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Countess Maria Theodora Paulina (Dora) Pejačević (Hungarian: Gróf verőczei Pejácsevich Mária Theodóra Paulina "Dóra", 10 September 1885 – 5 March 1923) was a Croatian composer and a member of the Pejačević noble family. She was one of the composers to introduce the orchestral song to Croatian music[1] and her Symphony in F-sharp minor is considered by scholars to be the first modern symphony in Croatian music.[2]

Dora Pejačević
Dora Pejačević

Early life


Dora Pejačević (in old documents also Pejacsevich) was born in Budapest, Kingdom of Hungary, the daughter of a Croatian ban, Hungarian-Croatian Count Teodor Pejačević of Virovitica and Hungarian Baroness Elisabeth Josepha Vay de Vaya [hu] (1860–1941), herself a fine pianist. Her mother was the first to give her piano lessons. Paternally, she descended from the old Croatian noble Pejačević family, one of the most distinguished noble families in Slavonia, the eastern region of Croatia. Her maternal family was, for centuries intermarried with Counts Teleki de Szék, which gave them political and economical importance within the region of Budapest. Much of her mother’s prominence led to Dora veering towards music rather than the aristocratic lifestyle that was impressed upon her.

Pejačević began to compose when she was 12. She studied music privately in Zagreb, Dresden and Munich and received lessons in instrumentation (from Dragutin Kaiser [ru] and Walter Courvoisier), composition (from Percy Sherwood) and violin (from Henri Petri in Munich). She was largely self-taught, however.


Career and personal life


In 1913, Pejačević composed a piano concerto, her first orchestral work, marking her as the first ever Croatian composer to write a concerto. Pejačević’s earlier compositions mostly consisted of piano pieces, sonatas, and songs and were considered elite in their nature. Many of her pieces premiered in Germany, played by major soloists of the era. When her Symphony in F-sharp minor, Op. 41, premiered in the Great Hall of Vienna's Musikverein, a critic was surprised when a woman came up on stage, which shows how her excellence contributed to her importance as a composer, specifically a woman composer, in the early twentieth century. Throughout her lifetime, Pejačević's compositions were performed in Budapest, Vienna, Prague, München, Dresden, and her town of Nasice.

She married Ottomar, Ritter von Lumbe (1892–1978) in 1921. Although Pejačević led a lonely life, she met many prominent musicians and writers, and befriended Austrian journalist and writer Karl Kraus and Czech aristocrat and patroness of arts Countess Sidonie von Thun und Hohenstein.


Death


Pejačević died in Munich in 1923. Multiple sources have described her passing in contradicting manners. One source claims the cause of Pejačević's death was kidney failure, taking place four weeks after her son, Theo's birth. Another source mentions her passing taking place as a result from complications during childbirth. Her tombstone, per her request, has her name written solely as “Dora” with the short phrase "Rest Now". She is buried at the cemetery in Našice, Croatia.


Legacy


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, arguably her best. Her Symphony in F-sharp minor is considered by scholars the first modern symphony in Croatian music. Most of her music has yet to be published and released on compact disc, although concerted efforts have been made recently to rectify this situation. For example, the Croatian Music Information Centre has published some of her scores, including three of her orchestral works (Piano Concerto, Symphony, and Phantasie Concertante). In 2008, the Center also published a bilingual monograph (in English and Croatian), written by the Pejačević scholar Koraljka Kos, accompanied by a first all-Pejačević CD of piano and chamber music.

Her life is the subject of the fictionalized Croatian biographical film Countess Dora (1993), directed by Zvonimir Berković and starring Alma Prica and Rade Šerbedžija.[3]


