Kultura, Moscow (Russia), November 11-17, 2004 Irina Sevrina

“…Today Contrasts is in some sense a definition of the genre as after Bartok it has become quite popular. Minchev’s style does not remind us in the least of Bartok but the striking dissonances, the ear-cutting harmonies and the wild primitive rhythms of ancient pagan dances seem to have come from the pages of Stravinsky’s The Rite of Spring and have come to life in the new context of contemporary post-modernist culture. This is not the first time that Georgi Minchev has been to this country; between 1968and 1970 he specialized in composition with Rodion Shchedrin. It was from him that the composer mastered the brilliance of orchestration: his manner of writing in Contrasts is marked by a wealth of timbres, flexibility of modulations and brilliance of juxtaposition. Timbre, temporal, textural, dynamic, visual and thematic contrasts – all these seem not capable of leaving an overall impression. Still Minchev has succeeded in a magic and impossible manner to construct the general form and last but not the least there is a feeling of organization created by the compositional arch – the mysterious bell chime at the beginning and the end of the work coming from a distance...”

Tomi Norha
Turun Sonomat Saturday, Finland 01.03.2008
Turku Philharmonic Orchestra Cond. Petri Sakari

How to Make Complex Music Easy to Understand.
Georgi Minchev`s “Contrasts”, Music for Orchestra was a fascinating composition – more precisely, brilliant. The contrasts in the work were achieved, on a larger scale, by interchanging an intensive with a peaceful musical texture and, on a lesser scale, for example, with the tuba and piccolo flute duet. The use of the orchestra is colorful and the percussions especially convincing.
New music has always suffered from the fundamental problem of communication with the public. So,
what should the composer do in a order that his music should not be difficult for the listener to perceive? In my opinion, Minchev`s recipe was excellent: to unconditionally compose new music but select the most essential elements from history and exploit them to hold the attention; to use atonal musical language but on the edge of the tonal all the time; to use a great variety of rhythms, but remain faithful to core pulse; and to compose clear motifs, repeat them and keep returning to the beginning so that everyone notices and remembers it.
An excellent choice of composition!