16 November 17 pm Hungarian Teacher Training Faculty
Milan Popović (Serbia) harpsichord recital
Program
MASKS AND (SELF-)PORTRAITS
Music for harpsichord from the Renaissance to the modern era
Giles Farnaby (1563–1640)
Fantasia 10
François Couperin (1668–1733)
Treiziéme ordre (13th Ordre)
I. Les Lis naissans (The Budding Lilies)
II. Les Rozeaux (The Reeds)
III. Engageante (The Engaging One)
IV. Les Folies françoises, ou les Dominos (The French Follies or The Masks)
- La Virginite (Virginity)
2 La Pudeur (Modesty) - L’Ardeur (Ardor)
- L’Esperance (Hope)
- La Fidélité (Fidelity)
- La Persévérance (Perseverance)
- La Langueur (Languor)
- La Coqueterie (Coquetry)
- Les Vieux galants et les Tresorieres Suranées (Old Gallants and the Faded Wives of Treasurers)
- Les Coucous Benevoles (Benevolent Cuckoos)
- La Frenesie, ou Le Desespoir (Frenzy, or Despair)
V. L’âme-en peine (The Wandering Soul)
Johann Sebastian Bach (1685–1750)
Concerto for Harpsichord after Antonio Vivaldi, C major, BWV 976
I. Allegro
II. Largo
III. Allegro
Domenico Scarlatti (1685–1757)
Sonata in E major, K 215 Andante
Sonata in D minor, K 444 Allegrissimo
Sonata in C major, K 502 Allegro
Emil Petrovics (1930–2011)
Four Self-Portraits in Mask
I. Toccata
II. Gavotte (hommage à S. Prokofiev)
III. Sarabande (sur le nom de M. Ravel)
IV. Gigue
Milan Popović, MA, DMA, graduated (BA in Harpsichord and Piano) at the Faculty of Music in Belgrade, where he also finished his postgraduate harpsichord studies (DMA), under the tutelage of prof. mr Zorica Ćetković. In 2013, he successfully defended the thesis of his doctoral art project named “Interpretative connections between 18th and 20th century French Keyboard Music“. Since 2014 he has been elected as Assistant Professor (from 2024 as Associate Professor) of Harpsichord at the Faculty of Music in Belgrade.
During his schooling, he attended numerous master classes held in the country and abroad. He was a fellowship holder of the Austrian Baroque Academy from Gmunden and worked with numerous harpsichord players, such as Egon Mihajlović, Siegbert Rampe, Blandine Rannou, Jory Vinikour, Maria Louisa Baldassari, Erich Traxler, Anne Marie Dragosits, Eugene Michelangely.
Milan Popović won several awards and recognitions at competitions of domestic and international character.
His music repertoire includes the harpsichord music of the 17th and 18th century, as well as harpsichord repertoire of the 20th century. Within this, he explores the development of the harpsichord in the 20th century, frequently performing on a modern type of harpsichord.
Milan Popović actively performs as a soloist and chamber musician (he held recitals and guest appearances in Serbia, Austria, Croatia, Bulgaria, Spain, Bosnia and Herzegovina, Montenegro), and is regular guest on the numerous baroque music festivals: Ars Vivendi Clavicembalum (Serbia), Тrigonale (Austria), Aestas Musica (Croatia), Early Music Festival – FERAM (Serbia).
As a soloist, Milan Popović performed with The Serbian Army Orchestra “Stanislav Binički”, Faculty of Music Orchestra, acting also as a collaborator of the Serbian Radio and Television Symphony Orchestra, Montenegrian Symphony Orchestra, as well as a continuo collaborator of “Aestas Baroque Orchestra” and “The Baroque Orchestra of the New Belgrade Opera”. He is a member of the Early Music Ensemble “Temenos”.
His live performance recordings were broadcasted by Serbian Radiotelevision and Austrian Radio ORF.
Milan Popović is initiator and Artistic coordinator of the manifestation “Days of Early Music” (holding on the Faculty of Music from 2013 onward), under the support of “European Early Music Network”.
