This is pianist David DeLucia's third
recording from his own private label.
I reviewed
the first two discs on these pages in
December 2004, and I refer readers to
that review for some biographical information
on the multi-talented Mr. DeLucia.
To recap my opinion
of the earlier recordings, DeLucia offers
delectable readings of romantically-inclined
music from a variety of composers. Although
he displays a fine technical command
of the music, DeLucia's most impressive
quality is his ability to convey to
the full the emotional content and sound-world
of each work. The result is two enchanting
discs covering the themes of romance,
sensuality and rapture.
As expected, the new
disc is equally compelling and embraces
the same themes as the first two. The
music of French composers dominates
the program, but is appropriately relieved
through the Granados, Villa-Lobos, and
Robertson pieces. Here's my take on
this third instalment:
Ravel's Pavane and
Sonatine - The Pavane is one of the
most sensuous and popular Ravel compositions,
although the subsequent orchestral version
written in 1910 is the form in which
it is most often heard. An elegant and
melancholy piece, Ravel was highly critical
of performances which were quite slow
and sedate; his marking of "rather gentle,
but with a full sound" reflecting his
basic requirements. DeLucia takes Ravel's
marking seriously, using a full tone
and moderate tempo to convey a stately
demeanor. Giving the work a sultry and
mysterious atmosphere adds to its magnetism.
Definitely a version to listen to with
your significant other.
The Sonatine is a three-movement
work that Ravel initiated in order to
submit a 1st Movement for a competition
sponsored by a music magazine; the enterprise
had an early death because Ravel was
the sole entrant and his movement's
length exceeded the contest requirements.
This obviously didn't keep Ravel in
check as he went on to compose the rest
of the work, and it is a wonderful creation.
Rapture inhabits each movement, starting
with the urgent descending fourth of
the opening to the brilliant and swirling
passage-work of the third movement.
In between is a Menuet that begins in
a rather serene fashion but then explodes
in lyricism and ecstasy. In his account,
DeLucia displays excellent technical
control and always highlights the tension
from the score. Most striking is the
rhythmic lift he imparts to the initial
theme of the Menuet, far different and
more vibrant than on Angela Hewitt's
highly praised Ravel set for Hyperion
where legato phrasing contributes to
a somewhat flat performance of the theme.
Granados's "Oriental"
- One of his most beautiful and evocative
pieces for solo piano, this dance has
rapturous Spanish rhythms enveloped
in darkness/regret and exquisite dialogue
among the musical lines. DeLucia's interpretation
is a gorgeous one that well captures
the rhythmic flows. I did also listen
to the RCA performance from Alicia de
Larrocha who reigns supreme in the Spanish
piano repertoire; her reading possesses
greater elasticity, but DeLucia's loving
account matches her in all other respects.
Villa-Lobos's A Lenda
do Caboclo - This is very sultry music
with a first section of subtlety contrasted
by the second section's energetic Brazilian
dance rhythms. DeLucia offers a steamy
performance guaranteed to impact one's
libido.
Santoro's Paulistana
no. 1 - A Brazilian composer, Santoro
wrote seven short works characterizing
the city of San Paulo. The first one
is a lovely piece evoking comfort and
security, and I really like how Delucia
sounds so relaxed and at one with the
music.
Debussy's Suite Bergamasque
- Composed in 1890, this early Debussy
work was not published for another 15
years. Although Debussy might have altered
the work during that time period, the
music's traditional forms argue against
any significant revisions. The 1st Movement
is a spirited Prelude, the 2nd an assertive
Menuet, and the fourth movement a bustling
Passepied based on a baroque dance form
in triple meter. The third movement,
"Clair de Lune", is one of Debussy's
most famous piano pieces and fully deserving
for its gorgeous melodies. DeLucia's
performance is perhaps his best on the
disc; the confident swagger he gives
the Menuet is very impressive, and his
"Clair de Lune" is a model of dream-like
rapture.
Casadesus's Prelude
- Best known as one of the leading concert
pianists of the 20th century, Robert
Casadesus was also a fine composer writing
attractive music with a blend of impressionist
and neo-classical styles. Such is the
case with the 24 Preludes that Casadesus
wrote in his mid-twenties and dedicated
to Ravel. DeLucia programs the 24th
Prelude which is the longest and most
poignant of the set. It begins with
music of hazy mystery that is eventually
taken over by dance-like rhythms that
do not appreciably set a more positive
tone due to the ominous bass line. Casadesus
then mixes the two themes in a creative
manner and closes out the piece with
a highly contemplative epilogue that
lasts almost two minutes. Given that
DeLucia finds a perfect blend of impressionist
and neo-classical elements, his performance
is a riveting one that has not been
surpassed on record.
Robertson's Romance
- A composer likely unknown to most
readers, Rick Robertson was raised in
Roanoke, Alabama and has been a music
teacher for the past fifteen years at
The School of Music at the First Baptist
Church on the Square in Lagrange, Georgia.
His most notable teaching accomplishment
came from a highly talented 10 year
old girl born without fingers on her
right hand; Robertson was convinced
of her artistic potential and composed
and adapted numerous pieces that she
could play in recitals. His Romance
is unabashedly loving and tender music
that DeLucia plays with heart-felt dedication.
Tailleferre's Deux
Pièces - Germaine Tailleferre
was a member of "Les Six", a group of
six composers who promoted a fresh approach
to music away from Wagnerism and Impressionism.
Mr. Delucia has picked two of her most
lovely piano pieces and plays them with
subtle passion; both works are nostalgic,
the Larghetto conveying regret while
bitter-sweet refrains pervade the Valse
Lente.
In summary, David DeLucia
has now given us three exceptional theme
discs in excellent and vibrant sound.
I am not aware of his future recording
plans, but I would love to have him
record music of a wider emotional palette.
Mr. Delucia has proven his mettle, and
I am confident he can stand tall next
to the well-known recording artists
of our day. In the meantime, his three
discs are available at budget price
from http://cdbaby.com.
If you are looking for romantic music
played with devotion, David DeLucia
is certainly your man.
Don Satz
David DeLucia, piano 
