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stdClass Object ( [id] => 1044690 [title] => RECITAL PIJANISTA MARINA LIMIĆA NA FESTIVALU „DUBROVNIK U POZNO LJETO“ Nedovoljna jasnoća i izražajnost [alias] => recital-pijanista-marina-limica-na-festivalu-dubrovnik-u-pozno-ljeto [catid] => 355 [published] => 1 [introtext] => [fulltext] => Festival Dubrovačkog simfonijskog orkestra pod imenom „Dubrovnik u pozno ljeto“ nadovezao se na Dubrovačke ljetne igre i ima svoj odmjereni tempo događanja, utorkom i petkom. Epidemiološka situacija donosi znatno izmijenjeni program od planiranog, ali, nikako ne smijemo biti nezadovoljni. A prvi klavirski recital u tom nizu održao je Marin Limić. Limića domaća publika pamti s brojnih državnih natjecanja, i kao učenika i kao studenta. Limić se bavi i skladanjem pa je u Gradu predstavio i svoja djela.

Pristojan broj publike okupio se u Kneževom dvoru na Limićevom recitalu koji je obuhvatio i stilski i formalno raznolik repertoar. U prvoj najavi trebao se tu naći i J.S.Bach, međutim, došlo je do promjene odabira skladbi.

Ono što nas je moglo iznenaditi i prije nego je solist došao do koncertnog podija, jest činjenica da klavir nije bio potpuno otvoren. Posljedice takve odluke osjećali smo od početka do kraja večeri: zvuk instrumenta se nije mogao dovoljno razviti u svim dinamičkim pravcima, bio je prigušen i bez različitih boja – što bi svakako zahtijevala odabrana djela. Mikrofoni ispod klavira i u klaviru dali su naslutiti da se izvedba snima.

Koncert je započeo trodijelnim ciklusom Childhood memories suvremenog ukrajinskog skladatelja A.Shora. Te je živopisne stavke solist dobro prezentirao mada se na trenutke osjećala stanovita nesigurnost. Potom je slijedila Chopinova Barcarolla op.60, zatim Haydnova Sonata u Es-duru te dvije Chopinove Etude iz op.25, br.9 i br.10. Prečesto je zvuk klavira bio zamagljen da bi se jasno mogla pratiti glazba. Tako se gubila koncepcija djela i tek povremeni duži smisleni trenuci donose užitak i opuštanje.

U drugom je dijelu Marin Limić izveo svojih Pet preludija op.20 što je večeri dalo uzlaznu putanju u kvalitativnom smislu. Ali, nju nije zadržala izvedba Prokofjevove Sonate br.7 op.83 kao ni posljednje, dvanaeste Lisztove Transcendentalne etide, Chasse-neige. Noć je, doduše, bila teška, topla i sparna za sviranje. Međutim, očekivali smo puno više jer smo u ovo doba godine navikli na vrhunske glazbene izvedbe. 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Epidemiološka situacija donosi znatno izmijenjeni program od planiranog, ali, nikako ne smijemo biti nezadovoljni. A prvi klavirski recital u tom nizu održao je Marin Limić. Limića domaća publika pamti s brojnih državnih natjecanja, i kao učenika i kao studenta. Limić se bavi i skladanjem pa je u Gradu predstavio i svoja djela.

Pristojan broj publike okupio se u Kneževom dvoru na Limićevom recitalu koji je obuhvatio i stilski i formalno raznolik repertoar. U prvoj najavi trebao se tu naći i J.S.Bach, međutim, došlo je do promjene odabira skladbi.

Ono što nas je moglo iznenaditi i prije nego je solist došao do koncertnog podija, jest činjenica da klavir nije bio potpuno otvoren. Posljedice takve odluke osjećali smo od početka do kraja večeri: zvuk instrumenta se nije mogao dovoljno razviti u svim dinamičkim pravcima, bio je prigušen i bez različitih boja – što bi svakako zahtijevala odabrana djela. Mikrofoni ispod klavira i u klaviru dali su naslutiti da se izvedba snima.

Koncert je započeo trodijelnim ciklusom Childhood memories suvremenog ukrajinskog skladatelja A.Shora. Te je živopisne stavke solist dobro prezentirao mada se na trenutke osjećala stanovita nesigurnost. Potom je slijedila Chopinova Barcarolla op.60, zatim Haydnova Sonata u Es-duru te dvije Chopinove Etude iz op.25, br.9 i br.10. Prečesto je zvuk klavira bio zamagljen da bi se jasno mogla pratiti glazba. Tako se gubila koncepcija djela i tek povremeni duži smisleni trenuci donose užitak i opuštanje.

