La Stampa
De Maria reveals the magic of Chopin
we are amazed not only by the extraordinary technical control, but also by the unfailing concentration with which De Maria goes through such poetic density and such different environmentsThe auditorium of the Conservatory was packed for the second encounter with “The complete works of Chopin” presented by Pietro De Maria. Chopin’s catalogue has practically no weak points, only two or three pages that are less brilliant than usual; obviously, in a run through all the works of the greatest genius of the piano, those are the pages that attract particular attention: like the “Variations Brillantes” op.12 on a theme by Hérold which opened the concert. But actually even the best known works sound new every time, if anything, it is their eternally young richness of ideas, the ever-perfect fulfilment that require the complete attention of the audience: Scherzo op.20 and the first Ballade last more or less ten minutes, but in terms of psychological time it is as if we had circled the globe. This is why we are amazed not only by the extraordinary technical control, but also by the unfailing concentration with which De Maria goes through such poetic density and such different environments: the three Nocturnes op.15, among the most intrepid of the collection, the little scenes and confessions of the Mazurkas, the mundane sumptuousness of the Grande Valse Brillante op.18. To end it all, the 12 Etudes op. 25, where every note sparkles like a gem: in no. 2 the very rapid melody unwinds without a pause to the end; admirable the cantabile, like a cello in the fifth and the seventh (the only “lento”), impressive the clarity of expression in the stormy tenth, Chopin’s only point of contact with Liszt’s pianism.
we are amazed not only by the extraordinary technical control, but also by the unfailing concentration with which De Maria goes through such poetic density and such different environmentsThe auditorium of the Conservatory was packed for the second encounter with “The complete works of Chopin” presented by Pietro De Maria. Chopin’s catalogue has practically no weak points, only two or three pages that are less brilliant than usual; obviously, in a run through all the works of the greatest genius of the piano, those are the pages that attract particular attention: like the “Variations Brillantes” op.12 on a theme by Hérold which opened the concert. But actually even the best known works sound new every time, if anything, it is their eternally young richness of ideas, the ever-perfect fulfilment that require the complete attention of the audience: Scherzo op.20 and the first Ballade last more or less ten minutes, but in terms of psychological time it is as if we had circled the globe. This is why we are amazed not only by the extraordinary technical control, but also by the unfailing concentration with which De Maria goes through such poetic density and such different environments: the three Nocturnes op.15, among the most intrepid of the collection, the little scenes and confessions of the Mazurkas, the mundane sumptuousness of the Grande Valse Brillante op.18. To end it all, the 12 Etudes op. 25, where every note sparkles like a gem: in no. 2 the very rapid melody unwinds without a pause to the end; admirable the cantabile, like a cello in the fifth and the seventh (the only “lento”), impressive the clarity of expression in the stormy tenth, Chopin’s only point of contact with Liszt’s pianism.
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