Amadeus
Chopin: Préludes e Allegro de concert
De Maria plays Chopin with an elegance that never degenerates into a pure exertion of style, into the ornamental charm of a generic approach, but on the contrary points straight at the structural and emotional heart of the musicAfter the Ballades (Amadeus n.221), Pietro De Maria offers another exacting interpretation of Chopin’s works, including the Préludes op.28, the two isolated pages Presto con leggerezza (Prélude) and Prélude op.45 and also the Allegro de concert op.46. If the result of the recording of the Ballades was of absolute excellence, here the level of interpretation remains very high.
De Maria plays Chopin with an elegance that never degenerates into a pure exertion of style, into the ornamental charm of a generic approach, but on the contrary points straight at the structural and emotional heart of the music, so as to bring out, with lucid consciousness, the extraordinary innovations of Chopin’s art with regard to writing, form, timbre, and harmony, in short, of his re-invention of piano composition. In other words, there is a solid substance in the terse, elegant touch, masterful, we might say, with which De Maria handles and dominates this music.
This mature comprehension entails very personal choices and inflexions as well as admirable poetry, at times dreamy, at times feverishly bright or extremely stylized, in the treatment of touch, phrasing and rubato. So it is that, in op.28 for example, we can immediately grasp the idea of an organic cycle from the precision of the timing, considered not so much in terms of the tempos of the single preludes, as of the almost narrative stressing of the panels and miniatures whose sequence reconstructs, in the end, a magnificent story.
De Maria plays Chopin with an elegance that never degenerates into a pure exertion of style, into the ornamental charm of a generic approach, but on the contrary points straight at the structural and emotional heart of the musicAfter the Ballades (Amadeus n.221), Pietro De Maria offers another exacting interpretation of Chopin’s works, including the Préludes op.28, the two isolated pages Presto con leggerezza (Prélude) and Prélude op.45 and also the Allegro de concert op.46. If the result of the recording of the Ballades was of absolute excellence, here the level of interpretation remains very high.
De Maria plays Chopin with an elegance that never degenerates into a pure exertion of style, into the ornamental charm of a generic approach, but on the contrary points straight at the structural and emotional heart of the music, so as to bring out, with lucid consciousness, the extraordinary innovations of Chopin’s art with regard to writing, form, timbre, and harmony, in short, of his re-invention of piano composition. In other words, there is a solid substance in the terse, elegant touch, masterful, we might say, with which De Maria handles and dominates this music.
This mature comprehension entails very personal choices and inflexions as well as admirable poetry, at times dreamy, at times feverishly bright or extremely stylized, in the treatment of touch, phrasing and rubato. So it is that, in op.28 for example, we can immediately grasp the idea of an organic cycle from the precision of the timing, considered not so much in terms of the tempos of the single preludes, as of the almost narrative stressing of the panels and miniatures whose sequence reconstructs, in the end, a magnificent story.
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