for solo violin and imaginary orchestra (1987).
For string orchestra:
Youth (1973); Glory to Stravinsky for violins (1978-79) (I version for 12 solo violins; second version for string orchestra); Seven Memorial Stones in memory of the Holocaust victims (1997); Impulses for 3 trumpets, 3 trombones and string orchestra (1999; space version – 2002).
Triptych for violin, percussion and string orchestra (Violin Concerto ?1) (1970-71); Secret Structures for string orchestra and bassoon/bass clarinet/tube (1982).
Glory to Bach Concerto for harpsichord, flute, bassoon, oboe, clarinet, 2 violas, French horn and violoncello (1977); Ruins Under Sofia Octet for clarinet, bassoon, 2 French horns and harpsichord (1972); Violated Silence Sextet for flute, French horn, violoncello, viola and clarinet (1976); Moscow Quartet for flute, oboe, clarinet and bassoon (1978); Glory to Bela Bartok for string quintet (1978); “Oh, Happy Man, What a Marvellous Horn and What a Beautiful Melody…” after poems by Petrarch, for oboe, clarinet, bassoon and piano (1981); Sublime and Terrestrial for celesta, French horn, viola and violoncello (1997); Berlin Divertimento for flute, clarinet and cembalo (1968); Picture for trio viola, French horn and violoncello (1975); Attempt to Communicate for oboe/clarinet and bassoon (1978-79); Interchange for Three Players on the Seine (1981-83); Relations for violin, piano and orchestra (1982-83); Thing of Samuel Beckett for French horn, violoncello and cembalo (1987); Jesus Christ for viola, French horn and cembalo (1995-96); Sonatina for two violins (1966); Sonata-conversation for flute and bassoon, lyrics by Fran?ois Villon (1967); Piece for piano and violin (1968); Preltan – two pieces for viola and piano (versions for viola/violoncello and piano, viola and French horn, violoncello and cembalo, viola, French horn, violoncello and cymbal (1973); Scripts for flute and piano (1981); Stone Reflections for trombone/French horn/tube and piano; Four sonnets for solo clarinet after lyrics by Beher (1969); Dialogues for solo viola (1973); Lateo for double bass (1973); 5-1 Euphoria for double bass (1974); Facinus 1 for flutes (1977), 2 for oboes (one musician) (1982); Quotidian 1 for violin solo (1977); Five Images through the Window for one musician-percussionist after James Joyce (1997).
For piano: Five pieces for piano on a dodecaphonic series (1968); Yugi (Play) for 4 hands (1980); The Secrets of the No More New World (1984-86); The Other Christmas Music (transcendental messages).
For two pianos: Himalayas God (1990); Crystals (1999-2000).
For five pianos: Decipio 3 Claviriada in 3 movements for 5 pianos (concerto for piano and orchestra of pianos) (1977-78).
For piano and instruments: Fragility and Vitality (2000).
Amekdil (Symphony ?1) for soprano (1967); Song for soprano and piano after lyrics by Erich Kaestner (1969); Poem for bass and orchestra, lyrics by Bojilov (1969); Piece for soprano and piano, lyrics by Vogelweide (1975); The Woman for voice and piano, lyrics by Maurer (1975); The Smoothness of Sea for soprano and percussion, lyrics by Pasolini (1984-86); Six capriccios for baritone and piano, lyrics by Federico Garcia Lorca (1991).
For organ: Differences – album (1975-76); Stay in My Life (Saint John: 15,9) for organ (1993); From Master’s Legacy – cycle for organ and 3 trombones or other instruments (1998).
Electroacoustic and electronic music:
For 2 variable Groups and Tape (1974).
Decipio 1 for double bass and tape /or for 4 double basses/ (1976); Decipio 2 for oboe and tape or for 5 oboes and caw bells (1977); Decipio 4 for trombone and tape or for 5 trombones and voices (1978); 5 Reflections on Texts and Songs by Solomon for solo violin and imaginary orchestra/tape/string instruments (1979-80); 6 In Memory of Marcel Proust and Luigi Nono (Saxophoniade) for saxophone and tape/12 saxophones (1995); 7 Harpiade East-West for solo harp and imaginary orchestra of harps (tape or 32 harps) (1990); 8 We Are Like a Flash of Lightning for bassoon and tape (3 bassoons and double bass) (1995-96).
Amekdil (Symphony ?3) Temporary Situations for big orchestra – CD, LP.
For imaginary orchestra: Visualised Dreams for 4 imaginary orchestras (1979-82); Three Expressions for soprano and imaginary orchestra/tape, lyrics by Malkovsky, Filombe, Volken (1981); Capriccio for St. Francesco for baritone and imaginary orchestra/tape (1981-82); Infinities’ Approaching for enlarged instruments and tape (1982); Six Orpheus Songs for violin and tape (1988-89).
Electroacoustic pieces: Rotation (in memory of a Cosmonaut) (1974); Sevtopol (1974); Phoenix (1974); Thoughts about Dostoevsky (1979); Memory of Kafka (1979); Meeting Orpheus (1979-80); H2O Music (1980); Music With Paper (1980-81); Airmusic (1980-81); Ro-ma-vi-lla-ma-ssi-mo (1981); Musical Visual Correspondence II (1981-82); Electroacoustic Dance (1984-85); Electroacoustic Scherzo (1984-85); Rite, Endless Figure, Kukeri and Bagpipes – electroacoustic pieces in quadraphony (1983-85); Psalm for Freedom (1983).
Music for computer: Imaginary Trio (1980); Venetians (1984-85).
Choral music for a capella choir:
Bestiarium, after Guillaume Apollinaire (1976); Maria from the cycle of Bible names for choir (1994).