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Pedja Muzijevic
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Glenn Gould’s Scribbles: The Week in Classical Music - Th...
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pedjamuzijevic
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14 Nov 2018
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https://www.nytimes.com/2018/11/02/arts/music/g...
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Morton Feldman’s “Triadic Memories” unfold in a realm of shadows. The droplets of notes and meticulously spaced-out clusters that make up this hourlong work for solo piano range from the very quiet to the barely audible. But it’s their afterlife that the ear is drawn to, the aura of resonance that hovers below the grand piano’s wing long after a key is struck.
On Thursday at the Baryshnikov Arts Center, the pianist Pedja Muzijevic offered a mesmerizing reading of the piece that deepened Feldman’s music through lighting and dance. In “Framing Time,” part of Lincoln Center’s White Light Festival, the precise and enigmatic movements of Cesc Gelabert (in his own choreography) brought out the work’s ambivalent mood, somewhere between playful curiosity and aching melancholy. Paper-lantern-glow sets and lighting by Burke Brown deepened the mystery.
Feldman wanted individual notes to feel “sourceless,” so that the sound would reveal itself not in the attack but in the decay, as a “departing
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CVNC: An Online Arts Journal in North Carolina | Pedja Mu...
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12 Oct 2017
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http://www.cvnc.org/article.cfm?articleId=8665
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Every note Mužijevic played was engaging and had a direction in which it was moving, whether it resolved in a traditional way or hung in the air in conflict. The amount of joy he has in performing is absolutely palpable, and it was an extra treat to hear more about his conceptualization and interpretation of each piece in the post-concert question and answer session. At the same time, it was charming and beautiful to be reminded that everyone can have their own opinion and receive different messages from the same music. To be given permission to sit back and enjoy the composers for who they were, rather than impose upon them an arbitrary theme or deeper meaning, was refreshing, and allowed the music to speak for itself through the lens of this brilliant performer.
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Encouraging Signs of Freshness at the Mostly Mozart Festi...
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18 Sep 2017
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https://www.nytimes.com/2017/08/20/arts/music/m...
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"The previous night at the penthouse, the refined pianist Pedja Muzijevic presented a program that Mr. Langrée might look to as a template for enlivening the orchestra’s concerts. With the program “Haydn Dialogues,” Mr. Muzijevic alternated vibrant accounts of four Haydn sonatas with contemporary works by Jonathan Berger, George Crumb and Morton Feldman. Heard in the context Mr. Muzijevic devised, Feldman’s radical use of moments of silence in his moody “Two Intermissions” (1950) had surprising commonalities with Haydn’s humorous late Sonata in C, which often unfolds with impish pauses between phrases."
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Review: Pedja Muzijevic's 'Haydn Dialogues' leaves room f...
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3 Jun 2017
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http://www.postandcourier.com/spoleto/review-pe...
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The "Haydn Dialogues" is a testament to the idea of music as an experience that doesn't always warrant a clear explanation. The connections between Muzijevic's pairings are exactly as you hear them, and exactly as your neighbor hears them. Whether your experiences match matters less than whether or not you both enjoyed yourselves. It is possible to take "serious music" too seriously, and with the "Haydn Dialogues," Muzijevic invites us to savor.
To extend the cooking metaphor: the exact ingredients matter less than their combined effect. Most of us don't spoil an invitation to dinner party by pestering our hosts with questions about what spice gives a dish its sweetness, or what technique was used to bring out the bitterness in the vegetables. Not that there's anything wrong with such questions; chefs both amateur and professional may thrill at such details. But isn't the point more often to enjoy the meal? By that measure, Muzijevic's "Haydn Dialogues" is like tapas and a julep on th
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Pianist and chamber music series veteran Pedja Muzijevic ...
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2 Jun 2017
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http://www.postandcourier.com/spoleto/pianist-a...
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“Dialogues with Pedja Muzijevic,” scheduled for 7 p.m. Thursday, June 1, at the Simons Center Recital Hall, is part of an ongoing program the pianist has been performing for more than a year. He’s traveled throughout the U.S. and beyond, including Israel several times, to perform Haydn sonatas alongside contemporary works, highlighting their similarities and differences.
