Dora Pejačević - Piano Works (Nataša Veljković)

Information

Composer: Dora Pejačević

CD1:

• (01) Blumenleben, Op. 19
• (09) Sonata in A flat major, Op. 57
• (10) Sechs Fantasiestücke, Op. 17
• (15) Blütenwirbel, Op. 45
• (17) Zwei Nocturnes, Op. 50
• (19) Vier Klavierstücke, Op. 32a
• (22) Impromptu, Op. 32b
• (23) Valse de concert, Op. 21
• (24) Erinnerung, Op. 24

CD2:

• (01) Walzer-Capricen, Op. 28
• (10) Berceuse, Op. 20
• (11) Sonata in B flat minor, Op. 36
• (14) Capriccio, Op. 47
• (15) Zwei Klavierskizzen, Op. 44
• (17) Zwei Intermezzi, Op. 38
• (19) Berceuse, Op. 2
• (20) Gondellied, Op. 4
• (21) Chanson sans paroles, Op. 5
• (22) Papillon, Op. 6
• (23) Menuett, Op. 7
• (24) Impromptu, Op. 9a
• (25) Chanson sans paroles, Op. 10
• (26) Trauermarsch, Op. 14
• (27) Humoreske, Op. 54a
• (28) Caprice, Op. 54b

Nataša Veljković, piano
Date: 2015
Label: cpo

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Review

My introduction to Dora Pejačević (1885-1923) came via the sixth of CPO’s pioneering discs devoted to her music (7/15), featuring some attractive vocal items and her accomplished Piano Concerto. After this seventh volume, it is even more of a mystery how she has been so completely overlooked.

Pejačević’s complete solo piano works fit handily on two well-filled CDs (79'06" and 78'22"). Nataša Veljković wisely mixes the early works with the later ones, opening disc 1 with the eight Blumenleben, Op 19 – assured, high-end salon music – and followed by the three-movements-in-one Sonata (11'48") from 1921, with its more advanced harmonic language. After that Veljković returns to the salon with the Fantasiestücke, Op 17, six brief sketches (highlights of the disc for me), in which Pejačević conveys real depth of emotion with the most economical of means.

As with most intégrales, there are ups and downs. For instance, the nine Walzer Capricen, Op 28 (No 8 is misnumbered in the booklet) are charming enough but betray Pejačević’s weakness as a memorable melodist (essential in this genre). But her Sonata No 1 in B minor, Op 36 (three movements, 24'07", composed in 1915), while saying nothing new, is powerful and passionate; and the Zwei Klavierskizzen, Op 44, and Zwei Intermezzi, Op 38, show how far Pejačević travelled (there are echoes of Korngold and Busoni), especially when set beside – as they are here – 10 of Pejačević’s earliest works concluding with the arresting Trauermarsch, Op 14 (6'31", not the booklet’s 1'34"). These are very brief and indebted to Mendelssohn, Grieg and Chaminade, any one of whose names, had they been attached to these scores, would have guaranteed nods of universal approval.

Veljković plays consistently well with imagination, an impressive variety of touch and tone and a real flair for the idiom. Perhaps not essential listening, but those of a mildly adventurous disposition will find much to enjoy.

-- Jeremy Nicholas, Gramophone

More reviews:
BBC Music Magazine  PERFORMANCE: **** / RECORDING: ****
http://www.musicweb-international.com/classrev/2016/Mar/Pejacevic_piano_5550032.htm
https://www.amazon.com/Dora-Pejacevic-Complete-Piano-Works/dp/B018GRNUB4

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Dora Pejačević (10 September 1885 – 5 March 1923) was a Croatian composer, a member of the Pejačević noble family from Slavonia. Pejačević studied music privately in Zagreb, Dresden and Munich and received lessons in instrumentation, composition and violin. Pejačević is considered a major Croatian composer. She left behind a considerable catalogue of 58 opuses (106 compositions), mostly in late-Romantic style, including songs, piano works, chamber music, and several compositions for large orchestra. Her Symphony in F-sharp minor is considered by scholars to be the first modern symphony in Croatian music.
https://en.wikipedia.org/wiki/Dora_Peja%C4%8Devi%C4%87

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Nataša Veljković (born 2 April 1968 in Belgrade) is a Serbian pianist. She was trained under Arbo Valdma, Paul Badura-Skoda (University of Music in Vienna, -1987), Rudolf Firkusny (Juilliard School, 1988–89) and Harry Datyner (Geneva Conservatory, 1990–92). At 17 Veljković won the XI Concours Clara Haskil, which was followed by the World Music Masters competition in Montecarlo five years later. She has performed through Europe and Asia since, as she is member of the jury at major international piano competitions. She lives in Vienna, where she is teaching at the University of Music since 1993.
https://en.wikipedia.org/wiki/Nata%C5%A1a_Veljkovi%C4%87
http://www.veljkovic.net/

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