Amadeus
Chopin: complete piano works
...in De Maria's case, what strikes us is his “integrity” from the first to the last record: monolithic in the best sense of the term, that is profound, true, passionate. Somehow, not perfectible.It's the finishing touch. After tackling the complete piano works on records and testing them live on the stage, Pietro De Maria has collected all Chopin's works for the piano in this box: 13 cds. The performer face to face with the composer's complex world and with himself as well. That is: the Venetian pianist born in 1967, prize winner in competitions of the level of the Ciani and the Ciajkovskij, has dedicated to Chopin four years of full immersion recording (2006-2007), in addition to 6 recitals and still more Chopin all over the world in the anniversary year of 2010. The question is how did his relationship with the composer mature? Answer (apparently) embarrassing: it did not mature. It was tested. Just the way it happens in our lives, by dint of seeing someone regularly we get to know him better and better. But in De Maria's case, what strikes us is his “integrity” from the first to the last record: monolithic in the best sense of the term, that is profound, true, passionate. Somehow, not perfectible. From the transfiguration of the idea of fatherland in the Polonaises with sounds that range from nearly catatonic dimensions to rushes of madness with every possible nuance in between, to the elegance of the Mazurkas, “easel pictures” as Chopin called them, to the formal clarity of the Sonatas, to the intimism of the Nocturnes. Of course, the drawing room is there. An interpreter cannot ignore the composer's social "cage". But that drawing room met with sensitive fingers will make room for Debussy. And we can hear that clearly.
...in De Maria's case, what strikes us is his “integrity” from the first to the last record: monolithic in the best sense of the term, that is profound, true, passionate. Somehow, not perfectible.It's the finishing touch. After tackling the complete piano works on records and testing them live on the stage, Pietro De Maria has collected all Chopin's works for the piano in this box: 13 cds. The performer face to face with the composer's complex world and with himself as well. That is: the Venetian pianist born in 1967, prize winner in competitions of the level of the Ciani and the Ciajkovskij, has dedicated to Chopin four years of full immersion recording (2006-2007), in addition to 6 recitals and still more Chopin all over the world in the anniversary year of 2010. The question is how did his relationship with the composer mature? Answer (apparently) embarrassing: it did not mature. It was tested. Just the way it happens in our lives, by dint of seeing someone regularly we get to know him better and better. But in De Maria's case, what strikes us is his “integrity” from the first to the last record: monolithic in the best sense of the term, that is profound, true, passionate. Somehow, not perfectible. From the transfiguration of the idea of fatherland in the Polonaises with sounds that range from nearly catatonic dimensions to rushes of madness with every possible nuance in between, to the elegance of the Mazurkas, “easel pictures” as Chopin called them, to the formal clarity of the Sonatas, to the intimism of the Nocturnes. Of course, the drawing room is there. An interpreter cannot ignore the composer's social "cage". But that drawing room met with sensitive fingers will make room for Debussy. And we can hear that clearly.
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