Boris Papandopulo
Boris Papandopulo

Concertino in Modo Antico for Two Violins, Violoncello and Piano

Publisher: Croatian Music Information Centre
Publish year: 2011

Edition type: score, parts

Price: 18,58 

In stock

printed edition
Catalogue type:
chamber music
2 violins, violoncello, piano
Number of pages:
Book height:
29 cm
Publication language:
croatian, english
About the music edition:
Boris Papandopulo (1906 – 1991) is one of the most distinctive Croatian musicians of the 20th century. Papandopulo also worked as music writer, journalist, reviewer, pianist and piano accompanist; however, he achieved the peaks of his career in music as a composer. His composing oeuvre is imposing – Papandopulo composed almost 500 opuses: with great success he created instrumental (orchestral, concertante, chamber and solo), vocal and instrumental (for solo voice and choir), music-stage and film music. In all these kinds and genres he left a string of anthology-piece compositions of great artistic value. Papandopulo completed the Concertino in modo antico Op 56 for 2 Violins, Cello and Piano in October 1935. It was firstperformed in an integral version by members of the Zagreb Quartet (Zlato Topolski, Milan Graf and Umberto Fabbri), joined by the composer, who played the piano part, during the 5th Society Concert of the Croatian Music Institute held in Zagreb on December 28, 1938. Since for many years the whereabouts of the autograph of the composition was unknown, the information about the Darmstadt performance in 1947 was the point of departure for its location. After more than 60 years, in 2009, the Concertino was found, in the papers of Udo Dammert in the German town of Weiler-Simmerberg. The imitativeness of the motifs, the scale passages, the polyphonic treatment of voices and the harmonic language of the composition unambiguously indicate neo-Baroque and neo-Classical stylistic characteristics. The masterly work with the motifs, the blitheness and élan, the genuine and sincere joy in making music are all features of this unpretentious composition, which will without doubt make its way onto the concert stages and into the hearts of musicians and audiences. (Davor Merkaš)