Dora Pejačević


Countess Maria Theodora Paulina "Dora" Pejačević was a Croatian composer, pianist and violinist and one of the first composers to introduce the orchestral song to Croatian music. Her Symphony in F-sharp minor is considered by scholars to be the first modern symphony in Croatian music. Pejačević is noted for her vocal compositions, piano miniatures, and string quartets, which were heavily influenced by the expressionist and modernist trends of the time.
In her early career, Pejačević’s primary themes were highly representative of the Romantic period, but this would change after her experience working as a paramedic in the First World War after which her works reflected the philosophic movement of nihilism and discussed motifs of death, isolation, and futility of war.

Early life

Dora Pejačević was born in Budapest, Kingdom of Hungary, to a noble House of Pejačević. Her father, Teodor Pejačević of Virovitica, was a Croatian count with mostly magyar ancestors, and her mother, Elisabeth Josepha Vay de Vaya, a Hungarian noblewoman who was an educated singer and pianist. Her mother's prominence led to Dora veering towards music rather than the aristocratic lifestyle that was impressed upon her.
Pejačević and her family resided in their family castle in Našice, but they also spent much of her time in Vienna, Budapest, Prague, and Munich.
From a young age, Pejačević subscribed to numerous newspapers and magazines and had a keen interest in the social issues of her time. One example of this is her acute awareness of her noble privilege, which she addressed in one of her letters:
She developed her own intellectual abilities under the influences of Wilde, Ibsen, Dostoevsky, Mann, Schopenhauer, Rilke, Kierkegaard, [Karl Karl Kraus (writer)|Kraus (writer)|Kraus], and Nietzsche, among others. In one of her diaries, she commented on 470 books she had read in the period from 1902 to 1921, which covered fields of literature, philosophy, music, religion, history, and natural sciences.
Pejačević composed her first known piece at the age of 12, after which she attended musical schools and academies in Zagreb, Dresden, and Munich. Pejačević remained mostly self-taught, however, as she never attended continuous courses, but rather occasional private lessons. Her artistic talent was primarily developed through her interactions with leading figures of her time such as the pianist Alice Ripper, artist Clara Rilke-Westhoff, writer Anette Kolb, Rainer Maria Rilke, Karl Kraus, and other prominent personalities of the European cultural scene.

Career

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. She later replaced the romantic music of her youth with new musical expressions that corresponded to the time in which she lived - the turbulent war years and the revolutionary changes of the 1920s. These changes are evident in her music through impressionistic and expressionistic elements and harmonies.
The First World War, in which she herself participated as a paramedic, left numerous traces on her and her musical expression. She isolated herself and sought new compositional paths. The result of these efforts were cycles of solo compositions and vocal and orchestral compositions written to the verses of Karl Kraus, Rainer Maria Rilke, and Friedrich Nietzsche.
During this period, Pejačević described her work as follows:
Many of her pieces premiered in Germany, played by major soloists of the era. Throughout her lifetime, Pejačević's compositions were performed in Budapest, Vienna, Prague, Munich, Dresden, and her town of Našice.

Personal life and death

On 14 September 1921 she married Ottomar Otto, Ritter von Lumbe, son of Franz, Ritter von Lumbe, great-great son of Count Franz von Thun und Hohenstein and his wife, Countess Theresia Anna Maria von Brühl. The couple soon moved to Munich and had their first child, which proved to be fatal for Pejacevic. She died of puerperal sepsis after childbirth on March 5, 1923, at the Munich Clinic for Women’s Diseases. Her son, Theodor von Lumbe survived and in July 2011 in Vienna, he presented the 1917 portrait of his mother - seated with violin - by Maksimilijan Vanka to the Gallery of Modern Art in Zagreb, Croatia.
A few months before her death, Pejačević wrote a letter to her spouse expressing a premonition of her death. A quote from her letter also speaks of her progressive worldviews and beliefs:
Pejačević was temporarily buried in Munich and, after two months, her mortal remains were transferred to Našice. Before her death, she expressed the wish to rest in a separate grave, in the ground, outside the family tomb in the crypt of the Church of the Ascension of the Lord in Našice, which the family had erected in 1881. She also wished her tombstone to have her name written solely as “Dora” with the short phrase "Rest Now".

Legacy

Pejačević is considered a major Croatian composer. She left behind a considerable catalogue of 58 opuses, mostly in late Romantic style, including songs, piano works, chamber music, and several compositions for large orchestra. 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. In 2008, the center also published a bilingual monograph, written by the Pejačević scholar Koraljka Kos, accompanied by a first all-Pejačević CD of piano and chamber music. The 2023 BBC Proms in London features a selection of her music, including the Symphony in F-sharp minor
Her life is the subject of the fictionalized Croatian biographical film Countess Dora, directed by Zvonimir Berković and starring Alma Prica and Rade Šerbedžija.

List of works

Vocal compositions

Lieder
  • "Ein Lied", Op. 11
  • "Warum?", Op. 13
  • "Ave Maria", Op. 16, for voice, violin and organ, Sieben Lieder, Op. 23
  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"Zwei Lieder, Op. 27
  8. "Ich schleiche meine Straßen"
  9. "Verweht"Vier Lieder, Op. 30
  10. "Ein Schrei"
  11. "Wie ein Rausch"
  12. "Ich glaub', lieber Schatz"
  13. "Traumglück"Verwandlung for voice, violin and organ, Op. 37a Mädchengestalten, Op. 42
  14. "Als du mich einst gefunden hast"
  15. "Viel Fähren sind auf den Flüssen"
  16. "Ich bin eine Waise"
  17. "Ich war ein Kind und träumte viel"
  • "An eine Falte", Op. 46 Drei Gesänge, Op. 53
  1. "Venedig"
  2. "Vereinsamt"
  3. "Der Einsamste"Zwei Lieder, Op. 55
  4. "Zu dir!"
  5. "Um bei dir zu sein"Tri dječje pjesme, Op. 56
  6. "Majčica, moj anđeo"
  7. "Dijete i baka"
  8. "Mali Radojica"
With orchestral accompanimentVerwandlung, Op. 37b Liebeslied, Op. 39 Zwei Schmetterlingslieder, Op. 52
  1. "Goldne Sterne, blaue Glöckchen"
  2. "Schwebe, du Schmetterling"

