Review article
https://doi.org/10.56954/bg.18.1.2
Composition procedures in the solo songs of the cycle Mädchengestalten op. 42 and Verwandlung op. 37 as a contribution to the compositional poetics of Dora Pejačević
Davorka Radica
Abstract
In the oeuvre of the Croatian composer Dora Pejačević, a special place is occupied by solo songs, which open up possibilities for deepening artistic expression. On the example of songs from the cycles Mädchengestalten op. 42 and Verwandlung op. 37, the composition procedures are highlighted in the paper, which are particularly subordinated to a meditative approach to selected poetic works and to reaching a state considerably distant from late-Romanticism tendencies. In this sense, the musical language of Dora Pejačević can be characterised as synthetic, since it is built on in a special way, both with impressionistic and expressionistic elements. In addition to the chromaticisation and thickening of the chord flow, and the capture of distant tonalities, the overall expression also emphasizes the coloristic treatment of musical components, as well as the evolutionary processes that led European music to overcome tonality. These procedures are visible in the emancipation of chromatic non-chord tones, polar relationships of chords, static harmonies and atonal sections resulting from the polyphonization of chromatic inner sections. Preservation of the unity of form along with the aforementioned synthetic wealth is a special compositional skill that stands out as the most significant feature of this Croatian composer.
Keywords
Dora Pejačević, Mädchengestalten, Verwandlung, composing procedures
Hrčak ID:
312005
URI
Publication date:
1.12.2023.
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