Dora Pejačević’s complete solo piano works from cpo – a future release

[Gareth Vaughan]

Before this becomes acrimonious, I'm sure we all appreciate that record companies can't (and don't) record the music of relatively unknown composers simply because the CEO, or whoever, likes a piece of music he has heard. Certainly hard-headed commercial decisions have to be made and money has to be found from somewhere, but, that said, I am constantly surprised at the adventurousness of some labels at taking a punt on the sort of music discussed and enthused over on this forum. We are EXTREMELY lucky, as I constantly remind people. The amazing thing is that these companies persist in finding ways of doing it, even when there are obvious duds (like Ilsebill - v. boring IMHO). If Volker Banfeld doesn't care for the Pejacevic PC, that's fine - he is entitled to his opinion. Clearly, others disagree. A lot of people consider Herz and Kalkbrenner to be meretricious rubbish. Howard Shelley doesn't - and we are grateful to him (well, I am, certainly). Just listen to the YouTube performance - if you like it as I did, fine. If not, that's fine too.

[Alan Howe]

Gareth is right.
And let's cool the temperature of this debate, please.

[eternalorphea]

Thank you Britishcomposer on your friendly responce to my impulsive one.. same goes to you other guys

I don't care is someone's entiteled to his opinion he can't decently reason, just low kicks and bulls*it. Many man and woman in menopause dont like Rachmaninoffs concerto, but dont have the balls to say so

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I think you get the point, what happens when it comes to promoting dead national composers.. -> usually nothing :>

[eternalorphea]

Me back again, have some buisiness to do, so I check in every now and then

Today's people are the society of spectacle, just wnt surprises and ta-ta-ta-taaaa fanfares. Everything that doesnt require spiritual engagement's wellcome: ''W** thought Volker, why three movements, its so conventional''. Where did the good people go? (from the song I often hear on the radio).. I'm not obsessed with Dora P., nor is her biographer Koraljka Kos, but we do indentify with the oneness of that piano concerto with nature which was her prime inspiration at the time alongside sentimental and reflective poetry of few german and novels from scandinavia authors she called brothers by spirit or supraman-individuals (F. Nietzsche), jugendstil youth cult I guess, before her music took a sharp turn during WWI, and she turned into herself (introverted)

[eschiss1]

Rachmaninoff's 2nd & 3rd concertos (I assume you don't mean the 1st and 4th, in their last or especially their almost-never-played earlier versions?) They're quite fine, but even better if- like much else - played with a more reasonable frequency - not all the time... no argument there.

Ms. Filjak can be heard in some other repertoire online also - e.g. @ the website of the Isabella Stewart Gardner Museum of Boston, Massachusetts, USA (which like some other places tapes its concerts and makes them available online at their website for free/creative commons-distributed, if you don't already know. IMSLP redistributes those which it can (where the works are themselves out of copyright, etc.) including a performance of Ms. Filjak of the Prokofiev 2nd sonata, etc.))

So. With this upcoming release of Ms. Pejačević's solo piano music and hopefully her piano concerto, and earlier recent CDs of many of her chamber works (on several cpo CDs), lieder (2012), symphony and fantasia concertante, on fairly widely distributed labels (cpo mostly) and mostly downloadable (I mean legally @iTunes or similar) too, rather than, e.g., on limited-distribution CDs and LPs only (though that's a step up from no recordings, as with many composers, agreed...) - what major or even somewhat less-major works of hers (that aren't lost) remain to be recorded by cpo (or etc.) should they choose to do so?

[eternalorphea]

Ouverture for grand orchestra; Nocturne for orchestra (?! if somebody would ask CPO about this work); Songs for deep female voice and orchestra; Piano concerto;

Discarded by CPO are (probably all of these):
Rêverie for violin and piano, op. 3 (1897);
Piano Trio No.1 Op.15 (1902);
Three childrens' songs, for voice and piano, Op.56
(text: Zmaj Jovan Jovanović) (1921)
Majčica, moj anđeo (Mommy, my angel)
Dijete i baka (Child and grandmother)
Mali Radojica (Little Radojica);
Ave Maria, for voice, violin and organ, Op.16 (1903)