Il Gazzettino
Pietro De Maria and Bach revisited on the piano
De Maria does not present, as other musicians do an imitation of the harpsichord. His acute idea is to revisit Bach in the light of the composers who have been his heirs...Inspiration and mental concentration coexist masterfully in this pianist.VENICE - Should Bach be played on a harpsichord or on a piano? I feel that it is more correct to respect the original sound, and this question is at the heart of twentieth century studies. Nevertheless, the “Well Tempered Clavier” presented by Pietro De Maria for the Società Veneziana di Concerti the other evening at the Fenice, was conceived by the author for an abstract, not precisely defined keyboard instrument. This tendency to abstraction justifies the use of the piano as well, if we think of Bach’s influence on nineteenth and twentieth century music.
De Maria does not present, as other musicians do an imitation of the harpsichord. His acute idea is to revisit Bach in the light of the composers who have been his heirs.
We heard pianissimi soft as a sigh like those of Chopin; elegiac phrasing as in the later Intermezzi of Brahms; structures close ot Hindemith: allusions that reveal the modernity of the German composer. Of course, the performer does not romanticize the phrasing, but in the Preludes he counts on the variety and on the transparency of the timbre while he builds up the Fugues with structural precision, according to objective principles we might call twentieth century. Inspiration and mental concentration coexist masterfully in this pianist. Enthusiatic response and an encore.
De Maria does not present, as other musicians do an imitation of the harpsichord. His acute idea is to revisit Bach in the light of the composers who have been his heirs...Inspiration and mental concentration coexist masterfully in this pianist.VENICE - Should Bach be played on a harpsichord or on a piano? I feel that it is more correct to respect the original sound, and this question is at the heart of twentieth century studies. Nevertheless, the “Well Tempered Clavier” presented by Pietro De Maria for the Società Veneziana di Concerti the other evening at the Fenice, was conceived by the author for an abstract, not precisely defined keyboard instrument. This tendency to abstraction justifies the use of the piano as well, if we think of Bach’s influence on nineteenth and twentieth century music.
De Maria does not present, as other musicians do an imitation of the harpsichord. His acute idea is to revisit Bach in the light of the composers who have been his heirs.
We heard pianissimi soft as a sigh like those of Chopin; elegiac phrasing as in the later Intermezzi of Brahms; structures close ot Hindemith: allusions that reveal the modernity of the German composer. Of course, the performer does not romanticize the phrasing, but in the Preludes he counts on the variety and on the transparency of the timbre while he builds up the Fugues with structural precision, according to objective principles we might call twentieth century. Inspiration and mental concentration coexist masterfully in this pianist. Enthusiatic response and an encore.
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