Dora Pejačević

Dora Pejačević (1885–1923) was a trailblazer in Croatian music and one of the first women from the region to make a lasting mark as a composer. Born into an aristocratic family in Budapest, she grew up surrounded by culture, privilege, and expectation. But Dora was never content to remain just a “countess.” Instead, she used her talent and curiosity to become one of Croatia’s most significant early 20th-century composers.

Pejačević composed over 50 works in her short life, spanning orchestral music, chamber works, songs, and piano pieces. Her music bridges late Romanticism and early modernism, with echoes of Brahms and Strauss. The piano was central to her creativity. Works like her Piano Sonata in A-flat Major, Op. 57 reveal her technical command and expressive depth.

She also left behind miniatures like Life of Flowers (Blumenleben), Op. 19, a cycle of nature-inspired pieces.

Her piano writing is rich, emotional, and pianistically rewarding, making it a fantastic discovery for performers seeking repertoire beyond the standard canon.

Pejačević lived during turbulent times in European history. Unlike many aristocrats, she actively engaged in intellectual and artistic circles, leaving behind not just music but also a legacy of courage and independence.For decades, her music was overlooked, but in recent years it has found new audiences. Performances and recordings of her piano works and orchestral music have grown steadily, especially around the 100th anniversary of her death in 2023.

Dora Pejačević broke barriers, not only as a woman in a male-dominated field but also as a countess who chose art over convention. Her piano music is expressive, powerful, and imaginative, offering us pianists repertoire that bridges Romantic tradition and early modernist sensibilities.

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Sofia Gubaidulina

Sofia Gubaidulina (1931- 2025) is one of the most fascinating and uncompromising composers of our time. Born in Tatarstan, she studied at the Moscow Conservatory and was often criticized by Soviet authorities for being too “irresponsible” in her search for new sounds. Dmitri Shostakovich, however, told her to continue on her “mistaken path”—encouraging her to stay true to her vision. And she did. Her music is often described as spiritual, mystical, and deeply symbolic. For Gubaidulina, composition is not just about notes on the page—it’s a form of searching for truth. She often uses contrasts (silence vs. sound, light vs. darkness, tension vs. release) to create works that feel both philosophical and intensely emotional. For us pianists, her output is small but powerful. Her early Chaconne (1962) is one of her most frequently performed works. It’s built on a repeating bass line, but don’t expect a Baroque-style chaconne—this one grows into something dramatic, dissonant, and modern, ...

Nazife Güran

Avniye Nazife Aral Güran (1921–1993) was a powerhouse of creativity, yet her name is still far too little known outside of Turkey. Born in Vienna to a Turkish diplomat father, Güran’s life was truly international. She studied in Istanbul, Berlin, Cologne, and Ankara, blending European classical traditions with the cultural richness of her homeland. Güran composed over 1,000 works across nearly every genre: piano music, lieder, orchestral scores, children’s songs, marches, and dramatic ballades. Her output shows a composer who was tireless, imaginative, and determined to bring Turkish culture into dialogue with Western forms. Three Concert Études (1979) showcase her modernist side—virtuosic, structured, and demanding. At the same time, shorter pieces such as Kennedy Nocturne , İlkbahar (“Spring”), and Boğaziçinde İkebana reveal her gift for intimacy and atmosphere. These miniatures sparkle with character and are perfect for pianists looking to bring something new and meaningf...

Vítězslava Kaprálová

Vítězslava Kaprálová (1915–1940) was a rising star whose life was tragically cut short at the age of 25, but in that short span left behind a body of music that glows with individuality, confidence, and daring. Born in Brno, Czech Republic, she was both a composer and a conductor, trained by masters like Bohuslav Martinů and quickly recognized as one of the most promising talents of her generation. Kaprálová’s music combines lyrical intensity with striking harmonic colors. She had a gift for weaving Czech folk influences into modern textures, creating music that feels deeply personal yet connected to her cultural roots. Beyond her compositions, she made history as one of the few women of her era to step onto the conductor’s podium, leading orchestras in Prague and Paris. Her piano works shimmer with vitality. Pieces like the Dubnová preludia (April Preludes), Op. 13 reveal her fresh harmonic language, lyrical expressiveness, and rhythmic bite. These preludes are concise yet packed ...

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