On April 6th and 7th Martina Filjak appeared as a soloist in the 2nd Piano concerto bei Brahms along the Robert Schumann Philharmonie in Chemnitz. After two consecutive performances the reviewer noted: 'With 50 minutes of highest concentration, a madenning wealth of memory and feeling, physical power and a refined psychological and intuitive gesture for mood changes, Martina Filjak can most certainly play the piano....she was brilliant when she so desired but even more attractive during the wonderful lyric passages. More so, she thinks and feels in music with the orchestra, she knows precisely when to strike a chord on her own and when to let it echo together with the ensemble..So light, with such assured frasing, so romantically silent but never with a drop of kitsch.'
The Süddeutsche Zeitung rewarded Martina Filjak's recital in Ebersberg with an excellent review: 'Her musicianship was breathtaking, captivating. Everything was fitting together, the shaping of the sound, the choices of Tempi, dynamics, her highly refined technique that led to a greatly emotional musicality..... Martina Filjak proved herself to be a sensitive and insightful magician of sound and a shining star at the piano. It could not have been any better or more touching, more moving than this evening.'
On September 25th Martina performed MacDowell's 2nd Piano Concerto along the Nuremberg Symphony conducted by Alexander Shelley. The reviewer praised her 'interpretation full of temperament and confidence':
On August 29th Martina returned to Barcelona's Palau de la Musica for a recital that included works by Bach, Haydn and Liszt. Her concert was followed by wonderful reviews; the 'Revista Musical Catalana' wrote that 'Filjak showed herself as a pianist of maturity with exquisitely refined interpretations. Her gradations of sonority, dynamic consistencies, profoundness, serenity, all of this showed us a pianist of extraordinary qualities...Filjak reserved a part of her recital for works by Franz Liszt that show off all the pianistic fireworks. Octaves, jumps, fortissimos, hands crossing, agility in ornamentation, scales in thousand and one position....a splendid technical exhibition during which Filjak never forgets about muical continuity, something that during a piece such as Liszt's Legends proves as indispensable.'