Boris Papandopulo
Boris Papandopulo

Two Pieces for Piano, Op. 13

Publisher: Croatian Music Information Centre, Vatroslav Lisinski Concert Hall
Publish year: 2019

Edition type: score

Price: 11,95 

In stock

printed edition
Catalogue type:
soloistic music
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. Two Pieces for Piano (Zwei Klavierstücke) Op. 13 were composed in Zagreb during February and March 1930, according to Papandopulo's note added to the final page of the autograph. Papandopulo set high technical standards for the interpreter of the two piano pieces and composed a virtuoso composition. The very beginning of the first of the Two Pieces for Piano (Allegro moderato) contains a score with as many as four staves, i.e. two notation systems: Papandopulo has an original way of using all registers (especially the very deep and very high ones), thus achieving almost symphonic, orchestral sonority of the piano within a seven octave range! The second Piece Turbato (sedizioso!) (Eng.: Agitated [rebellious!]) is composed as a virtuoso composition and requires significant mastery of technique from the pianist! The Piece also abounds in rhythmically complex sections, such as the occasional occurrence of horizontal polymeter (simultaneous appearance of 5/8 and 2/4 time, compare for example m. 60-65), as well as frequent appearance of polyrhythmic situations. In order to achieve plasticity of certain horizontal layers, Papandopulo also applies polytonality. In the context of Papandopulo's entire oeuvre that was created between the two World Wars, the Two Pieces for Piano seem like a study, or croquis of a sort, i.e. moments of artistic experience and maturation that the artist would use as fragments and raw material for his future opuses. (Davor Merkaš)

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