Maria Gabriella MARIANI (b.1963)
Pour Jouer
Hologram: theme, 17 variations and finale with improvisation (2014) [45:29]
Sonata “pour jouer” (2011) [24:04]
Maria Gabriella Mariani (piano)
rec. Dec, 2017 at Castellammare di Stabia
DA VINCI CLASSICS C00038 [69:33]
I had not come across Maria Mariani's name but praise from Martha Argerich and Aldo Ciccolini is quoted on the back cover: “An extremely interesting talent ... her improvisations are extraordinary” and “her music reveals a very impressive creative sense, supported by exceptional piano-player skills”. I can certainly attest to that; all the music here is played with a fine ear for balance and tone, her phrasing is natural and her technique is more than ample for the wide technical range of the music she composes.
Just two works appear here – the Sonata: pour jouer and the huge variation and improvisation set entitled Hologram; according to the notes by the composer the title indicates the intention to link each variation to the one that precedes it and ultimately to one another. The success of this composition lies in this integration though I note that unlike variations by the likes of Brahms or Mendelssohn for instance there is little distinction between the end of one variation and the next. Suddenly you realise the texture has changed, a new feature has entered the fray; it may not continue through the variation, just appearing at certain points, but it changes the timbre and we are in pastures new. The layout of the piece is Theme and variations I-XIV; intermezzo; variations XV-XVII; finale; improvisation and the fact that the improvisation lasts for over half the three quarter of an hour length of the piece shows where Ms Mariani's strengths lie; to my mind many of the variations themselves have an improvisatory feel and the theme is equally distinguishable throughout. Perhaps once the variations were written the composer still felt there was more for her to say and the free flowing spring of ideas of the improvisation was the outlet for that. It is a little difficult to give a sense of the musical style; The harmonic language is strictly tonal and more often than not is gloriously romantic; the recent composition date here is no guide at all. The theme has the feel of a folk dance and some of its treatment reflects this but there are also flashes of Chopin, Ravel (a definite echo of the Concerto for left hand), suggestions of Granados, Brahms, Rachmaninov and oodles of film music; I couldn't help thinking of Leonard Pennario's Midnight on the cliffs as the melody rides majestically over waves of arpeggios and at one point I had the bizarre feeling of Have yourself a merry little Christmas merged with the ending of the slow section of the Liszt Sonata. I do not want to give the impression that this work is just an amalgam of other composer's music – it is a rich tapestry of densly interwoven material, never dull and often quite beautiful and as an example of Ms Mariani's improvisational skill it is astonishing in its variety.
The Sonata, dedicated to Aldo Ciccolini, is more compact, a three movement work in outwardly conventional form, Allegro, Andante, Allegro con fuoco. The first movement opens with a quick fire rhythmic motif, reminiscent of Debussy, that does reappear briefly later but which only otherwise appears in variation. Its descending feature becomes a romantic theme which transforms the reflective central section into an almost Rachmaninov like outburst of passion interspersed with virtuoso passages. The slow movement is a brooding piece that opens with a fragile theme over a hesitant accompaniment. The movement is based around this theme, tying it in with fragments of other music developing out of the accompanying figures and music from the opening movement. Its fragility gives way to heroism and the now grand gestures segue seamlessly into the final movement in what seems to be an introduction to the finale proper. This seems to want to be a rambunctious dance but soon gives way to more romantic grand melody and sweeping arpeggios. The episodic nature of this music and the intertwining of melodies means that repeated hearings will be required to fully appreciate its structure but will be enjoyable listening. I think the overwhelming impression I get is of three pieces closely related through their themes. There is a real Russian feeling to much of the writing with grand passions writ large. My only issue is that the final spread chord, heard after a more tranquil section, seems out of place and unfinished; it is connected thematically – the same figure appears at the opening of the finale – but it seems to leave us hanging and expectant.
Maria Gabriella Mariani studied in Italy and France though Aldo Ciccolini is the only teacher I can see mentioned for her. Her pianism is dramatic and fearless with a great sense of theatre; not for nothing did Ciccolini observe, when speaking of the performance of this Sonata - I recognised myself very often during the execution of this piece, a masterly performance which at the same time reveals a personality, like that of Mariani, that is truly exceptional, with extraordinary pianistic means. If you love romantic piano music in the grand style then you will not be disappointed with this CD.
Rob Challinor