List of works



Vocal compositions


Lieder

  1. "Sicheres Merkmal"
  2. "Es hat gleich einem Diebe"
  3. "Taut erst Blauveilchen"
  4. "Es jagen sich Mond und Sonne"
  5. "Du bist der helle Frühlingsmorgen"
  6. "In den Blättern wühlt"
  7. "Es war einmal"
  1. "Ich schleiche meine Straßen"
  2. "Verweht"
  1. "Ein Schrei"
  2. "Wie ein Rausch"
  3. "Ich glaub', lieber Schatz"
  4. "Traumglück"
  1. "Als du mich einst gefunden hast"
  2. "Viel Fähren sind auf den Flüssen"
  3. "Ich bin eine Waise"
  4. "Ich war ein Kind und träumte viel"
  1. "Venedig"
  2. "Vereinsamt"
  3. "Der Einsamste"
  1. "Zu dir!"
  2. "Um bei dir zu sein"
  1. "Majčica, moj anđeo" (Mommy, my angel)
  2. "Dijete i baka" (Child and grandmother)
  3. "Mali Radojica" (Little Radojica)

With orchestral accompaniment

  1. "Goldne Sterne, blaue Glöckchen"
  2. "Schwebe, du Schmetterling"

Compositions for solo piano


  1. "Sehnsucht"
  2. "Leid"
  3. "Frage"
  4. "Klage"
  5. "Bitte"
  6. "Wahn" (2 versions: A and B)
  1. "Schneeglöckchen"
  2. "Veilchen"
  3. "Maiglöckchen"
  4. "Vergißmeinnicht"
  5. "Rose"
  6. "Rote Nelken"
  7. "Lilien"
  8. "Chrysanthemen"
  1. "Moderato"
  2. "Grazioso"
  3. "Im Laendler-tempo"
  4. "Wiegend"
  5. "Lento"
  6. "Tempo giusto"
  7. "Allegretto"
  8. "Grazioso, allegramente"
  9. "Moderato"
  1. (lost)
  2. "Libelle"
  3. "Papillon"
  4. "Abendgedanke"
  1. "Con fuoco non troppo allegro"
  2. "Andante con molta espressione"
  3. "Allegro risoluto"
  1. "Ruhig und innig"
  2. "Langsam und ausdrucksvoll"
  1. "An dich!"
  2. "Vor deinem Bild"
  1. "Sehr ruhig, mit innigem Ausdruck" (Janowitz 20–21 Juli 1918; dedicated to pianist Alice Ripper)
  2. "Leicht bewegt und ferträumt"
  1. "Humoreske", allegretto vivo
  2. "Caprice", vivace grazioso

Chamber compositions



Orchestral compositions


Songs for voice and orchestra (1915–1920)


Recordings





References


  1. Historicisim in Croatia, Vladimir Maleković, Vesna Lovrić Plantić, Graham McMaster – 2000: "In this period Josip Hatze composed the first modern cantata in Croatian music; Dora Pejačević, Bersa and Baranovic introduced the song for voice and orchestra."
  2. Pejačević worked continuously on the Symphony in 1916 and 1917… it is the first modern work of its genre in Croatian music. Most importantly, Pejačević will remain a benefactor in introducing classical music to Croatia. Kos, Koraljka. Dora Pejačević: Symphony • Phantasie Concertante (booklet). cpo. p. 12. 777 418-2.
  3. "Kontesa Dora". Baza HR kinematografije (in Croatian). Croatian Film Association. Archived from the original on 2011-06-06. Retrieved 2020-01-03.
  4. "About this piece ⟨Verwandlung, Op. 37 (Pejačević, Dora)⟩" by Carl Simpson, IMSLP
  5. David Gutman. "Pejačević Piano Concerto Op. 33. Symphony Op. 41 (Peter Donohoe)"". Gramophone.

Bibliography





На других языках

[de] Dora Pejačević

Maria Theodora Paulina (Dora) Pejačević (* 10. September 1885 in Budapest, Österreich-Ungarn; † 5. März 1923 in München) war eine in Slawonien aufgewachsene und dort sowie in Dresden und München lebende Komponistin.
- [en] Dora Pejačević

[ru] Пеячевич, Дора

До́ра Пея́чевич (хорв. Dora Pejačević; 10 сентября 1885 (1885-09-10), Будапешт — 5 марта 1923, Мюнхен) — хорватская композитор, представитель знатного старинного хорватского рода графов Пеячевичей. Дочь бана Хорватии Теодора Пеячевича.


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