This article analyses Yordan Goshev’s three etudes – in light of this genre’s general development in world music literature, and also the Bulgarian one. These pieces demonstrate the composer’s permanent interest of creating contemporary piano music, and for development of piano skills based on Bulgarian folklore and modern composition techniques.
A serious challenge from technical and interpretative point of view, the йtudes demonstrate specific type of technique and reveal brilliant artistic images. Use of elements from the Bulgarian folklore, strongly revealed especially in the second etude, shows an innovative tendency in his artistic quest, since the beginning of the new century. Thus, his composing style achieves a brilliant national identity. The appearance of contemporary йtude genre examples fills in a serious gap in the Bulgarian piano literature and enriches the repertoire of our pianists with pieces that may be performed both on the national and international stage.
The present study makes not only a formal-stylistic analysis, but also an implementation one as well, and outlines the possible way of solving the complex technical tasks in the three еtudes, helping all pianists who would decide to get acquainted with these interesting examples of Bulgarian piano music.