Sun Sentinel
Poetic beauty...
The Italian pianist began the first Ballade with a surety of purpose and a ravishing tonal palette. Coupled with his immaculate phrasing and the beauty of his sound was the effective understatement he achieved by not pushing things to excessMIAMI. Saturday's concert brought back the artistry of pianist Pietro De Maria in a challenging all-Chopin program. Few pianists are willing to take on the entire set of 24 Etudes, let alone adding the four Ballades to the mix.
There was no need to fear. The Italian pianist began the first Ballade with a surety of purpose and a ravishing tonal palette. Coupled with his immaculate phrasing and the beauty of his sound was the effective understatement he achieved by not pushing things to excess. The savage central section of the second Ballade was like the sudden unleashing of a storm following the calm. The remaining Ballades were dispatched with a considerable amount of poetry and sensitivity.
Both sets of Etudes were performed as highly contrasted single units. Each of the technical difficulties was met without fear, and each showed the artist unfazed by the problems encountered. Perhaps the greatest obstacle preventing players from taking on the entire set is the inevitable physical fatigue that attacks the wrists and hands. At no time in the program was this evident, as De Maria's slight frame seemed tireless.
The Italian pianist began the first Ballade with a surety of purpose and a ravishing tonal palette. Coupled with his immaculate phrasing and the beauty of his sound was the effective understatement he achieved by not pushing things to excessMIAMI. Saturday's concert brought back the artistry of pianist Pietro De Maria in a challenging all-Chopin program. Few pianists are willing to take on the entire set of 24 Etudes, let alone adding the four Ballades to the mix.
There was no need to fear. The Italian pianist began the first Ballade with a surety of purpose and a ravishing tonal palette. Coupled with his immaculate phrasing and the beauty of his sound was the effective understatement he achieved by not pushing things to excess. The savage central section of the second Ballade was like the sudden unleashing of a storm following the calm. The remaining Ballades were dispatched with a considerable amount of poetry and sensitivity.
Both sets of Etudes were performed as highly contrasted single units. Each of the technical difficulties was met without fear, and each showed the artist unfazed by the problems encountered. Perhaps the greatest obstacle preventing players from taking on the entire set is the inevitable physical fatigue that attacks the wrists and hands. At no time in the program was this evident, as De Maria's slight frame seemed tireless.
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