Classic Voice
No metronome
..certain personal choices...allow us to hear details which usually escape one's attentionDe Maria is a serious minded and very capable pianist of the school of Gino Gorini (a wonderful and unjustly forgotten soloist) and of that of Maria Tipo; his career has been built up with patience and tenacity (he won first prize in the Dino Ciani Competition in 1990) without unnecessary protagonism and with consistently admirable results. Therefore it gives us a somewhat chauvinistic pleasure to see his picture on a cd with the Decca label, where, a few years ago, only pictures of Ashkenazy or Jorge Bolet could be seen, as if to show that there are Italian artists who are able to get ahead. demonstrating their qualities on the job.
And it was precisely on the job that we heard De Maria play the Etudes op. 10 and part of op. 25 a few years ago and we admired his musical qualities and his technique. Even then, certain personal choices as well as the very attentive accentuation of certain aspects in the reading of these classics were evident (for example in nn. 1, 7, 8, 9 of op. 10 in nn. 4 and 8 of op. 25 and in the three posthumous etudes, interpreted with rare ability). If, on one hand they deprive us of Pollini’s rigid precision, almost like that of a metronome, on the other, they allow us to hear details which usually escape one’s attention.
A very interesting record, then, which we hope will reserve De Maria wider international recognition.
..certain personal choices...allow us to hear details which usually escape one's attentionDe Maria is a serious minded and very capable pianist of the school of Gino Gorini (a wonderful and unjustly forgotten soloist) and of that of Maria Tipo; his career has been built up with patience and tenacity (he won first prize in the Dino Ciani Competition in 1990) without unnecessary protagonism and with consistently admirable results. Therefore it gives us a somewhat chauvinistic pleasure to see his picture on a cd with the Decca label, where, a few years ago, only pictures of Ashkenazy or Jorge Bolet could be seen, as if to show that there are Italian artists who are able to get ahead. demonstrating their qualities on the job.
And it was precisely on the job that we heard De Maria play the Etudes op. 10 and part of op. 25 a few years ago and we admired his musical qualities and his technique. Even then, certain personal choices as well as the very attentive accentuation of certain aspects in the reading of these classics were evident (for example in nn. 1, 7, 8, 9 of op. 10 in nn. 4 and 8 of op. 25 and in the three posthumous etudes, interpreted with rare ability). If, on one hand they deprive us of Pollini’s rigid precision, almost like that of a metronome, on the other, they allow us to hear details which usually escape one’s attention.
A very interesting record, then, which we hope will reserve De Maria wider international recognition.
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