CD 1:
Metamorphosis (Verwandlung), Op. 37b
Love Song (Liebeslied), Op. 39
Zwei Schmetterlingslieder, Op. 52
Symphony in F-Sharp Minor, Op. 41

CD 2:
Phantasie concertante in D Minor, Op. 48
Ouverture in D Minor, Op. 49
Piano Concerto in G Minor, Op. 33
Nocturne in C-Sharp Major, Op. 50/1 (Arr. for Orchestra)

Is there such a thing as “female” and “male” music? The life of Croatian composer Dora Pejačević clearly shows that – like many other women composers of the late 19th and early 20th centuries – she had far fewer opportunities in the musical world than her male colleagues. Yet her aristocratic background and a mother who was herself a composer afforded her certain freedoms. Step by step, Pejačević found her way into concert programmes throughout the Habsburg Monarchy, with works ranging from piano and vocal music to the symphony, a genre traditionally considered “male.” The reception of her music illustrates how difficult it is to classify music according to gender: while some critics described her compositions as “feminine”, others recognised in them a “masculine” expressive power. What remains beyond doubt, however, is Dora Pejačević’s artistic significance – as one of the most outstanding women composers of her era.