La Stampa
De Maria, dedications of great class
Sensitivity, taste, and musicality that spellbind the listener from the first note to the last. Those hands that move with confidence along the most dangerous passages offer no ostentation of virtuosity: everything is at the service of an intense, intimate expressivity capable – and this is the sign of the great interpreter – of filling the silence of the pauses with an intensity equal to that of the notesTURIN. It had been quite some time since I had heard the young pianist Pietro De Maria who played the other evening at the Conservatory for l’Unione Musicale. His name now figures regularly on the billboards of the main concert seasons, and he is applauded as one of the sure talents of the younger generation. The impression he made on me was not that of a promising young artist, but of a perfectly mature one. The program, entitled Dedications, presented three masterpieces superlative for artistic quality and beauty of performance. To open with, Chopin’s Ballade no. 2 dedicated to Schumann. Then Schumann’s Fantasy in C major op. 17, dedicated to Liszt. And it is here that De Maria’s pianism revealed itself: sensitivity, taste, and musicality that spellbind the listener from the first note to the last. Those hands that move with confidence along the most dangerous passages offer no ostentation of virtuosity: everything is at the service of an intense, intimate expressivity capable – and this is the sign of the great interpreter – of filling the silence of the pauses with an intensity equal to that of the notes. A warm affectionate sound always just right for the dreamy atmosphere that makes each successive vision of the wonderful Fantasy evaporate into another by the magical power of imagination. De Maria has a classical temperament, free from any excess, and he aims entirely at the intensity of expression which, evidently, is not only the fruit of an irrational intuition: behind an interpretation of this kind there is an idea, a lucid rationale that give depth and consistency to the music. In the second part, an equally fascinating interpretation of Liszt’s Sonata in B minor dedicated to Schumann: here again a trascendental virtuosity is employed with supreme class and sensitivity. It often seemed we could hear Arrau playing once more. Thunderous applause. A fairly large audience, and a lovely string of encores.
Sensitivity, taste, and musicality that spellbind the listener from the first note to the last. Those hands that move with confidence along the most dangerous passages offer no ostentation of virtuosity: everything is at the service of an intense, intimate expressivity capable – and this is the sign of the great interpreter – of filling the silence of the pauses with an intensity equal to that of the notesTURIN. It had been quite some time since I had heard the young pianist Pietro De Maria who played the other evening at the Conservatory for l’Unione Musicale. His name now figures regularly on the billboards of the main concert seasons, and he is applauded as one of the sure talents of the younger generation. The impression he made on me was not that of a promising young artist, but of a perfectly mature one. The program, entitled Dedications, presented three masterpieces superlative for artistic quality and beauty of performance. To open with, Chopin’s Ballade no. 2 dedicated to Schumann. Then Schumann’s Fantasy in C major op. 17, dedicated to Liszt. And it is here that De Maria’s pianism revealed itself: sensitivity, taste, and musicality that spellbind the listener from the first note to the last. Those hands that move with confidence along the most dangerous passages offer no ostentation of virtuosity: everything is at the service of an intense, intimate expressivity capable – and this is the sign of the great interpreter – of filling the silence of the pauses with an intensity equal to that of the notes. A warm affectionate sound always just right for the dreamy atmosphere that makes each successive vision of the wonderful Fantasy evaporate into another by the magical power of imagination. De Maria has a classical temperament, free from any excess, and he aims entirely at the intensity of expression which, evidently, is not only the fruit of an irrational intuition: behind an interpretation of this kind there is an idea, a lucid rationale that give depth and consistency to the music. In the second part, an equally fascinating interpretation of Liszt’s Sonata in B minor dedicated to Schumann: here again a trascendental virtuosity is employed with supreme class and sensitivity. It often seemed we could hear Arrau playing once more. Thunderous applause. A fairly large audience, and a lovely string of encores.
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