U drugom je dijelu Marin Limić izveo svojih Pet preludija op.20 što je večeri dalo uzlaznu putanju u kvalitativnom smislu. Ali, nju nije zadržala izvedba Prokofjevove Sonate br.7 op.83 kao ni posljednje, dvanaeste Lisztove Transcendentalne etide, Chasse-neige. Noć je, doduše, bila teška, topla i sparna za sviranje. Međutim, očekivali smo puno više jer smo u ovo doba godine navikli na vrhunske glazbene izvedbe. [event] => stdClass Object ( [BeforeDisplay] => [AfterDisplay] => [AfterDisplayTitle] => [BeforeDisplayContent] => [AfterDisplayContent] => [OCMBeforeDisplay] => [OCMAfterDisplay] => [OCMAfterDisplayTitle] => [OCMBeforeDisplayContent] => [OCMAfterDisplayContent] =>
DSO/Facebook DSO DSO DSO DSO DSO/Facebook
DSO/Facebook
Marin Limić u Kneževom dvoru
DSO
Marin Limić, recital u Dvoru
DSO
Marin Limić, recital u Dvoru
DSO
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DSO
Marin Limić, recital u Dvoru
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RECITAL PIJANISTA MARINA LIMIĆA NA FESTIVALU „DUBROVNIK U POZNO LJETO“ Nedovoljna jasnoća i izražajnost

Piše Sanja Dražić
16. rujna 2020. - 08:36
Marin Limić u Kneževom dvoru
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Marin Limić u Kneževom dvoruDSO/Facebook
Festival Dubrovačkog simfonijskog orkestra pod imenom „Dubrovnik u pozno ljeto“ nadovezao se na Dubrovačke ljetne igre i ima svoj odmjereni tempo događanja, utorkom i petkom. Epidemiološka situacija donosi znatno izmijenjeni program od planiranog, ali, nikako ne smijemo biti nezadovoljni. A prvi klavirski recital u tom nizu održao je Marin Limić. Limića domaća publika pamti s brojnih državnih natjecanja, i kao učenika i kao studenta. Limić se bavi i skladanjem pa je u Gradu predstavio i svoja djela.

Pristojan broj publike okupio se u Kneževom dvoru na Limićevom recitalu koji je obuhvatio i stilski i formalno raznolik repertoar. U prvoj najavi trebao se tu naći i J.S.Bach, međutim, došlo je do promjene odabira skladbi.

Ono što nas je moglo iznenaditi i prije nego je solist došao do koncertnog podija, jest činjenica da klavir nije bio potpuno otvoren. Posljedice takve odluke osjećali smo od početka do kraja večeri: zvuk instrumenta se nije mogao dovoljno razviti u svim dinamičkim pravcima, bio je prigušen i bez različitih boja – što bi svakako zahtijevala odabrana djela. Mikrofoni ispod klavira i u klaviru dali su naslutiti da se izvedba snima.

Koncert je započeo trodijelnim ciklusom Childhood memories suvremenog ukrajinskog skladatelja A.Shora. Te je živopisne stavke solist dobro prezentirao mada se na trenutke osjećala stanovita nesigurnost. Potom je slijedila Chopinova Barcarolla op.60, zatim Haydnova Sonata u Es-duru te dvije Chopinove Etude iz op.25, br.9 i br.10. Prečesto je zvuk klavira bio zamagljen da bi se jasno mogla pratiti glazba. Tako se gubila koncepcija djela i tek povremeni duži smisleni trenuci donose užitak i opuštanje.

U drugom je dijelu Marin Limić izveo svojih Pet preludija op.20 što je večeri dalo uzlaznu putanju u kvalitativnom smislu. Ali, nju nije zadržala izvedba Prokofjevove Sonate br.7 op.83 kao ni posljednje, dvanaeste Lisztove Transcendentalne etide, Chasse-neige. Noć je, doduše, bila teška, topla i sparna za sviranje. Međutim, očekivali smo puno više jer smo u ovo doba godine navikli na vrhunske glazbene izvedbe.
#MARIN LIMIĆ#DSO#DUBROVNIK U POZNO LJETO
14. svibanj 2024 17:47