Martina Filjak News
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2024-04-24
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2020-04-27 09:09:32
The Croatian pianist Martina Filjak first came to my attention when she won first prize in the 2009 Cleveland International Piano Competition, which led to a highly acclaimed New York debut recital at Zankel Hall in Carnegie Hall. She launched the Naxos label’s complete Soler keyboard sonata cycle, and in 2017 released a solo CD […]
2017-08-26 01:00:00
[…] the first Piano Concerto of Martucci and enjoy the works posted here. The Requiem probably deserves a second recording; in the meanwhile you can take the following one. Giovanni Sgambati (1841-1914) Messa da Requiem Joern Wilsing baritone Philharmonischer Chor Heilbronn Members of the Staatorchester Stuttgart Ulrich Walddörfer Carus 83.121 (1991) [flac, cue, log, scans] Courtesy of Nozomi Giovanni Sgambati Symphony No. 2 Piano Concerto Op. 15 Martina Filjak piano Orchestra Sinfonica di Milano Giuseppe Verdi Francesco Attardi Amadeus AM 304-2 (2015) [flac, cue, log, scans] Giovanni Sgambati Piano Quintets Nos. 1 & 2 String Quartets Nos. 1 & 2 Roberto Plano piano Quartetto Noferini Brilliant Classics 94813 (2015) [flac, cue, log, scans] Giuseppe Martucci (1856-1909) Piano Concerto No. 2, Op. 66 Orchestral pieces: Canzonetta, Gavotta, Op. 55, Nos. 1 & 2 Giga, […]
The Boston Musical Intelligencer
2016-04-15 00:48:01
Filjak Dispenses Copious Charm and Power
Martina Filjak decorates Easter eggs before her concert in 2014. (BMInt staff photo) Croatian pianist Martina Filjak rounded out the Boston Conservatory’s Piano Master Series Tuesday at Seully Hall, with works by Haydn, Bach-Liszt, Liszt, and Schumann. The Haydn Sonata in G Minor Hob. XVI/44 (a two-movement work) was worlds apart from the Schumann, appropriately, and gave us a good glimpse of Filjak’s mastery of the (abbreviated) classical sonata. Delicate, almost muted in places, and graceful, it was full of flourishes and had a hypnotic rhythmic pulse. A hopping right hand over a lyrical left framed the first movement, with more flourishes and graces in the second. Throughout, Haydn was represented at his most Scarlatti-like, so this was a fine precursor to the Bach-Liszt (organ) Prelude and Fugue in A minor, S.543. There Bach was more dominant than Liszt, at least through most of the piece, though it was plenty […]
2012-05-18 07:01:32
Classical music news: Everyone loves a Gershwin tune. That’s why George Gershwin is the go-to composer when symphony orchestras want to drum up attendance and close seasons on a high note.
[…] Redding (below bottom), both did an outstanding job with the 40-minute concert version of the 4-hour opera “Porgy and Bess.” Redding especially brought out the characters of the roles he sang. He projected right off the stage and was rewarded with loud cheers from the audience. My biggest disappointment – and it wasn’t all that big– came in the “Rhapsody in Blue.” Dressed fittingly in a bright blue gown, pianist Martina Filjak (below) played the Rhapsody well. She sure has chops, but great interpretations require more than great chops. I found her technique too prominent. She seemed to bang it out at times when it could have used a subtler, softer and more seductive approach. This Gershwin work is more French than Russian, more Ravel than Rachmaninoff. She should listen to Oscar Levant’s old recording. But what I am really left with is how […]
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