It was Slavonic and on the Balkan cultivated folkloric music with its often uneven measures and its intonation and instrumentation partly dating back to pre-Christian times which offered New Music a structuring means as well as an up to then unknown innovative
potential.
The composer Bojidar Spassov (born 1949 in Sofia/Bulgaria) utilises in his cycle "Fiato continuo" for brass, woodwind and tape folkloristic instruments, intonation, rhythms and melodies to a certain extend as sound library. Out of this pool and with the addition of electro-acoustic tapes he generates completely new sound qualities, which in the end relate just as little to the material innovating New Music as to their folkloristic origin. In a lexical meaning it is free floating auras which encounter each other within the same time period and enter into a concert situation with each other and commensurate.
In the five pieces Spassov equipoises the acting subject, the instrumental soloist and the composer who applies game theory with electro-acoustic means. Freed by electronic sounds of all heaviness and possibly also of all philosophic and historical pains, Spassov’s music, often intonated at extremely high pitch, gives account of the very archaism, the very pre-cultural state of music for which immediacy contemporary instrumental and electronic composers struggle again and again. (Achim Heidenreich)

Fiato continuo l für Flöte und Tonband
Fiato continuo II für Bassklarinette und Tonband
Fiato continuo III für Oboe und Tonband
Fiato continuo IV für Trompete und Tonband
Fiato continuo V für Tuba und Tonband