- Pejačević — Overture in D Minor, Op. 49 $0.99 on iTunes
- Pejačević — Verwandlung, Op. 37b $0.99 on iTunes
- Pejačević — Liebeslied, Op. 39 (Version for Voice & Orchestra) $0.99 on iTunes
- Pejačević — 2 Schmetterlingslieder, Op. 52: No. 2, Schwebe du Schmetterling, schwebe vorbei $0.99 on iTunes
- Pejačević — Piano Concerto in G Minor, Op. 33: I. Allegro moderato
- Pejačević — Piano Concerto in G Minor, Op. 33: II. Adagio con estro poetico $0.99 on iTunes
- Pejačević — Piano Concerto in G Minor, Op. 33: III. Allegro con fuoco $0.99 on iTunes
Notes & Reviews:
The latest Dora Pejaèeviè (1885-1923) release on cpo features her first and last works for orchestra and four songs. The finely crafted Piano Concerto op. 33 adheres to the usual three-movement structure of the classical and romantic virtuoso solo concerto. The instrumentation produces highly effective contrasts of texture and color. Four of her thirty expressive songs for voice and orchestra are presented here in versions for voice and orchestra. The Overture in d, her last orchestral work, derives its dramatic tension from its rhythmically striking, syncopated main theme.
American Record Guide, November/December 2015
The Overture (1919) is a brief work that seems longer because it's so eventful. Her songs have a simple, expressive beauty. 'Transformation', setting a Karl Kraus poem, is full of feeling. 'Love Song' after Rilke has an eloquent setting with a constant interchange of the musical line between the soloist and her accompaniment. The two 'Butterfly Songs', poems by Karl Henckell, are sung from the butterfly's point of view. Both are charmers. The first has cute back-up, full of trills and grazioso figurations; the second is more celebratory. Danz's fine singing, with her beautiful tone quality and good enunciation, adds to their virtues.
The Piano Concerto (1913) is a traditional, likeable work in the approved late-19th Century mode. The music integrates the soloist's part into its overall structure, making a well-knit statement. The solo part is one with good themes, intelligently developed. Pianist Oliver Triendl, already impressive in his traverse of Paul Graener's Piano Concerto ( July/Aug 2015), reinforces his reputation here with good phrasing, clean fingerwork, and the ability to get to the point of a movement. Howard Griffiths's conducting is at its customary high level. The notes include song texts and translations.
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