Boris Papandopulo
Boris Papandopulo

Concerto for Harpsichord and String Orchestra

Publisher: Croatian Music Information Centre, Breitkopf & Härtel
Publish year: 2015

Edition type: piano reduction, harpsichord part

Price: 26,54 

In stock

printed edition
Catalogue type:
music for solo instrument and orchestra
Catalogue subtype:
solo instrument, string orchestra
harpsichord, string orchestra
cemb. solo – archi
Number of pages:
Book height:
32 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. Boris Papandopulo’s Concerto for Harpsichord and String Orchestra was composed at the suggestion of the excellent German harpsichordist and musicologist Hans Pischner, who gave the work its first performance on February 21, 1966. As in many other Papandopulo works for solo instruments and orchestra, the Concerto for Harpsichord too draws on Neoclassic, i.e., Baroque patterns with the three characteristic movements of a formal disposition in which a slow movement is framed by two fast movements. In the introductory movement, Toccata, in a highly original and individual manner, the composer has implemented into the musical structure features of the twelve-tone technique and merged them with Baroque compositional and technical elements. The basic thought of the second movement (Aria) is based on a very expressive Međimurje folksong Vu toj nemškoj zemlici that has an elegiac and even melancholic nature, set forth in the strings. The third movement, Rondeau, just as its name tells us, is composed in the form of a rondo and built on several repetitive twirling motifs that like a stuck vinyl record are always, incessantly, but wittily, repeated; they are clearly of folk music origin, although this time they do not appear as a literal quotation, like the theme of the previous movement, but only at the level of association – an imaginary vernacular tune, a dance rhythm.