Amadeus
Chopin: Ballades, Impromptus - Pietro De Maria
They are...interpretations of great personality, which denote a maturity able to present, with full awareness, an original character. It is especially to the Ballades...that De Maria restores lyrical scope and also narrative sense with blazing intensityA performer with extensive interests, Pietro De Maria here plays Chopin’s four Ballades and the same number of Impromptus, cardinal compositions for the piano. From the very first time we hear it we realize that the interpretation is the fruit of a study in depth of the texts, a job that must have required time, dedication and long deliberation. Then, if we probe the interpretation deeply with analytic attention, we cannot fail to appreciate the quality that underlies and nourishes it from beginning to end.
There seems to be no aspect, from the choice of the tempos to the flexibility of the agogics throughout the pieces, from the polished phrasing to the most minute nuances of tone and touch, from the treatment of the structure and the dialogue of the parts to the use of the rubato, that has not been the object of meditated – perhaps even painful – considerations before arriving at the chosen solution. And yet, in spite of the clearly perceptible presence of this meticulous study, the performances are not at all contrived or artificial, but on the contrary, they give out a wild sense of freedom and freshness.
They are, at any rate, interpretations of great personality, which denote a maturity able to present, with full awareness, an original character. It is especially to the Ballades, among moments of dreamy poetry and sudden tumultuous flares (sometimes so violent as to verge on intemperance), that De Maria restores lyrical scope and also narrative sense with blazing intensity.
Cesare Fertonani, Amadeus, April 2008.
They are...interpretations of great personality, which denote a maturity able to present, with full awareness, an original character. It is especially to the Ballades...that De Maria restores lyrical scope and also narrative sense with blazing intensityA performer with extensive interests, Pietro De Maria here plays Chopin’s four Ballades and the same number of Impromptus, cardinal compositions for the piano. From the very first time we hear it we realize that the interpretation is the fruit of a study in depth of the texts, a job that must have required time, dedication and long deliberation. Then, if we probe the interpretation deeply with analytic attention, we cannot fail to appreciate the quality that underlies and nourishes it from beginning to end.
There seems to be no aspect, from the choice of the tempos to the flexibility of the agogics throughout the pieces, from the polished phrasing to the most minute nuances of tone and touch, from the treatment of the structure and the dialogue of the parts to the use of the rubato, that has not been the object of meditated – perhaps even painful – considerations before arriving at the chosen solution. And yet, in spite of the clearly perceptible presence of this meticulous study, the performances are not at all contrived or artificial, but on the contrary, they give out a wild sense of freedom and freshness.
They are, at any rate, interpretations of great personality, which denote a maturity able to present, with full awareness, an original character. It is especially to the Ballades, among moments of dreamy poetry and sudden tumultuous flares (sometimes so violent as to verge on intemperance), that De Maria restores lyrical scope and also narrative sense with blazing intensity.
Cesare Fertonani, Amadeus, April 2008.
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