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Robert Cummings
MusicWeb International, October 2018

Goran Filipec is clearly a talent to watch.

There are many great Liszt interpreters on record, and, to name a few, one could cite Brendel, Arrau, Lazar Berman (especially in his earlier years), Craig Sheppard (now somewhat forgotten) and maybe one could add Argerich, though she has played comparatively little Liszt. Also, there are many notable young pianists vying for elbow room among Lisztians, including Aleksandra Mikulska whose very splendid Liszt CD… One could now also make a strong case for Goran Filipec, clearly a talent to watch, perhaps not only in this repertory, but other keyboard fare as well. Naxos gives him clear, well balanced sound throughout and offers highly informative notes by the indefatigable Keith Anderson. Strongly recommended. © 2018 MusicWeb International Read complete review



Jeremy Nicholas
Gramophone, September 2018

The more I continued listening to this recital, the more I felt that it was one of the finest all-Liszt discs I had heard for a very long time. Produced by the pianist himself, it is also very well recorded (at Campus Fichtenhain, Krefeld, Germany) by engineer Matteo Costa. This is Vol 49 of Naxos’s Liszt Complete Piano Music and must count among the most successful of the series, not merely because of Filipec but because of the felicitous programme.

Filipec has three of the most important attributes that make a great pianist: artist, architect and acrobat. © 2018 Gramophone Read complete review on Gramophone



Stephen Wright
American Record Guide, September 2018

Mr Filipec devours this technically punishing fare, his touch velvety, crystalline, and thunderous in equal measure. This is his second contribution to the series; his first, the excellent Volume 42 (J/A 2016), explores Liszt’s numerous rewrites of his Paganini Studies. Filipec plays a Kawai piano. Superb full-bodied studio sound. © 2018 American Record Guide Read complete review on American Record Guide



Alex Baran
The WholeNote, September 2018

Filipec’s playing is, of course, brilliant. He captures, early on, the mood that Liszt wants to establish for each dance. This is sometimes modal, sometimes purely technical but most often introduces itself as a lyrical idea. Filipec identifies and artfully exploits each access point to the spirit of these dances. His touch is generally light, somehow floating above the keys. But he convincingly delivers bravura and power whenever Liszt requires it. © 2018 The WholeNote Read complete review



iClassical, August 2018

The Croatian concert pianist Goran Filipec is clearly a remarkable Lisztian. He has brilliant technique and plays these works most perfectly. The sonority of his Kawai grand piano has been captured remarkably well by the Naxos engineers and this must surely be one of the most successful volumes in this series to date. This CD would come highly recommended at any price; the fact that it is available at bargain price makes it unmissable and you really should seek out this disc. This is self-recommending as our bargain choice for August! © 2018 iClassical Read complete review



Patrizia Venucci Merdžo
La Voce del Popolo, June 2018

Following the great success of his Lisztian interpretations, the artist [Goran Filipec] on this occasion proposes a handful of very tasteful compositions by Franz Liszt inspired by the dances of the time: waltz, csardas, polkas, mazurkas and grand galops… Charm, elegance and many nuances of this fluidly emotional landscape emerge in the enchanting and refined interpretation of Filipec… The pianist, with enthralling and incisive emotion—attentive as always to the rigour of the form structure—gives life to the precipitating drama, the hallucinated inner storms, the many upheavals of these pages. International critics have compared his [Filipec’s] pianism to that of the great Grafmann and Hamelin, describing him as a superb and virtuous artist of the highest level. © 2018 La Voce del Popolo



David Denton
David's Review Corner, April 2018

Have we really reached volume 49 in the complete solo piano music of Franz Liszt before the series has included two of his best known virtuoso concert pieces? It has provided the young Croatian-born pianist, Goran Filipec with the opportunity to keep us enthralled with the composer’s gift for dressing unforgettable melody with the most elaborate filigree. As I wrote of his earlier disc in the series, he is not one to titillate our ears by bringing a personal approach to the music, but is an ideal purveyor of the music unadorned by ‘interpretation’. Of course, if you have such precision you are not hiding smudged passages, and here we can just sit back and marvel at his technique and the delicacy of his Valses oubilees. At the other extreme I can never recall hearing the spooky Mephisto Polka, and I was pleased to rediscover the Valse melancolique in a performance that sounds as if Filipec was also fascinated in finding it. I first fell in love with the Valse impromptu in a disc made by Cziffra in the 1950’s and his ‘interpretation’ is embedded in my memory bank, and, by comparison, Filipec does sound just a little under-characterised, which is certainly not the case with his outgoing brilliance in the Valse de bravoure and Valse de concert. It would have been nigh on impossible to match the firebrand, Sergio Fiorentino, in the Grand Galop cromatique—as part of a fabulous disc now difficult to find—but Filipec is a reliable guide to this piece of overt showmanship. He plays it in the ‘easy’ and ‘difficult’ versions, but they are mighty challenging whichever you choose. Very good sound quality. © 2018 David’s Review Corner





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