Reviews

The theater of the imagination
Tezza celebrates his 30th year as musician at the Olimpic Theatre in Vicenza
Album fur die jugend op. 68: Marco Tezza was not satisfied with playing the whole in one recital- which would have been unique- but also investigated in German archives to find out the pieces Schumann composed for his daughter Marie’s seven birthday, and other pieces which had been printed in 1924 and 1958 and which had been revisited by Clara after her husband’s death.
This integral version is quite original.
Facing such a huge musical material, the pianist has chosen linear evidences in sound but great flexibility in phrasing. In this way he gets two goals: he underlines the essential poetry , but doesn’t banalize idiom, thus always supporting shapely phrases, not rethorical but full of nuances, impetuous when necessary, but also capable of a really significant tenderness. In this way the wide range of the recital is supported by a focused communicative tension, which hits the center of the style of this kind of music: not banalizing its semplicity, but not going beyond its intimate meaning. In a word Tezza gives an adult interpretation, but able to remind us of childhood on keyboard.

Cesare Galla IL GIORNALE DI VICENZA – October 7, 2004

 

Nostalgia
The story-teller pianist’s dreamy effort.
Many tiny stories. Played in Vicenza night, merged in the acustic perfection of the Olimpico, played by the ‘ballad-singer’ Marco Tezza, focused on his dreamy effort.
There is nothing more recognizable than the popular soul. And this is Romantic Germany, nowhere to be found, lost.
Marco Tezza, the story-teller, has played ‘Ein Choral’,with suspended hands, wrapped up in velvet. And he was upright, nearly far from the keyboard, being a pianist who usually seems to penetrate with his entire body the wires, the hammers and the felts of that prodigy called piano.

Bepi De Marzi IL GIORNALE DI VICENZA – October 7, 2004

 

Marco Tezza plays Schumann
(Schumann op.68)…The Italian pianist and conductor gives a very formal interpretation, based on a neglected text of the embellished repertoire of the outstanding artist. Here the pianist can show his fresh approach by playing a game of ‘stealing’ which is certainly transmitted throughout his visual suggestions, a way of expressing his many-sided personality. There comes an Album for children who know the world of adults very soon. Some ‘kitsch’ skits are nearly expunged, the ones which had made the Album undervaluated, so that it certainly revives to a new compositional dignity.

Enzo Fantin MUSICA E SCUOLA – July 28, 2004

 

Mit Robert Schumann’s Sonate fis-moll op.11 wußte Marco Tezza sich offensichtilich völlig zu identifizieren. Seelendokumente . Passionen . Gefühlsausbrüche, aber auch vitalen Ausdruck verlangten die ausgezeichnet umgesetzten Beiträge und Zugaben.

E. N. KILER NACHRICHTEN – December 12,1989

SERENADE for strings C-Dur Op.48 (Live recording – Lebeanon TV) // PETER ILYICH TCHAIKOVSKY
  1. SERENADE for strings C-Dur Op.48 (Live recording – Lebeanon TV) // PETER ILYICH TCHAIKOVSKY
  2. ROBERT SCHUMANN // ALBUM FÜR DIE JUGEND Op.68 – WORLD FIRST COMPLETE RECORDING Zweite Abteilung – Für Erwachsenere
  3. “CRISANTEMI” for strings (Live recording – Belo Horizonte) // GIACOMO PUCCINI
  4. PRELUDE h-moll (Live recording – Geneve, Château de Coppet) // JOHANN SEBASTIAN BACH / ALEXANDER SILOTI
  5. “ADIOS NONINO” – Arranged by TrisTango (Studio recording) // ASTOR PIAZZOLLA
  6. ETUDE c-moll Op.10 N°12 (Studio recording) // FRYDERYK CHOPIN
  7. JOHANNES BRAHMS // PIANO SONATA f-moll Op.5 (Studio recording)
  8. ​“AUS HOLBERGS ZEIT” SUITE for strings Op.40 (Live recording – Sofia, Bulgaria Hall) // EDVARD GRIEG
  9. ADAGIO AND FUGUE for strings c-moll KV 546 (Live recording – Padova, Pollini Auditorium) // WOLFGANG AMADEUS MOZART
  10. UNGARISCHER TANZ g-moll (Live recording – St. Wendel) // JOHANNES BRAHMS