Boris Papandopulo
Boris Papandopulo

Concerto for Violin, Violoncello and Orchestra

Publisher: Croatian Music Information Centre
Publish year: 2013

Edition type: score

Price: 21,24 

In stock

printed edition
Catalogue type:
music for solo instrument and orchestra
Catalogue subtype:
two solo instruments, symphony orchestra
violin, violoncello, symphony orchestra
vn. solo vc. solo – picc. 2 fl. 3 ob. 3 cl. 2 fg. – 4 cor. 3 tr. in Si♭ 3 tbn. tba – timp. – G. C., tamb, tamb. picc., Holztrommel, tam-t., tom-t., ptto, ptti a 2, camp. tub., tamburello, glock., cast., cencerro, gro., xil., vib. – cel. pf. – 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 composed his Concerto for Violin, Cello and Orchestra in 1978. and dedicated the work to the brilliant Croatian musicians, brother and sister, Valter and Maja Dešpalj. These two, together with the Sarajevo Philharmonic Orchestra conducted by the composer, gave the first performance of the work in Sarajevo, on February 19, 1980. The musicologist Dr Krešimir Kovačević wrote of the composition in his programme notes: “The first movement is, in fact, an outstanding combination of the Dubrovnik country dance (kontradanca) and the Lindjo, which still today command the listener’s attention. The elegiac pastoral with its Mediterranean tones, manifested in the expansive duets of the violin and the cello, is a real oasis of calm self-forgetfulness, and then, the brilliant finale, devoid of any additions of folk music, sent the listeners back to the tousled game of youth, carried away with the carefree mood.” In the programme notes of the earlier Zagreb concert, held in February, the same writer had said that “in three movements, that in their form draw upon classical models, the solo parts of violin and cello appear in the role of the concertino as against the whole orchestra, and then, alternately, counterpoint each other. The elements of folk music recall in part the strains of Istria, and then at once the sounds of Mediterranean folk song break through the music, making it more acceptable, easier to understand. The motoric elements of the first movement, spiced with brilliant instrumentation, the cantabile lines of the slow Molto tranquillo and the movements in the tarantella rhythm in the finale with the brilliant coda are pages that remain in the memory.” (Davor Merkaš)

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