Dora Pejačević
Dora Pejačević

Piano Sonata in A Flat Major, Op. 57

Publisher: Croatian Music Information Centre
Publish year: 2006

Price: 9,29 

In stock

printed edition
Catalogue type:
soloistic music
Number of pages:
Book height:
32 cm
Publication language:
croatian, english, german
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 Sonata in A Flat Major, Op. 57, was written towards the end of Dora PejaËeviÊ’s composing life (1921). It goes a step further in the application of classical formal patterns and foretells a possible turnabout which the composer did not live to implement. The work demonstrates an attempt to integrate the traditional sonata allegro - of the classic sonata form - with a three-movement disposition type: fast – slow - fast movements. This is a sonata in one movement, as the composer termed it, or, in other words, a sole expansive, epic movement which encompasses the classical three, overflowing the dimensions of the first sonata movement. Individual parts flow one into another, without obvious seaming, into a large and unified form. The composer provides a sketch of the formal disposition of the work in the autograph manuscript. This is, however, only a summary of the whole. What is built onto this axis gives the work its elements of fantasy, expands the form, includes the factor of surprise, unpredictability, and, in the end, the revival of the polyphonic tradition... (Koraljka Kos)