Time to continue our Dora Pejacevic Edition. This instalment is devoted to a third look at her chamber music, which features strongly in the oeuvre of the brilliant Croatian countess. Herself a skilled violinist, she well appreciated the instrument's potential and exploited it in her works. Canzonetta, Menuett and Romanze are pleasant little pieces modelled on the Romantic forerunners of the composer, particularly Dvorák and Tchaikovsky. The Elégie of 1913 and her Méditation furnish stronger evidence of her full artistic maturity and testify to a new awarenesss of the expressive power of harmony. Of her violin sonatas, the D major work marks her breakthrough to full mastery and – thanks to the inspired first movement – stands as her »Spring Sonata«. The Slavic Sonata – like the Piano Quintet op. 40, the Phantasie concertante and the String Quartet op. 58 – is one of the composer's mature works, in which the quest for unity of the thematic and motivic material is elevated to the expressive principle.
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