Dimitar Pentchev’s “1:05” (2012), for clarinet, violin, cello and piano, begins haltingly but evolves into a driven, tight-knit conversation in which all four instruments have ample time in the spotlight and difficult, showy lines to play. Allan Kozinn, New York Times.
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Basking in the success of his musical composition for The British Touring Shakespeare Company’s productions of A Midsummer Night’s Dream and Charley’s Aunt, Bristol-based Bulgarian Dimitar Pentchev has come a long way since his first piano lesson. Theresa Roche, BBC


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A cabaret score provided by Dimitar Pentchev is by far the most curious addition to the set. In capturing a cabaret style of the silent era he naturally sets a tone for the film which wouldn’t have sounded foreign at all during its original release. Kevin Glivear, The Digital Fix


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Excellent listening.
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The orchestra will premiere a specially-commissioned original score by Dimitar Pentchev, an award-winning Bulgarian composer and pianist currently studying for a master’s degree in piano performance at SMU. SMUNews
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The ‘cabaret score’ score was created by Dimitar Pentchev and is a more light heated and fanciful musical track. I really enjoyed this track during the party scenes in the film… John Sinnot, DVDtalk
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Second is the Cabaret Score by composer Dimitar Pentchev. That one ranges broadly from the Kurt Weill style we associate with the dance-hall dives of Weimar-era Berlin, to slower, somber sections that sound more modern, at least to these ears. Mark Bourne, DVD Journal.
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I decided to go with “Cabaret Score” and was not disappointed. Composed by Dimitar Pentchev, the score sets the film in a Weimar-era (1920s) cabaret, incorporates elements of popular European music of that time with the contemporary techniques of presenting it. IMDB review
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