La Prealpina
De Maria casts a spell with Chopin
Behind this Chopin we can hear the aristocratic elegance of Rubinstein, the poetry of Magaloff, the tonal qualities of Maria TipoMilan – Superlative technique, phrasing polished by subtle hands, agility and passion. Pietro De Maria captivated the audience with his elegant and restless Chopin. The opportunity to hear the forty-year-old Venetian pianist, Monday evening at the Milanese Auditorium in a recital included in the program of the Orchestra Verdi, was given by the presentation of the second CD of his eagerly awaited complete piano works of Chopin for Decca Records (thirteen CDs are contemplated within 2010), dedicated to the Ballades and the Impromptus. On the playbill, together with the four Ballades, are the Impromptus in F sharp major op. 36 and G flat major op. 51 and the Etudes op. 10 already recorded on the first CD of the series.
An hour and 50 minutes of music, including the three encores (a Sonata by Scarlatti, an elegant and technically consummate Campanella by Liszt and the Melody by Gluck-Sgambati) which passed quickly, in constant tension. Sparkling virtuosity of technique and timbre, absolute control of the keyboard, animated and unpresumptuous phrasing. And also lively tempos, a melodiousness which is both natural and elegant, perfect understanding of the polyphonic nature of Chopin’s works, maniacal attention to the dynamics and the sound levels. Behind this Chopin we can hear the aristocratic elegance of Rubinstein, the poetry of Magaloff, the tonal qualities of Maria Tipo (De Maria’s teacher). And yet it all sounds so modern and new because De Maria is not afraid of the shades of the past and is facing these courageous, extremely courageous performances of the complete works with very clear ideas and with the blessing of an enviable technique (as shown by the clarity of the Etudes op. 10). To bear in mind, for the future as well.
Behind this Chopin we can hear the aristocratic elegance of Rubinstein, the poetry of Magaloff, the tonal qualities of Maria TipoMilan – Superlative technique, phrasing polished by subtle hands, agility and passion. Pietro De Maria captivated the audience with his elegant and restless Chopin. The opportunity to hear the forty-year-old Venetian pianist, Monday evening at the Milanese Auditorium in a recital included in the program of the Orchestra Verdi, was given by the presentation of the second CD of his eagerly awaited complete piano works of Chopin for Decca Records (thirteen CDs are contemplated within 2010), dedicated to the Ballades and the Impromptus. On the playbill, together with the four Ballades, are the Impromptus in F sharp major op. 36 and G flat major op. 51 and the Etudes op. 10 already recorded on the first CD of the series.
An hour and 50 minutes of music, including the three encores (a Sonata by Scarlatti, an elegant and technically consummate Campanella by Liszt and the Melody by Gluck-Sgambati) which passed quickly, in constant tension. Sparkling virtuosity of technique and timbre, absolute control of the keyboard, animated and unpresumptuous phrasing. And also lively tempos, a melodiousness which is both natural and elegant, perfect understanding of the polyphonic nature of Chopin’s works, maniacal attention to the dynamics and the sound levels. Behind this Chopin we can hear the aristocratic elegance of Rubinstein, the poetry of Magaloff, the tonal qualities of Maria Tipo (De Maria’s teacher). And yet it all sounds so modern and new because De Maria is not afraid of the shades of the past and is facing these courageous, extremely courageous performances of the complete works with very clear ideas and with the blessing of an enviable technique (as shown by the clarity of the Etudes op. 10). To bear in mind, for the future as well.
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