Mario Delli Ponti - Johannes Brahms (Remastered) (2023) [Hi-Res]

Tracklist

01. J. Brahms Sonata in fa diesis minore op. 2 Allegro non troppo, ma energico
02. J. Brahms Sonata in fa diesis minore op. 2 Andante con espressione
03. J. Brahms Sonata in fa diesis minore op. 2 Scherzo
04. J. Brahms Sonata in fa diesis minore op. 2 Finale (Introduzione -Allegro non troppo e rubato -molto sostenuto)
05. J. Brahms Tre Intermezzi op. 117 mi bemolle maggiore
06. J. Brahms Tre Intermezzi op. 117 si bemolle minore
07. J. Brahms Tre Intermezzi op. 117 do diesis minore
08. J. Brahms Intermezzo in la maggiore op. 118 n. 2
09. J. Brahms Intermezzo in si minore op. 119 n. 1o

The Italian pianist Mario delli Ponti was immediately considered an important personality in the musical world when he made his debut in 1954. Arturo Toscanini in New York1956 and, five years later, Pablo Casals in Puerto Rico, confirmed the unanimous consensus of the public and the critics. Winner of the “Bach Medal” (London 1957), Mario delli Ponti had the opportunity from the very beginning of his career to gain considerable experience and artistic maturity giving hundreds of concerts, not only in the world major cities, but also in places outside the normal concerts circuits, such as Alaska, the Northern Canadian Provincesand Israeli Kibbutzs. During his career Mario delli Ponti has been guest of many of the most important musical organisations, international Festivals and symphony orchestra. He has made several recordings for Italian RCA and Angelicum. His vaste repertoire includes 25 piano concertos and the 32 Beethoven Sonata; in addition he often performs chamber music with other famous artists and chamber groups. During 1984-1985 he made his third extensive tour of the Soviet Union with a series of solo recitals and orchestra performances. In 1986 he made a new tour in the United States giving concerts as recitalist, with orchestra, in chamber groups and teaching in master classes. In the season 1987-88 he has made his debut in Japan with a very important tour of solo performances. A book of psychological analysis written by Mario delli Ponti in cooperation with a Swiss psychiatrist (Prof. LubanPlozza) was published on 1987 with two pewfaces, one by Nobel Prize winner Sir John Eccles and the other by Herbert von Karajan. This particular performance, dedicated to the “First and last wave” of Brahms, indicates the beginning of collaboration between Mario delli Ponti and Fonè, attivitàeditorialediscogrfica.

The voyage between the first and fast creations of a composer is always adventurous, rich in unexpected choices, soaring peaks and contradictions. It isfruitless to point out the most famous examples of this. One of the singularities of Brahms’ work, however, lies in the fact that the unravelling of his crea1ivi1y over time does not follow a labyrinthic path. It does not present any powerfully evolutive aspects Just as it does noi reflect involved and tortured crises of weariness or changes of idiom. Despite thefact that the pieces on this record represent the composer’s very early (1852), and late (1896) work, the stylistic difference between the two is not easily perceived; everything seems to flow, perfectly under control, vital and intense. One would say it was the work of a person who had always been endowed with legendary equilibrium, with inner force and with exemplary wholeness of being. Yet onecannot help but recall the saying according to which, “Health is a precariuos state of which one should expect nothing good”. Evidently the decline of the Romantic Era, Brahms wasdominated nor only by a powerful ego, both modest and ironic, but also by a disturbing interlocutor known as “Doppe/ ganger” -that “double conscience”, as complex and exacting as any phenomenon experienced in an era of epigonism. As a result of this, the surfaces, namely the compositional technique, while certainly flawless and fascinating, are only one aspect, andthe most prominent,of Brahms’ music, presaging unexpected dephtswhich even in his early work, indicate a secret and innate capacity to think through the medium of sound. Brahms’ fundamental gift would seem to be memory, or rather a function of the same-the abilityto conceive of and organize, in temporal succession, an invention which is mysteriously cognitive and projecting into the future. Every poet is also a prophet, but Brahms arranges his phrases as if they are flung forward into memory - parodoxical and thrown into a yearningfuture with an inverted mental framework reminiscent of Borges...

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