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Sang Woo Kang
American Record Guide, July 2016

In the latest of Naxos’s efforts to record the complete Liszt piano music, Filipec gives us a collection of studies inspired by Paganini, with his lavish, gorgeous sound. The Grandes Etudes have the perfect balance of full-bodied resonance, with his delicate touch applied wherever appropriate. Etude 3, with its crisp sound, has plenty of spontaneity and wit. The diabolical Etudes after Paganini show his astounding perfect control. © 2016 American Record Guide

Jeremy Nicholas
Gramophone, June 2016

With a technique that makes you forget just how exacting these pieces are to play, Filipec not only generates the thrill of a live performance but does so with a disarming swagger and playfulness. © 2016 Gramophone Read complete review on Gramophone

Jonathan Welsh
MusicWeb International, May 2016

The playing throughout these very difficult pieces is top notch; I cannot fault Mr. Filipec’s virtuosity or musical feeling at any point. The playing is superb in every respect… © 2016 MusicWeb International Read complete review

David Denton
David's Review Corner, March 2016

We have now reached the forty-second release in the Naxos ‘Complete Piano Music of Franz Liszt’, the young Goran Filipec taking up the Paganini virtuoso challenge. They are in essence the same work, and from a listener point of view, Filipec plays them in reverse order of composition, leading off with the somewhat shorter and less technically exacting version with the title Grandes etudes de Paganini, though both scores present the performer with some fiendish difficulties. That in itself poses the major question as to how you like to hear these pieces performed?’ There are those on disc—and  very often in the concert hall—where so many risks are taken that the work sounds in danger of falling to pieces, while generating in the listener a curious sense of excitement, very much like watching a tightrope walker. Then there are those who look to achieve absolute note perfection with total assurance and cool efficiency. Filipec belongs to the latter group, and the Croatian-born pianist will keep you in thrall with the precision of his fingers. The Second Etude, tinkles charmingly; the repeated notes in La Campanella are so precise; the Fifth—La Chasse—having that feeling of question and answer in the shaping of phrases, while the Sixth makes a suitably thrilling finale. Included in the earlier work, Etudes d’execution transcendante d’apres Paganini, and interspersed on the disc, are the alternative versions of three etudes he later added. Filipec uses a Fazioli piano that provides much tonal brilliance in the upper octaves, the disc being completed with an ‘encore’ in La Carnaval de Venise. The sound is just a little dry, but it fits with Filipec’s obvious love of precision. A worthy addition as the series nears its conclusion. © 2016 David’s Review Corner

Clio Rostand
La Voce del Popolo, February 2016

In this music Goran Filipec shows resounding virtuosity and high mastery, freshness and refined musical eloquence supported by impeccable style and grace.

The pianist follows the composer in the innumerable and subtle expressive wrinkles bringing out the essence of Liszt’s virtuosity; therefore not only phantasmagoric fireworks, but a natural immersion in the spirituality of Franz Liszt demonstrating an artistic maturity.

The variety of colors, the touch, which from pearly lightness goes to imperious and grandiloquent incisiveness, the brilliant and vigorous sound, the finesse in phrasing, give to the pianism of Filipec great charm and attractiveness; a pianism which is still based inseparably on precise formal rigor and logical consistency. © 2016 La Voce del Popolo

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