Gazzetta di Parma
A winning couple
"...De Maria, just back from the ordeal of playing the complete piano works of Chopin, both in concert halls and in recording sessions, and now embarked on an equally absorbing adventure with Bach, played with great consistency, extremely daring in the awesome octaves and eloquent in the lighter lines (magnificent the spectral episode in the middle of the Andantino)..."Tchaikovsky’s First Concert. . .(offered) . . .by Michele Mariotti directing the Philharmonic and by Pietro De Maria at the keyboard, clearly bound by an understanding that consented an organic vision of this adventurous piece, with the piano emerging at times in sensational peaks, at other times participating sensitively in the restless fabric of the orchestra that Tchaikovsky, between explosions and sweet abandon, seems to pervade with a subtle neurosis, though always filtered through a dreamy veil of classicism. De Maria, just back from the ordeal of playing the complete piano works of Chopin, both in concert halls and in recording sessions, and now embarked on an equally absorbing adventure with Bach, played with great consistency, extremely daring in the awesome octaves and eloquent in the lighter lines (magnificent the spectral episode in the middle of the Andantino), and Mariotti received and answered happily with the airy spirit he drew from the receptive and responsive orchestra.
"...De Maria, just back from the ordeal of playing the complete piano works of Chopin, both in concert halls and in recording sessions, and now embarked on an equally absorbing adventure with Bach, played with great consistency, extremely daring in the awesome octaves and eloquent in the lighter lines (magnificent the spectral episode in the middle of the Andantino)..."Tchaikovsky’s First Concert. . .(offered) . . .by Michele Mariotti directing the Philharmonic and by Pietro De Maria at the keyboard, clearly bound by an understanding that consented an organic vision of this adventurous piece, with the piano emerging at times in sensational peaks, at other times participating sensitively in the restless fabric of the orchestra that Tchaikovsky, between explosions and sweet abandon, seems to pervade with a subtle neurosis, though always filtered through a dreamy veil of classicism. De Maria, just back from the ordeal of playing the complete piano works of Chopin, both in concert halls and in recording sessions, and now embarked on an equally absorbing adventure with Bach, played with great consistency, extremely daring in the awesome octaves and eloquent in the lighter lines (magnificent the spectral episode in the middle of the Andantino), and Mariotti received and answered happily with the airy spirit he drew from the receptive and responsive orchestra.
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