Libero
The magic of the Foné Quartet in Ravenna
In the second part, Brahms' Quintet in F minor op. 34 with De Maria at the piano. And right from the first statement of the main theme of the Allegro ma non troppo, thrills claw at the soul. The tension is incessant, even throughout the pianist's unspeakably sublime rubato in the Andante, un poco adagioThe Fonè Quartet, which includes the violinists Paolo Chiavacci and Mario Facchini, the violist Chiara Foletto, and the cellist Filippo Burchietti, is admirable. Two days ago they played in Ravenna with Pietro De Maria, who is one of the greatest pianists today: I can remember, a short time ago on TV, his Prelude and Fugue in B flat from the first book of Bach's Well Tempered Clavier: like a mystic experience. With the same excellence he plays Chopin and (thank Heaven!) Muzio Clementi, one of our most glorious composers, whose excellent works are not played as often as they deserve to be.
In short, the concert began surprisingly with Webern's Langsamer Satz and Quartet No. 8 by Shostakovich with the three excruciating Largo singing ex imo corde the harrowing sounds of pain written by the most profound Russian composer of the twentieth century. In the second part, Brahms' Quintet in F minor op. 34 with De Maria at the piano. And right from the first statement of the main theme of the Allegro ma non troppo, thrills claw at the soul. The tension is incessant, even throughout the pianist's unspeakably sublime rubato in the Andante, un poco adagio, taken up by the ever more golden tones of the Quartet, and up to the six eighths of the Presto non troppo in the Finale. A powerful telluric whirl, as if that of the exhausting Scherzo were not enough.
The strings were perfectly in tune and very strong (because of the unfortunate acoustics of the Alighieri Theater). This would have distorted and ruined the sound for anyone who lacked such technical mastery. But this never happened. With the piano holding them all in its embrace, together, with no giving way or letting up, no technical protagonism, but also without drawing back an inch from the mechanical harshness found here and there throughout the score. Fantastic. Great.
In the second part, Brahms' Quintet in F minor op. 34 with De Maria at the piano. And right from the first statement of the main theme of the Allegro ma non troppo, thrills claw at the soul. The tension is incessant, even throughout the pianist's unspeakably sublime rubato in the Andante, un poco adagioThe Fonè Quartet, which includes the violinists Paolo Chiavacci and Mario Facchini, the violist Chiara Foletto, and the cellist Filippo Burchietti, is admirable. Two days ago they played in Ravenna with Pietro De Maria, who is one of the greatest pianists today: I can remember, a short time ago on TV, his Prelude and Fugue in B flat from the first book of Bach's Well Tempered Clavier: like a mystic experience. With the same excellence he plays Chopin and (thank Heaven!) Muzio Clementi, one of our most glorious composers, whose excellent works are not played as often as they deserve to be.
In short, the concert began surprisingly with Webern's Langsamer Satz and Quartet No. 8 by Shostakovich with the three excruciating Largo singing ex imo corde the harrowing sounds of pain written by the most profound Russian composer of the twentieth century. In the second part, Brahms' Quintet in F minor op. 34 with De Maria at the piano. And right from the first statement of the main theme of the Allegro ma non troppo, thrills claw at the soul. The tension is incessant, even throughout the pianist's unspeakably sublime rubato in the Andante, un poco adagio, taken up by the ever more golden tones of the Quartet, and up to the six eighths of the Presto non troppo in the Finale. A powerful telluric whirl, as if that of the exhausting Scherzo were not enough.
The strings were perfectly in tune and very strong (because of the unfortunate acoustics of the Alighieri Theater). This would have distorted and ruined the sound for anyone who lacked such technical mastery. But this never happened. With the piano holding them all in its embrace, together, with no giving way or letting up, no technical protagonism, but also without drawing back an inch from the mechanical harshness found here and there throughout the score. Fantastic. Great.
Copyright 2018 © Pietro De Maria | by UbyWeb&Multimedia