Saale Zeitung
A style in step with the times
In Liszt’s Sonata he displayed not only brilliant technique, which allows him to risk facing great masses of sound, but also excellent analytic ability... It is not often that we hear the Sonata played in such a meaningful and modern wayBAD KISSINGEN. Scarlatti’s Sonatas all resemble one another with regard to their tempos, from allegro to molto allegro, and their embellishments. Nevertheless, Pietro De Maria has developed six distinctive characters: using the pedal only at the end of the phrases to give a feeling of suspense, he displayed a pleasingly clean sound in an extraordinarily varied way and, in spite of the emotional ingredients, he created a musical bridge toward the harpsichord.
Then, interpreting Sonata op.25 n. 5 by Muzio Clementi, Pietro De Maria highlighted the difference [with respect to Scarlatti] in a very plastic way: he carried the strong emotional tension beyond the end of the phrases. To play such a wonderfully lyrical Lento e patetico as the Venetian Pietro De Maria did would not have been possibile on a harpsichord.
In Liszt’s Sonata he displayed not only brilliant technique, which allows him to risk facing great masses of sound, but also excellent analytic ability. With his preference for a clean sound ... he gave this monumental piece great structural clarity, especially in the Fugue. On the other hand, he never risked slipping into a gloomy or pathetic sound. It is not often that we hear the Sonata played in such a meaningful and modern way.
In Liszt’s Sonata he displayed not only brilliant technique, which allows him to risk facing great masses of sound, but also excellent analytic ability... It is not often that we hear the Sonata played in such a meaningful and modern wayBAD KISSINGEN. Scarlatti’s Sonatas all resemble one another with regard to their tempos, from allegro to molto allegro, and their embellishments. Nevertheless, Pietro De Maria has developed six distinctive characters: using the pedal only at the end of the phrases to give a feeling of suspense, he displayed a pleasingly clean sound in an extraordinarily varied way and, in spite of the emotional ingredients, he created a musical bridge toward the harpsichord.
Then, interpreting Sonata op.25 n. 5 by Muzio Clementi, Pietro De Maria highlighted the difference [with respect to Scarlatti] in a very plastic way: he carried the strong emotional tension beyond the end of the phrases. To play such a wonderfully lyrical Lento e patetico as the Venetian Pietro De Maria did would not have been possibile on a harpsichord.
In Liszt’s Sonata he displayed not only brilliant technique, which allows him to risk facing great masses of sound, but also excellent analytic ability. With his preference for a clean sound ... he gave this monumental piece great structural clarity, especially in the Fugue. On the other hand, he never risked slipping into a gloomy or pathetic sound. It is not often that we hear the Sonata played in such a meaningful and modern way.
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