site.btaPianist Dora Deliyska: Only by Risking Can You Reach New Artistic Ground

In art, freedom of expression is a key prerequisite for progress. Only with courage and willingness to take risks can new concepts and artistic solutions emerge, shaping the overall cultural landscape, pianist Dora Deliyska, who is participating in the Varna Summer International Music Festival, told BTA. This can happen when society provides support and when independent projects receive funding. Politics should be in sync with this process, or at least not interfere with it.

Dora Deliyska has lived and worked in Vienna for 25 years and believes the city is an example of how, despite the challenges of contemporary society, art still enjoys freedom and fertile ground for development.

Below is the full interview with Deliyska about the possibilities of interpretation, the path of music to the listener, the role of festivals and the musical landscape of modern Vienna.

What is the musician's greatest strength today?

Music - and especially live performance - happens in the moment. It is an emotionally intense experience shared between performer and audience. For me, this is music's greatest strength: the shared emotion, the moment lived together. Experiences like that are increasingly rare in a world where artificial intelligence and digital devices take up more and more space in our reality. The emotional connection of a live concert cannot be replaced by anything.

To what extent can a pianist interpret a work, considering they must stay true to the composer's intentions?

Performing a piece composed by someone else means taking full responsibility to faithfully recreate what is in the score and to get as close as possible to the original idea. Interpretation begins where we reflect our current reality. If I play a Beethoven piece, I should know in detail about his compositional style, the structure of the piece, the sound production, and the differences between period and modern instruments. Only when I am as close as possible to the original concept can I start to consider how this work fits into present-day reality. After all, the music we listen to happens now, even if it was composed in a different era. In this sense, it is contemporary.

My approach is to find connections between composers from different periods and to "bring them together" on stage. In doing so, a kind of communication between eras emerges, creating a contemporary reading of the works. This process requires extensive analysis and a deep knowledge of the composers' works, in order to find the thread that runs between them. The result is always very authentic and, for me, captures the essence of interpretive art.

What do you aim to express most in your albums: today's tastes and rhythms, your own vision, something overlooked in the composer's messages, or something else?

Recording an album differs from live performance in that the moment can be repeated. But I strive for a spontaneous emotion that can be felt by the listener, not just a technically perfect studio recording. The benefit of recordings is that listeners can experience music in the comfort of their home or in a setting where they can reflect personally. My goal is to create a musical concept that gives the album structure. Within that framework, the listener finds freedom for their own interpretation.

What is the path that serious music albums take to reach listeners? How are they distributed, what formats are in demand? Is music mostly listened to online, and does that help musicians? Vinyl is back in fashion — does that apply to classical music too?

Yes, vinyl is trendy even in the classical music scene. But online streaming platforms are most commonly used. They offer quick access to favourite works on phones, computers or in the car. The downside is that many platforms compress the audio, significantly reducing the sound quality.

When preparing my recordings, I take a lot of time choosing the right venue. The acoustics must suit the concept, and even the surrounding atmosphere affects interpretation. If the venue is surrounded by nature, it brings calm and balance. That is why it is a big loss when streaming compresses the sound and removes much of the emotion.

What is the musical landscape of modern Vienna like? What kind of music is performed in the city?

The longer I live in Vienna, the more it inspires and impresses me. The city is constantly evolving and enriching itself. And I am not just referring to classical music, which is undoubtedly at the highest level. The festivals - theatre, music, dance, contemporary art - which are part of the city's cultural programme, are always seeking new and authentic concepts. I have witnessed many performances, exhibitions and shows that reflect boldness on the part of the artists.

In art, freedom of expression is a key prerequisite for progress. Only with courage and a readiness to take risks can new concepts and artistic solutions emerge, shaping the cultural landscape. This only happens with support from society and funding for independent projects. Politics must be aligned with this, or at least not obstruct it.

Vienna is an example of how, despite the many challenges in today's world, art still enjoys freedom and room to grow. I am grateful to be part of this cultural process in times when freedom of speech is becoming an increasingly rare luxury in many countries. At the same time, I feel responsible, because I have this privilege, to contribute to the authenticity of interpretive art.

Are there any contemporary works that inspire you to perform them? How would you describe the works of today's composers? What themes do they explore, what do we "read" in them?

As I mentioned earlier, for me the most important thing is how works by different composers reflect on each other. In contemporary music, I look for pieces that I feel reflect the reality we live in.

What is the mission of festivals: to present new music, to preserve tradition, or something else?

Festivals provide a wonderful opportunity for performers from all over the world to come together and create in one place. In a short time, musicians build intense interpretations and strong emotions, which they share with the audience. For me, festivals embody how different cultures meet and challenge the notion of borders.

Dora Deliyska graduated from the Music School in her hometown Pleven, then studied in Vienna, where she continues to live and work. Her repertoire ranges from Bach to Ligeti. She regularly performs at some of Europe's most prestigious venues, including the Vienna Konzerthaus, the Brussels Palace of Fine Arts, and the Oosterpoort music Centre in the Netherlands.

She has toured in Thailand, China, Vietnam, Qatar and various South American countries, where she also gives masterclasses. She has served on juries at major competitions, such as Prima la Musica in Austria and the Youth Piano Competition Thailand.

Deliyska has an extensive recording career. Her performing career took off with the release of her first album featuring works by Franz Liszt, which led to an invitation for her debut recital at the Musikverein in Vienna. In 2013, her Schubert album won the Pizzicato Award.

In 2018, she released The B-A-C-H Project, based on a strong dramaturgical concept and thorough musicological research. This was followed by the album Alles Walzer, Einmal Anders!, closely related in style to her performance at the Varna festival. The project was named one of Austria's top ten cultural events of 2020.

In 2023, Deliyska recorded her 12th album, Etudes & Preludes, featuring pieces by Chopin, Debussy, Ligeti and Kapustin. It premiered in the Schönberg Hall at the Konzerthaus, and the album was nominated for the Opus Klassik Award.