Dora Pejačević - Complete Piano Works (Nataša Veljković)

Information

Composer: Dora Pejačević

CD1

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

CD2

• Walzer-Capricen, Op. 28
• Berceuse, Op. 20
• Sonata in B flat minor, Op. 36
• Capriccio, Op. 47
• Zwei Klavierskizzen, Op. 44
• Zwei Intermezzi, Op. 38
• Berceuse, Op. 2
• Gondellied, Op. 4
• Chanson sans paroles, Op. 5
• Papillon, Op. 6
• Menuett, Op. 7
• Impromptu, Op. 9a
• Chanson sans paroles, Op. 10
• Trauermarsch, Op. 14
• Humoreske, Op. 54a
• 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

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Dora Pejačević (10 September 1885 – 5 March 1923) was a Croatian composer, pianist and violinist recognized as a pioneer in modern Croatian music. She introduced the orchestral song to the national repertoire, and her Symphony in F-sharp minor is regarded as the first modern Croatian symphony. Her works, particularly vocal compositions, piano miniatures, and string quartets, reflect expressionist and modernist influences. Initially rooted in Romanticism, her style evolved after serving as a paramedic during World War I, incorporating themes of nihilism, death and war's futility. She died in 1923 from childbirth complications.

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Nataša Veljković (born 1968 in Belgrade) is a Serbian pianist. She studied in Vienna, New York and Geneva under renowned mentors such as Paul Badura-Skoda and Rudolf Firkušný. After winning the Clara Haskil Competition at age 17, she launched an international career, performing widely across Europe with major orchestras and distinguished conductors. Based in Vienna, she has taught at the University of Music since 1993. Veljković has appeared at prominent festivals and venues, earning critical acclaim. She has an extensive discography featuring works by major composers as well as lesser-known repertoire.

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