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Beethoven, Sonatas Op. 27, 13, Variations Op. 35
Brahms, 3 Violin Sonatas
Brahms, Schumann, Works for clarinet and piano
Brahms, String Quintets
Trios for flute, bassoon and piano
Schumann, Album fuer die Jugend, II
Schumann, Album fuer die Jugend, I
Chopin, Complete Piano Works, IV
Bach, Partitas, II - Nos. 2, 3, 4
Busoni, 24 Preludes Op. 37

Marco Tezza plays Beethoven, Sonata No. 30 + Brahms, Sonata No. 3


Beethoven, Sonata No. 30 + Brahms, Sonata No. 3

Marco Tezza

Tim. / Size:
Orig. res.:
Classical Music
Romantic/19th Century
68:06 / 687
Available at 44.1 kHz * 16 bit

3 album(s)

Over thirty years between Ludwig van Beethoven's Sonata in E major op. 109 (1820) and Johannes Brahms' Sonata in f minor op. 5 (1853). Formulae come readily: the late Beethoven work is the synthesis of classicism, the moment in which form reaches the acme of coherence and cohesion. Brahms is the unexpected entrance into the romantic world, escape into the fantastic, the night, the dream, distance. The former, written by a man in his fifties, concludes a world and exhausts its meaning: the latter, written by a twenty year-old, opens up a new world with infinite possibilities. All this is true: but why then is the "classical" work, with its "rigorous" structure, in reality so light and volatile, agile and fleeting, so ready to melt away in its concluding variations just as the entire Beethoven catalogue of the genre was soon to conclude in the Sonata op. 111? And why is the "romantic" work, standing like an immense gateway laid open to the infinite and the forest and to everything that is included in the term "nineteenth-century German", so massive and composite, so imposing and complex? Is there no hint of the unripe in Beethoven? No hint of mature gravity in Brahms? Our formulae thus become more complicated, and contradictions are are transformed into criteria of interpretation.
A great performance by one of the most original Italian pianist, Marco Tezza, always fresh, dramatic and evocative.
This is the remastered version of the recording dated 1992. The sound is still excellent for the time.

Recorded at: N/A, 1998
Engineer: Michael Seberich
Photo/paint on cover: N/A
Art-work: ©OnClassical

Original studio master is copyrighted: OnClassical, © 1998

It is a very difficult task to give an accurate idea of the rich and multifaceted musical personality of Marco Tezza in just a few lines.

An excellent academic preparation (top marks, honours and mentions of honor in Italy and Diplome Superieur d'Execution at the Ecole Normale "A.Cortot" in Paris) he has received awards from the most prestigious piano competitions (Washington, Pretoria, Busoni, Viotti, etc ...). Tezza 's intense concert activities have lead him to play in the most famous concert halls and to collaborate with the finest musicians Ashkenazy, Ughi, Hogwood...

After having completed the study of the violin and orchestra conductor he began a new career leading very important ensembles in Europe, Asia, America, and often doubling his role as conductor and soloist.

Tezza, the conductor, presents a vast repertoire, from baroque to contemporary music passing through opera (Boheme, Vascello Fantasma, Maria de Buenos Aires etc ...) and giving a great deal of attention to the music of Piazzolla.

He is well-known to the public and critics as an artist with a strong personality who never stops looking through scores to find unique ways of interpreting them, for new expressive logics, new sonorities.

He has been invited to hold Master Classes at very important institutes (Victorian College of the Arts in Melbourne; University of San Paolo, Brasile; Conservatory in Sofia; University of S.Esprit in Beirut; University of South Florida; UNEAC in La Habana; Jazeps Vitols Latvian Academy in Riga etc.).

He is the permanent artistic director of the Stravinskij Chamber Orchestra (SCO) and he conducts concert seasons and musical festivals in Europe and in South America.

He has recorded for AS disc, Balkanton, Klingsor and OnClassical.

He is a member of the Accademia Veneta of Arts and Science.

Marco Tezza (photo by Alessandro Simonetto, © 2010)

I could rarely listen to a Schumann's piece played in such a profond and authentic way by a so young pianist.
- Tatiana Nikolaieva

Tezza posesses an extraordinary technical preparation which enables him to achieve the perfect sound which is a feat so rarely found in young italian pianists. For one so young he also posesses a dramatic vision of music giving it the sensation of a cosmic tragedy in the fight between good and evil.
- Piero Rattalino, Piano Time

I consider Marco Tezza one of the most brilliant young Italian pianists of our times. His talent is manifested in his capacity to make a music so profound illustrating a rich life and a search for perfection so intense.
- Aquiles delle Vigne


OnClassical, © MMXIV.