Acoustics of Bulgaria project blends music, history, independence

Stefan Valdobrev and the Usual Suspects recorded a new song inside the medieval Church of Saints Peter and Paul in Veliko Tarnovo on Monday, CE Report quotes BTA.

The session, which marked Bulgaria’s Independence Day on September 22, made use of the church’s acoustics to enrich their upcoming album.

Stoyan Yankulov-Stundji recorded percussion in the church at the foot of Tsarevets Fortress in Veliko Tarnovo, while Stefan Valdobrev played the tambura and provided vocals. The track, “Roofs Without Houses”, was also partially recorded on Sunday at the Nikopolis ad Istrum archaeological reserve near Nikyup and at the Church of Saints Archangels Michael and Gabriel in Arbanasi.

During the recording sessions, BTA Director General Kiril Valchev visited the musicians. He was accompanied by Director General of the Armenian news agency Armenpress Narine Nazaryan. Valchev reaffirmed BTA’s support for the musicians’ project, “Acoustics of Bulgaria,” in which BTA serves as the main media partner.

Valchev mentioned that the decision to record on this specific day and in this city was his idea, while the choice of church was made by Valdobrev, who chose it over the Church of the Forty Martyrs, known for the reading of the Manifesto of Independence.

Valdobrev told BTA he envisions the project’s songs as manifestos of freedom, travel, love, and beauty. He also stated that the initiative is progressing successfully. This marks the eighth song and eighth recording location, and he believes the results are improving as the project continues.

Valchev noted that a lack of independence can also involve being unable to select your own acoustics. He and Valdobrev discussed the history of the Church of Saints Peter and Paul, mentioning that it once housed relics of St Ivan Rilski. Valdobrev, as a musician, is drawn to the unique energy of such places.

“When I visit them, I know little at first, but later I learn much more. My creative intuition helps me sense a location’s potential, and I often discover that my instincts were correct,” Valdobrev said. He added that his choices may be subconscious and that his interest in these sites dates back to childhood visits.

Valchev and Valdobrev explained that the core purpose of the "Acoustics of Bulgaria" initiative is to draw attention to the unique sounds of locations across the country that often go unnoticed by local residents. Their main objective is to help young people, in particular, appreciate that independence includes the ability to experience silence, listen to diverse sounds without external influence, and engage in free listening. Both stressed the importance of encouraging more people to recognize the value of these sites and to visit them with openness.

Valdobrev expressed gratitude to BTA for its authentic and valuable partnership, noting that this collaboration has contributed to the positive reception of the “Acoustics of Bulgaria” initiative at every album recording location.

Professor Hitko Vachev, a leading archaeologist involved in the research, study, and restoration of the church, described it as one of the most significant monuments of the Second Bulgarian Empire.

The church, dedicated to Saints Peter and Paul, was built during the reign of Tsar Kaloyan, who was likely crowned there by Cardinal Leo. Anna-Maria Arpad, the wife of Tsar Ivan Asen II, played a key role by financing the construction of a large monastery adjacent to the church, establishing it as a major center for religious and intellectual life. Following the Ottoman conquest of Tarnovgrad, the church complex became the residence of Patriarch Euthymius, who translated the relics of several saints there, including those of Saint Ivan Rilski, the most venerated Bulgarian saint.

His depiction is preserved on one of the pillars at the site of his former reliquary. Subsequently, the church and monastery served as the residence of the Tarnovo metropolitans. The church walls display multiple layers of frescoes dating from the late 12th to the early 15th and 17th centuries, representing some of the most outstanding examples of Bulgarian iconographic art.