Corriere del Ticino
The Emotions of Chopin and Clementi: Pianist Pietro De Maria last Friday at the Settimane di Ascona
Pietro De Maria offered an exemplary interpretation for the clarity of sound, the technical precision, the moved sensitiveness, the pearly and brilliant touch that sometimes reminded us of that of Maria Tipo.An extraordinary musical occasion last Friday, in the church of Collegio Papio in Ascona, was the piano recital of Pietro De Maria, a soloist with rare interpretative qualities.
The concert, characterized by a heterogeneous and culturally relevant program, began with six Sonate by Domenico Scarlatti. The plan of these pages is very personal; the themes are short for the most part while the rhythmic and melodic invention is unlimited. The composer resorts to every kind of device: at times a sparkling virtuosity prevails, and at other times passages of pure melody emerge. Pietro De Maria offered an exemplary interpretation for the clarity of sound, the technical precision, the moved sensitiveness, the pearly and brilliant touch that sometimes reminded us of that of Maria Tipo.
Unjustly neglected in concert halls, Clementi has been rightly revalued by Pietro De Maria, who offered a magic interpretation of the Sonata op.25 No. 5. The sound was soft, delicate and finely wrought. He resolved every passage, technical and expressive, authoritatively, with incisive maturity and a sensitive touch. He is a rigorous pianist, always searching for the soft and delicate timbre appropriate for Clementi.
The evening ended with the four Ballades (op. 23, 38, 47, 52) by Chopin, an author particularly dear to Pietro De Maria, who is today one of the most authoritative interpreters of the Polish musician, as he catches every intimate aspect interiorizing its pathos. For the intensity of melodic accents and richness of harmony the Ballades, intimate, personal compositions, may be considered among the most complete pages of Chopin. The first Ballade is imbued with an immense lyricism, overflowing with passion, emotion and melancholy. The second is based on a succession of passages brimming with sweetness and vigor. Full of charm and poetry is the third, while the fourth presents an extremely lyrical and nostalgic motif. All these elements are emphasized by the interpretation of Pietro De Maria, a poet of the piano. Rhythm, melodious thematic cues, evocative harmonies, even the pauses reach a transcendental , almost metaphysical balance. Carefully worked out are the dynamics and the timing, which lead to a fundamental “rubato” . Perspicacious the use of the pedal, always limited to the essential. From the moment you hear him it is clear that all this is the fruit of a study in depth, which requires time, dedication and thought. Nothing is left to chance or to contrivance. The personality and the inner life of Chopin and that of De Maria almost appear to be one and the same.
Three encores offered: Chopin’s Nocturne op. 27 No.2 , La Campanella by Paganini/Liszt, and the Chorale from the Cantata No. 147 by J.S. Bach (transcription Myra Hess).
Pietro De Maria offered an exemplary interpretation for the clarity of sound, the technical precision, the moved sensitiveness, the pearly and brilliant touch that sometimes reminded us of that of Maria Tipo.An extraordinary musical occasion last Friday, in the church of Collegio Papio in Ascona, was the piano recital of Pietro De Maria, a soloist with rare interpretative qualities.
The concert, characterized by a heterogeneous and culturally relevant program, began with six Sonate by Domenico Scarlatti. The plan of these pages is very personal; the themes are short for the most part while the rhythmic and melodic invention is unlimited. The composer resorts to every kind of device: at times a sparkling virtuosity prevails, and at other times passages of pure melody emerge. Pietro De Maria offered an exemplary interpretation for the clarity of sound, the technical precision, the moved sensitiveness, the pearly and brilliant touch that sometimes reminded us of that of Maria Tipo.
Unjustly neglected in concert halls, Clementi has been rightly revalued by Pietro De Maria, who offered a magic interpretation of the Sonata op.25 No. 5. The sound was soft, delicate and finely wrought. He resolved every passage, technical and expressive, authoritatively, with incisive maturity and a sensitive touch. He is a rigorous pianist, always searching for the soft and delicate timbre appropriate for Clementi.
The evening ended with the four Ballades (op. 23, 38, 47, 52) by Chopin, an author particularly dear to Pietro De Maria, who is today one of the most authoritative interpreters of the Polish musician, as he catches every intimate aspect interiorizing its pathos. For the intensity of melodic accents and richness of harmony the Ballades, intimate, personal compositions, may be considered among the most complete pages of Chopin. The first Ballade is imbued with an immense lyricism, overflowing with passion, emotion and melancholy. The second is based on a succession of passages brimming with sweetness and vigor. Full of charm and poetry is the third, while the fourth presents an extremely lyrical and nostalgic motif. All these elements are emphasized by the interpretation of Pietro De Maria, a poet of the piano. Rhythm, melodious thematic cues, evocative harmonies, even the pauses reach a transcendental , almost metaphysical balance. Carefully worked out are the dynamics and the timing, which lead to a fundamental “rubato” . Perspicacious the use of the pedal, always limited to the essential. From the moment you hear him it is clear that all this is the fruit of a study in depth, which requires time, dedication and thought. Nothing is left to chance or to contrivance. The personality and the inner life of Chopin and that of De Maria almost appear to be one and the same.
Three encores offered: Chopin’s Nocturne op. 27 No.2 , La Campanella by Paganini/Liszt, and the Chorale from the Cantata No. 147 by J.S. Bach (transcription Myra Hess).
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