November 17, 2024
Don Vittorio Branca Parish Center
Parish of Cerro Maggiore
Milan, Italy
Martina Meola, piano.
Ludwig van BEETHOVEN: Sonata in D minor. Op. 31 No. 2 (“The Tempest”)
Frédéric CHOPIN: Nocturne, Op. 9 No. 1
Maurice RAVEL: Sonatine
Frédéric CHOPIN: Two Mazurkas, Op. 30 Nos. 1 and 4
Frédéric CHOPIN: Ballade n. 1 in G minor, Op. 23
Franz LISZT: Hungarian Rhapsody No. 11
Giorgio Koukl | 19 NOV 2024
Despite being only 11 years old, Martina Meola is already considered a phenomenon in more than one European country.
Of Italian and Moldovan origins, she started her piano studies in the capital, Chisinau, at the age of 6 and has since then collected quite an impressive number of first prizes in international competitions. Martina now studies at the Milan Conservatory while pursuing a packed schedule of recitals and concerts with orchestra. She selected an appealing recital program based on Chopin, Liszt, and Beethoven with a small but significant excursion into the 20th century with the Sonatine of Maurice Ravel.
From the first notes, she reveals a remarkable personality that seems to be born to stay on stage. She visibly enjoys the contact with the public, and as she told me in a short interview I was able to have with her, this contact charges her with energy and willingness to play.
The recital started with Beethoven’s Piano Sonata No. 17 in D minor, Op. 31 No. 2, also known as the “Tempest” Sonata, one of his most dramatic and emotionally charged works. Composed in 1801-1802 during Beethoven’s middle period, it reflects his growing maturity and experimentation with form, texture, and emotional expression.
The “Tempest” Sonata is marked by its dramatic contrasts, from stormy intensity to lyrical introspection. While this latter went perfectly well under Martina Meola’s hands, the dramatic element was somehow limited by the less-than-perfect Fazioli piano, which allowed only a small range of expressive possibilities.
Nonetheless, she shaded her dynamic nuances with great care and did her best to obtain at least some degree of singing tone. Despite this, the sonata was perhaps the less fortunate part of the whole recital.
11-year-old piano prodigy Martina Meola. (credit: Chiara Solari)
A short Nocturne, Op. 9 No. 1, by Frederic Chopin followed. Clearly, this elegant music is her natural realm. Her capacity for timing, creating phrases, and playing with the tiniest details is clearly her strong point.
Maurice Ravel’s Sonatine followed — a three-movement work composed between 1903 and 1905. It demonstrates Ravel’s mastery of form, clarity, and delicate textural complexity. It requires precise control over dynamics, articulation, and pedaling, making it challenging for pianists to execute with finesse. It has three movements: “Modéré,” “Mouvement de menuet” and “Animé.”
The numerous public could admire Ms. Meola’s transparent textures and delicate use of pedal. As one of the organizers underlined at the concert’s end, she seems to connect with the composer to the point of seemingly dialoguing with him.
In this difficult work, chromatic and modal shifts add a modern, impressionistic flavor, which must be carefully balanced to obtain a silk, shining surface, and rhythmic subtlety with irregular phrasing. The melody is graceful, with a restrained elegance characteristic of 18th-century dance forms but infused with Ravel’s harmonic language.
Some more Chopin followed: two Mazurkas from Op. 30. The pianist chose Nos. 1 and 4, both with very satisfactory rendering.
But the real highlight of the evening was, without any doubt, the G-minor Ballade Op. 23, a piece of bravura. Now entirely at ease, Martina Meola tackled this difficult score with energy and an astonishing command of virtuosity.
The last piece of this recital, played with no intermission and no real moments to get at least some rest, was a lesser-known Hungarian Rhapsody by Franz Liszt, No. 11. Once again, Ms. Meola was astonishing with her flawless technique and bravura.
Two encores followed: a short Sonata of Scarlatti and a brief arrangement of some Puccini.
The pianist, seemingly fresh and without visible signs of fatigue, got a standing ovation from her public, well merited.
I had the occasion to pose her a few questions right after the concert, where she described to me her personal perception of the public, which she sees as an essential part of a recital, giving her energy to the point that she would be ready to start the concert once again. She also expressed her intention to add some more composers to her repertoire, such as Schumann, Ginastera, and Prokofiev.
So clearly, while wishing her good luck, this talent should remain well followed in the future in order to see her growth and development. ■
EXTERNAL LINKS:
- Martina Meola: facebook.com/MARTINA.ME0LA
Read more by Giorgio Koukl.
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