BLAGOJE BERSA (1873–1934)
COMPLETE PIANO MUSIC • 1
As a composer of symphonic music, operas and songs, as well as chamber and piano works, Blagoje Bersa (1873–1934) was undoubtedly one of the central figures of Croatian musical life at the turn of the 20th century. Born in Dubrovnik into a family of passionate amateur musicians, Bersa learned to play the piano by participating in performances with members of his family. He received his primary education in Zadar, Vienna and Trieste, and from 1893 to 1896 he studied music in Zagreb with Ivan Zajc, the renowned Croatian opera composer. From 1896 to 1899 he studied piano in Vienna with Julius Epstein and composition with Robert Fuchs (who also taught Gustav Mahler and Jean Sibelius). In 1902, he was appointed conductor at the theatre of Graz, and from 1911 to 1918 he worked as artistic counsellor and arranger at the publishing house L. Doblinger. After the end of the First World War, Bersa returned permanently to Croatia and from 1922 he taught composition and instrumentation at the Music Academy in Zagreb—a position he held until his death in 1934.
Bersa’s artistic personality synthesises cultures of the Mediterranean, Central Europe and the Balkans. His style is mainly marked by Classicism and Romanticism, but through his awareness of the music of Richard Strauss, Gustav Mahler, Giacomo Puccini and other European composers from the beginning of 20th century, he introduced new stylistic elements into his music, and these elements are more often traceable in his symphonic works than of those for piano.
He contributed significantly to the development of Croatian and Yugoslavian music, and as a pedagogue he educated an important number of composers who contributed significantly to musical life in that region during the 20th century. His pupils were Rudolf Matz, Zlatko Grgošević, Božidar Kunc, Boris Papandopulo, Milo Cipra, Ivan Brkanović, Josip Vrhovski, Bruno Bjelinski, Miroslav Magdalenić, Zvonimir Bradić, Slavko Zlatić, Nikola Hercigonja and Juraj Stahuljak.
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This recording presents a contrasting selection of approximately half of Bersa’s works for solo piano, in which we can mostly trace the influence of earlier composers. Bersa was composing music for piano in the period from 1893 to 1924, and although these works demonstrate stylistic diversity, they do not reveal a clear evolution of the composer’s style. This fact permitted us to organise the pieces freely and bypass the usual chronological presentation of the works.
Bersa’s forms are rather Classical and strict: the recapitulations in three-part forms are literal, the sonata form is treated almost scholastically. The harmonic language doesn’t go beyond the style of early Romanticism, nor does the treatment of the piano surpass the long-established conventions of previous eras. Therefore, the beauty of Bersa’s music should not be looked for in innovation. However, the sincerity of his musical intention, coupled with simplicity and occasional originality are points which highlight Bersa’s music and give it a special place among the composers of his region and epoque.
The Piano Sonata No. 2 in F minor (1897), Brahmsian in its grandeur and dramatism, presents dense piano writing and melodic lines undoubtedly inspired by that composer. This single-movement work is written in a strict sonata form with a coda. The first theme, passionate and dramatic, marks the first bars of the sonata like a blaze, which vanishes quickly. The dramatic development, however, continues until the appearance of the lyrical second theme, a melody of rare beauty and freshness.
At Na žalu (At The Strand) (1921) is a charming kind of a barcarolle, written in threepart (ABA) form with a concluding coda. The character of the first theme is reminiscent of Chopin’s Berceuse, based on a simple melodic line and an accompaniment with repeating rhythmical and harmonic figures. The rapid pianissimo passages which overlay the same ostinato accompaniment equally evoke the style of Chopin.
The Notturno and Ora triste, were both written in 1903 as a diptych. The pieces are similar in form and content, and are written in a three-part form. The Notturno begins with a subject of melancholic character—a song-like lamento—which, in the middle section, turns into a lighter barcarolle at 3 01:29. The Ora triste begins tragically (as indicated by the composer: con mesto abbandono e scoramento, ‘with sad abandonment and discouragement’), but reveals a more courageous character in the più mosso section at 4 00:55 (con fierezza e coraggio, ‘with pride and courage’) and reminiscent of a tenor solo in the middle section.
The Fantaisie-Impromptu, dating from 1899, is a short piece written in sonata form. The style is reminiscent of Schubert, while aspects of the piano writing reveal the influence of Liszt. The piece opens with a grand introduction, and a recitativo section prepares for the appearance of the Schubert-like main subject at 5 00:37. An orchestral thinking is clearly evinced, and the piece is, together with the Marcia trionfale, one of Bersa’s most brilliant piano works.
Ballabile, composed in 1894, is one of Bersa’s earliest and shortest pieces for piano. This charming, dancing piece is marked by the simplicity of its textures and harmonic structure.
Bagatella, composed in 1897 during Bersa’s studies in Vienna with Robert Fuchs, is written in three-part (ABA) from. The first part has a dancing, balletic character. The central contrasting section is obviously inspired by Liszt’s second Ballade, where dark fanfares are accompanied by chromatic passages in the bass at 7 02:22.
The appealing and contrasting triptych of miniatures entitled Airs de ballet, was composed and revised between 1905 and 1926. The complete title includes the remark ‘In the old way’ (in Croatian: ‘Po načinu starih’), referring to earlier musical styles. In the manuscript, the first piece—Fantasia breve—is accompanied by the subtitles ‘All’antica’ and ‘Passacaglia’. In the second piece—Scherzo—the composer considered two possible subtitles: ‘Capriccioso?’ and ‘Burlesque?’—the question marks documenting his hesitations regarding the character of the pieces. The last piece—L’Heure de rêveries—also had different subtitles: ‘Pastorale’ and ‘L’Heure des souvenirs’.
The Marcia trionfale’s title gives a strong indication about the character of the piece. It is a brilliant march written in a three-part (ABA) form, and gives the impression of an orchestral work transcribed for piano. The piano writing is brilliant and rather demanding, written in the spirit of early Romantic bravura. A fanfare-like grand opening is followed by a brilliant march which, in the middle section of the piece, becomes more lyrical in character.
Goran Filipec