“Marko Petričić’s amazing solo in a piece from Bach’s formidable oeuvre for pipe organ – Prelude and Fugue in A minor – was as much of a treat as the trios on the program title. The distinct voices in the fugue were acutely balanced and well proportioned, and the sonority built impressively to the octave passage that led up to the broadened final measures”.   (Jay Harvey, The Indianapolis Star, March 2012)

“His interpretation of the No. 1 Sonata by French composer Guilmant dazzled the audience – many of whom were standing, as there were not enough seats for all those who wished to attend this feast of organ playing. Experts especially noted the diversity of dynamic nuances and beauty of musical colours that Petričić produced in the sonata.”   (JAT Airways Review, Belgrade 2009)

Organ Recital
“…Petricic began with the second movement of Messiaen’s L’Ascension, “Alléluias sereins”. The effect was pure magic as we all silently enjoyed the serene beauty of the gorgeous Tiffany window rising in front of us into the bright clear sunshine during Petricic’s beautiful playing…”
“…We sang LOBE DEN HERREN to Petricic’s masterful accompaniment…”
“…Petricic is a brilliant player with a great sense of color…”
“…He ended his recital with the Prélude et fugue sur le nom d’Alain, op. 7, by Maurice Duruflé. It was electrifying…”  
(The Diapason, February, 2008 – review of Marko Petricic’s organ recital during the OHS National Convention in July of 2007)

Organ Recital
“Particularly sensitive virtuosity based on a deeply thought-out, detailed study of the score.”   (Politika, Belgrade 2003)

Bayan Recital
“Thanks for performing so brilliantly on our Music at Holy Trinity series. Your playing was so elegant…true to musical style and form, interesting, rhythmically vibrant and very musical. THANK YOU!”   (Dr. Stephen Hamilton, The Church of the Holy Trinity, New York City, presenter)

Bayan Recital
“Thank you so much for your wonderful and extraordinary contribution to the Toronto Early Music Centre’s “Musically Speaking” series. It was surprising how much richness and depth the music of Bach, Scarlatti, and Soler, had on the bayan (not to mention the Russian composers who wrote specifically for that instrument) when played with such musicality.   (Frank Nakashima, Toronto Early Music Centre, Toronto, Canada, presenter)

“Your performance was outstanding, reflecting your superb musicianship and your amazing dexterity and technical mastery. We loved your varied and skillful programming, and appreciated both of the encores. It was perfect for this knowledgeable audience of musicians. The comments you offered in between compositions were enlightening and entertaining and demonstrated what a relaxed and experienced performer you are. The next morning our attendees were still talking about how much they enjoyed the previous evening’s entertainment. You are a natural teacher!”   (Gail Berenson, President Elect Music Teachers National Association, Cincinnati, Ohio, presenter)

“Thank you very much for being the guest artist for the 2006 Summit for MTNA Leadership. The expressive quality with which you played was exceptional, especially during the “Chamber Suite”, which explored the various tonal capabilities of the instrument.”   (Gary L. Ingle, Executive Director, MTNA, Cincinnati, Ohio)

Organ and Bayan Recital
“Thank you so very much for the fabulous performance. Everyone in attendance was so complimentary of the event. It was a memorable evening for all of us! I hope that someday it might be possible for you to return.”   (Lois Jaeger, Bethany Lutheran College, Mankato, Minnesota, presenter)

Bayan Recital
‘How did he get all those sounds out of that instrument?’
‘What a great program – I’m glad I didn’t miss it!!’
Those were just some of the comments heard after Marko Petricic deomonstrated and performed on the bayan accordion at our February meeting. It was a pleasure to hear this instrument, especially since there are so few in the United States. Thank you Marko, for sharing your talent!”   (“Fanfare” American Guild of Organists, Indianapolis Chapter Newsletter, March 2006)

Gypsy Moods
“They are virtuosos in their essence who succeeded in waking to life authentic dances and songs from the Balkan landsí rich folklore. These two technically brilliant, spirited, and sensitive soloists succeeded in offering a concert far beyond the ordinary.”   (Smalands Posten, Sweden)

Gypsy Moods
“Anything but bland. At its core are influences from the gypsy musical tradition of the Balkan region and Franceóand an Indiana University classical music education. It’s very lively, it’s very passionate. It speaks directly to people. There are a lot of surprises.”   (The Herald-Times, Bloomington IN)

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