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ISSN 1409-6900 | UDK 82+7     Blesok no. 59 | volume XI | March-April, 2008



                     Peer-reviewed journal
Blesok no. 59March-April, 2008
Sound Reviews

A Conversation with the Conductor Borjan Canev

p. 1
Dojrana Prokopieva

Borjan Canev is the chief conductor of the Macedonian Philharmonic Orchestra; during the past few months he has conducted different pieces from the symphonic and concerto repertoire. He conducted few of the concerts for the broader audience, such as the symphony concert for children, as well as the concert of the music band ”Project Žlust”. Canev also works as a professor at the Faculty of Music in Skopje, an institution where he was also educated himself, in the class of Professor Fimčo Muratovski.

D.P. As the main conductor of the national orchestra, what kind of a repertoire are you mostly interested in?
    B.C. The conductor should absolutely show knowledge and interests for a wide repertoire, because the specification of his work itself requires that. Personally, I am interested in everything connected to the symphonic and opera music, and I wouldn’t give a single example of a work that I show a particular interest for.

D.P. On 17th of January, you conducted the symphonic concert of “Project Žlust” band, as a part of the cycle named “Jazz Symphony Concert” which aims to bring the symphonic music closer to the broader audience. What is your opinion about this new programme concept?
    B.C. I think that this programme concept has brought something new and fresh to the standard classical repertoire. The interest which shows how much these concerts bring the symphonic music closer to the audience, is a fact that speaks for itself. It shows that the audience needs to hear concerts of this kind.

D.P. How often during your musical career have you attended this kind of concerts and what was your own contribution to the whole musical formation at the concert?
    B.C. I have seen many concerts of this kind, especially during my stay in the UK. Every symphonic orchestra of a world rank, more or less, practices similar digress from the iron classical repertoire. I think that this should be observed as an extension of the already established concert repertoire. I am afraid it would sound as a cliché if I told you how important the contribution of the conductor is in the orchestra.

D.P. Has this programme concept shown good results for the orchestra? Do you consider true the fact that, through the performance of this kind of pieces there is a possibility that the orchestra can diminish the achieved level of performance and make an assumption in the criteria established for the

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