Sheet Music


Papandopulo composed the Eight studies in 1956 and dedicated them to the renowned Croatian piano pedagogue Svetislav Stančić (1895-1970). In this technically highly demanding cycle, with frequent polytonality, the folklore influence is almost invisible.  The eight characteristic miniatures are composed in various styles, from the baroque toccata to the contemporary dance forms. While the fast etudes are almost automatically motor rhythmic, the slow ones conjure up various moods, whereat Papandopulo employed the dodecaphonic technique in his own way. Pronounced harmony, aesthetics and rhythm of jazz and pop music increase the spontaneity and the overall brilliance of this piano piece. A small dose of a peculiar kind of irony is an unavoidable part of this fascinating musical kaleidoscope.





10×1, Ten music impressions lasting one minute each is the last Papandopulo´s piano piece composed in 1989 which Dalibor Cikojević first performed at the Osor Music Evenings. It is an “impressionable, kaleidoscope synthesis of all Papandopulo´s style and techniques that by its spontaneity perfectly reveals the composer’s personality and the playful and lively spirit full of optimism and humour”. This peculiar, apparently loose collage is nevertheless composed with a secret idea about the omnisuperior completeness of the suite.





dpejacevicThe Phantasie concertante in D minor, op. 48, written in 1919, is held to be among the most successful of the compositions of Dora Pejačević. After the Concerto for Piano and Orchestra, op. 33, of 1913, a work that can be considered the first of the kind in the history of Croatian composition, Phantasie concertante is the second and final work of Dora Pejačević for piano and orchestra. Unlike the piano concerto, which follows the tradition and the great historical models for this musical form, Phantasie concertante is a new departure in the treatment of the musical form and of the thematic material. It is true that the contours of the traditional three movements can be discerned in the work, but it is nevertheless a one movement piece that forms an organic whole without any caesura. Although Dora Pejačević follows the principle of the free improvisational sequencing of the musical material, a feature of all orchestral and other fantasias in the h

istory of music, by the use of the main leitmotif, i.e., the theme in D minor, she provides harmonic stability and cyclicity for the work, which is shot through with inspired musical ideas and modulating episodes of different characters, tempos and moods. The piano part is written in a dense late Romantic style and its lush orchestral sonority seeks great strength and art in the solo performance.