Dora Pejačević
Dora Pejačević

Concerto for Piano and Orchestra in G minor, op. 33

Publisher: Croatian Music Information Centre
Publish year: 2013

Edition type: score

Price: 26,54 

In stock

printed edition
Catalogue type:
music for solo instrument and orchestra
Catalogue subtype:
solo instrument, symphony orchestra
piano, symphony orchestra
pf. solo – 2 fl. 2 ob. 2 cl. 2 fg. – 2 cor. 2 tr. in Si♭ – timp. – archi
Number of pages:
Book height:
32 cm
Publication language:
croatian, english
About the music edition:
Dora Pejačević (1885 – 1923) is one of the most talentet female composers at the turn of the 18th and 19th centuries. She studied at the Croatian Music Institute in Zagreb then briefly in Dresden with Sherwood and in Munich with Courvoisier. For the most part, however, she was self-taught and developed her musical talents through contact with other artists and intellectuals, such as Karl Kraus. Her ancestral home was at Našice (near Osijek), but she also travelled extensively to Budapest, Munich, Prague and Vienna. After 1921 she lived mainly in Munich. Her works were performed most frequently outside Croatia; part of her Symphony, for example, was first given in Vienna (25 January 1918) and the complete work was performed later in Dresden. Her late Romantic idiom, enriched with Impressionist harmonies and lush orchestral colours, evolved as she strove to break free from drawing-room mannerisms and conventions... The piano takes the central role in Dora Pejačević's first orchestral composition, Concerto for Piano and Orchestra in G Minor, Op. 33 (1913). The work follows the traditions of the Romantic solo concerto and her great models: Liszt, Grieg and Rachmaninoff. With its brilliance and distinctive virtuosity, the solo part is in the centre of events, but it is not in opposition to the orchestra; rather, it is included in the orchestra as a characteristic sound factor, often entering into dialogue with individual orchestral instruments. This late-Romantic concept in which the traditional soloist-orchestra confrontation was replaced by a synthesis, obviously prevails in this effective and attractive work, for which the composer herself wrote the analysis in the programme booklet for the premiere on February 5, 1916. The disposition of the movements corresponds with the traditional three-movement form and their usual characters. (Koraljka Kos)