Amadeus
Chopin: Polonaises - Pietro De Maria
What prevails is the transfiguration of the idea of homeland, woven of a varied range of feelings of nostalgia, of tenderness, of anger and despair, which make the Polonaise a genre, if not the genre, definitively associated with Chopin. And so, for De Maria, an ideal ground for comparison. All we need to do is listen to the way he lures out the song, even in the most peremptory Polonaises, and how the sound ranges from an almost catatonic level to surges of madness. In between are all the shades of a dream.One more record and the complete works of Chopin will be concluded. A source of pride for an artist who has had the courage to face all of Chopin’s works on stage as well, Pietro De Maria dedicates the eighth two-disc installment of this itinerary to the Polonaises together with the Variations, a genre which the composer did not favor (he only wrote four) although it was in vogue among the virtuosos of the early nineteenth century. In the Polonaises, much of the composer’s world converges, from the first delightful pieces (gathered in the second disc, where we even find the “impromptu” of little seven-year-old Chopin written on the pentagram by his teacher Zywny because the child wasn’t able to write the notes yet) to those written after 1830 (the year of the revolt of Warsaw which Chopin learned of in Vienna) and the more mature and multifaceted works. In any case, not monolithic compositions. Even the heroic aspect, which is automatically associated with militaristic trumpeting and patriotic appeal, creeps in at times. Very rarely does it pervade an entire composition. What prevails is the transfiguration of the idea of homeland, woven of a varied range of feelings of nostalgia, of tenderness, of anger and despair, which make the Polonaise a genre, if not the genre, definitively associated with Chopin. And so, for De Maria, an ideal ground for comparison. All we need to do is listen to the way he lures out the song, even in the most peremptory Polonaises, and how the sound ranges from an almost catatonic level to surges of madness. In between are all the shades of a dream.
What prevails is the transfiguration of the idea of homeland, woven of a varied range of feelings of nostalgia, of tenderness, of anger and despair, which make the Polonaise a genre, if not the genre, definitively associated with Chopin. And so, for De Maria, an ideal ground for comparison. All we need to do is listen to the way he lures out the song, even in the most peremptory Polonaises, and how the sound ranges from an almost catatonic level to surges of madness. In between are all the shades of a dream.One more record and the complete works of Chopin will be concluded. A source of pride for an artist who has had the courage to face all of Chopin’s works on stage as well, Pietro De Maria dedicates the eighth two-disc installment of this itinerary to the Polonaises together with the Variations, a genre which the composer did not favor (he only wrote four) although it was in vogue among the virtuosos of the early nineteenth century. In the Polonaises, much of the composer’s world converges, from the first delightful pieces (gathered in the second disc, where we even find the “impromptu” of little seven-year-old Chopin written on the pentagram by his teacher Zywny because the child wasn’t able to write the notes yet) to those written after 1830 (the year of the revolt of Warsaw which Chopin learned of in Vienna) and the more mature and multifaceted works. In any case, not monolithic compositions. Even the heroic aspect, which is automatically associated with militaristic trumpeting and patriotic appeal, creeps in at times. Very rarely does it pervade an entire composition. What prevails is the transfiguration of the idea of homeland, woven of a varied range of feelings of nostalgia, of tenderness, of anger and despair, which make the Polonaise a genre, if not the genre, definitively associated with Chopin. And so, for De Maria, an ideal ground for comparison. All we need to do is listen to the way he lures out the song, even in the most peremptory Polonaises, and how the sound ranges from an almost catatonic level to surges of madness. In between are all the shades of a dream.
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