La Stampa
De Maria, superior pianist
Pietro De Maria, on the other hand, belongs to the superior sphere level of performers who are conscious of the fact that the text takes precedence over everything else, as it belongs not only to the history of music, but to the tradition of performance. He is conscientious, analyses in depth, recreates the music with a naturalness of expression that is moving.Trendy pianists attract attention for two reasons: for the display of extraordinary technique, and for a certain eccentricity in playing the classics, in order to rouse our interest. Pietro De Maria, on the other hand, belongs to the superior sphere level of performers who are conscious of the fact that the text takes precedence over everything else, as it belongs not only to the history of music, but to the tradition of performance. He is conscientious, analyses in depth, recreates the music with a naturalness of expression that is moving.
That is how he played the twelve preludes and fugues from the Well-tempered Clavier the other evening, giving us a very expressive, exquisitely pianistic Bach, not at all cold, full of nuances, and a play of piano and forte obtained through the controlled use of the pedal, which gives us to understand why the romantics loved Bach so much and found in his music the basis of theirs: aura, melody, atmosphere.
In the middle of the program, De Maria placed Gyorgy Ligeti’s Five Etudes among the Hungarian composer’s most fiery works. The effect was explosive. It was like a brazier bursting into flame: Ligeti’s Etudes are extraordinarily difficult, and De Maria played them for his part, showering violent hailstorms of notes, and the softest murmurs, rendering the drama of the delirious soaring of the music and its tapering off almost to silence. Played in this way, good contemporary music is astounding.
Pietro De Maria, on the other hand, belongs to the superior sphere level of performers who are conscious of the fact that the text takes precedence over everything else, as it belongs not only to the history of music, but to the tradition of performance. He is conscientious, analyses in depth, recreates the music with a naturalness of expression that is moving.Trendy pianists attract attention for two reasons: for the display of extraordinary technique, and for a certain eccentricity in playing the classics, in order to rouse our interest. Pietro De Maria, on the other hand, belongs to the superior sphere level of performers who are conscious of the fact that the text takes precedence over everything else, as it belongs not only to the history of music, but to the tradition of performance. He is conscientious, analyses in depth, recreates the music with a naturalness of expression that is moving.
That is how he played the twelve preludes and fugues from the Well-tempered Clavier the other evening, giving us a very expressive, exquisitely pianistic Bach, not at all cold, full of nuances, and a play of piano and forte obtained through the controlled use of the pedal, which gives us to understand why the romantics loved Bach so much and found in his music the basis of theirs: aura, melody, atmosphere.
In the middle of the program, De Maria placed Gyorgy Ligeti’s Five Etudes among the Hungarian composer’s most fiery works. The effect was explosive. It was like a brazier bursting into flame: Ligeti’s Etudes are extraordinarily difficult, and De Maria played them for his part, showering violent hailstorms of notes, and the softest murmurs, rendering the drama of the delirious soaring of the music and its tapering off almost to silence. Played in this way, good contemporary music is astounding.
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