Muzijevic’s humility also seems to be a tenet of his Haydn dialogues. The hour-long performance aims to provide a comfortable experience for an audience interested in both listening and learning, he said. He takes time between pieces to tell the audience what to listen for.
“The basic idea in any concert program is to share something you love with the audience,” Muzijevic said. “But in design and cooking, when you put different things together that aren't necessarily related or thought of as if they should be together, if I'm lucky, they can shed a different light. I feel like both sides can benefit from this switch o
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ASO does bold take on Shostakovich; pianist Muzijevic pla...
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16 Oct 2016
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http://www.artsatl.com/review-aso-takes-bold-ap...
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Next up came a work written 200 years before the Adams piece: W.A. Mozart’s Piano Concerto No. 22 in E flat major, K. 482 (1785). Guest piano soloist Pedja Muzijevic took the stage to join Spano and the ASO in its performance. Muzijevic’s previous appearance with the ASO was in March 2011, also performing a Mozart piano concerto, No. 17 in G Major, K. 453 (1784) with guest conductor Gilbert Varga.
Clearly Muzijevic has a particular penchant for Mozart, which showed in this evening’s performance, especially the velocity and smoothness of the prominent lines given by Mozart to the pianist’s right hand. Muzijevic’s formidable fingers made seemingly easy work of it, but also with an affecting musical insight that seemed equally at ease, without undue bombast.
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Classical Concert Reviews - Toronto Concert Reviews
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25 Jul 2016
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https://www.torontoconcertreviews.ca/pedja-muzi...
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PEDJA MUZIJEVIC: understated elegance, insight and humor…
Review by David Richards
Toronto July 20, 2016
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PEDJA MUZIJEVIC: understated elegance, insight and humour…
Pedja Muzijevic, ?Photo courtesy of Toronto Summer Music
Pedja Muzijevic delighted the audience at Walter Hall last evening with a piano recital that was distinctively different from most. Instead of performing the usual repertoire of 19th and 20th century composers, he delivered a program focussed on four sonatas by Joseph Haydn interspersed with music by composers of today.
The differences didn’t begin and end with the repertoire however. Muzijevic’s approach to the concert entitled Haydn Dialogues was somewhat casual in that he remained on-stage for the entire program and spoke with the audience between works. He organized the program in such a way as to expose the contrasts between Haydn’s early and late works as well as between the musi
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Hear Music the Way Beethoven Meant it to Be Heard - YouTube
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28 Sep 2015
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https://www.youtube.com/watch?v=Bppnw-tlLO0
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Short video about Banff Centre's Rod Regier's 1830's style Viennese fortepiano and music written on it. To use my favorite parallel - food - you can cook Italian food anywhere, but when you shop for ingredients in Italy, that will inform you what to look for forever. I am a very happy and undogmatic modern piano player, but laying my hands on the piano composer wrote for and hearing the sounds they heard teaches me how to translate that music to the modern piano. And we performers are, first and foremost, translators, i.e. interpreters.
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Concert Report: Toronto Summer Music Midpoint - The Whole...
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7 Aug 2015
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http://www.thewholenote.com/index.php/newsroom/...
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Bosnian-born, Juilliard-trained pianist Pedja Muzijevic, one of TSM's mentors, headlined the American Avant-Garde evening, yet another example of thoughtful programming. It began with Muzijevic reading John Cage's 32 Questions, which the composer originally used in a talk at Darmstadt, West Germany in 1958. An example of Cage's wit coupled with his fresh way of approaching the concepts of sound and music, the questions set his The Seasons (1948), the concert's opening piece, in a Cagian context, with the filigrees of “Spring” brightly played and sensitively nuanced, “Summer” balmy and spare, dynamically well-shaped, the harsh atonal chords of “Autumn” giving way to the stillness of “Winter's” prelude.
Muzijevic, who is the artistic administrator of the Baryshnikov Arts Center in Manhattan, recently performed The Seasons in New York along with Cage's questions. In Toronto he added a welcome bonus. Between the second and third seasons, he inserted Morton Feldman's first two Intermission
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