Compositions for solo piano

Berceuse, Op. 2 Gondellied, Op. 4 Chanson sans paroles, Op. 5, Papillon, Op. 6 Menuette, Op. 7 Impromptu, Op. 9a Chanson sans paroles, Op. 10 Albumblatt, Op. 12 Trauermarsch, Op. 14 Sechs Phantasiestücke, Op. 17
  1. "Sehnsucht"
  2. "Leid"
  3. "Frage"
  4. "Klage"
  5. "Bitte"
  6. "Wahn" Blumenleben – acht Klavierstücke nach der Blütenzeit im Jahresablauf komponiert, Op. 19
  7. "Schneeglöckchen"
  8. "Veilchen"
  9. "Maiglöckchen"
  10. "Vergißmeinnicht"
  11. "Rose"
  12. "Rote Nelken"
  13. "Lilien"
  14. "Chrysanthemen"Berceuse, Op. 20 Valse de concert, Op. 21 Erinnerung, Op. 24 Walzer-Capricen, Op. 28
  15. "Moderato"
  16. "Grazioso"
  17. "Im Laendler-tempo"
  18. "Wiegend"
  19. "Lento"
  20. "Tempo giusto"
  21. "Allegretto"
  22. "Grazioso, allegramente"
  23. "Moderato"Vier Klavierstücke, Op. 32a
  25. "Libelle"
  26. "Papillon"
  27. "Abendgedanke"
  • Vertige, Valse-Boston,
  • Impromptu, Op. 32b Sonata in B-flat minor, Op. 36
  1. "Con fuoco non troppo allegro"
  2. "Andante con molta espressione"
  3. "Allegro risoluto"Zwei Intermezzi, Op. 38
  4. "Ruhig und innig"
  5. "Langsam und ausdrucksvoll"Zwei Klavierskizzen, Op. 44
  6. "An dich!"
  7. "Vor deinem Bild"Blütenwirbel, Op. 45 Capriccio, Op. 47 Zwei Nocturnos, Op. 50
  8. "Sehr ruhig, mit innigem Ausdruck"
  9. "Leicht bewegt und ferträumt"Humoreske und Caprice, Op. 54
  10. "Humoreske", allegretto vivo
  11. "Caprice", vivace grazioso
  • Sonata in A-flat major, Op. 57

Chamber compositions

Rêverie for violin and piano, Op. 3 Canzonetta in D major, for violin and piano, Op. 8 Impromptu, for piano quartet, Op. 9b
  • Trio in D major, Op. 15 for violin, cello and piano Menuett in A major, Op. 18, for violin and piano Romanze in F major, Op. 22, for violin and piano
  • Quartet in D minor, Op. 25 for violin, viola, cello and piano
  • Sonata in D major, Frühlings-Sonate, Op. 26 for violin and piano
  • Trio in C major, Op. 29 for violin, cello and piano
  • String Quartet in F major, Op. 31 Elegie in E-flat major for violin and piano, Op. 34
  • Sonata in E minor, Op. 35 for cello and piano
  • Piano Quintet in B minor, Op. 40 for 2 violins, viola, violoncello and piano,
  • Sonata in B minor Slawische Sonate for violin and piano, Op. 43 Méditation for violin and piano, Op. 51
  • String Quartet in C major, Op. 58

Orchestral compositions

  • Piano Concerto in G minor, Op. 33
  • Symphony in F-sharp minor for large orchestra, Op. 41 Phantasie concertante in D minor for piano and orchestra, Op. 48 Ouverture in D minor for large orchestra, Op. 49
Songs for voice and orchestra Verwandlung for voice, violin and orchestra, Op. 37b Liebeslied, Op. 39, Zwei Schmetterlingslieder, Op. 52
  • * No. 1, "Gold'ne Sterne, blaue Glöckchen"
  • * No. 2, "Schwebe du Schmetterling, schwebe vorbei"

Recordings

  • Symphony in F-sharp minor, Op. 41; Phantasie Concertante in D minor, Op. 48 for Piano & Orchestra
  • Piano Trio, Op. 29; Cello Sonata, Op. 35
  • Piano Quintet, op.40; Piano Quartet, Op. 25; String Quartet, Op. 58; Impromptu, Op. 9
  • String Quartet in C major, Op. 58 together with String Sextet by Boris Papandopulo
  • Violin Sonata No.1 in D major, Op. 26 together with works by Kunc, Boris Papandopulo and J. Š. Slavenski Lieder, Ein Lied, Op. 11; Warum, Op. 13; 7 Lieder, Op. 23; 2 Lieder, Op. 27; 4 Lieder, Op. 30; Verwandlung, Op. 37; Liebeslied, Op. 39; Mädchengestalten, Op. 42; An eine Falte, Op. 46; 2 Schmetterlingslieder, Op. 52; 3 Gesänge, Op. 53; 2 Lieder, Op. 55
  • Vertige, Valse-Boston
  • Piano Concerto, Op. 33; Symphony, Op. 41; Peter Donohoe, BBC Symphony Orchestra, conducted by Sakari Oramo, Chandos CHSA 5299

In popular culture