Mario Parodi has been a continuous source of research for years. A biographical search that progresses slowly, with only a few steps per time. Paradoxically, this challenges in unveiling who he was only accentuate the legendary aura surrounding this musician.

He was born in Turkey to a Genovese father, then from 1950 lived in Argentina, where he married and had a daughter, Silvia Parodi, who also became a guitarist. Details about his life beyond these facts are scarce, and he seemed to have lived an isolated existence within the world of guitarists in South America. After his death from cancer in 1970, his name was lost in the history of guitar.

Searching for him, for me, is more than just a historical quest; it is a musical exploration, a journey into a unique universe. He is a portal that helps approach a perhaps lost way of interpreting and listening to music.

During his years in Istanbul, he was initially self-taught as a guitarist. Still, he had a solid foundation in counterpoint, harmony, and interpretation from pianists, who likely adhered to the school of Liszt. It’s worth noting that many Turkish pianists studied or drew inspiration from the virtuoso.
For this reason, he learned an art of interpretation based on the ability to manage time, rubato, and work on sound by anticipating and postponing notes, manipulating sounds like a material, something to be shaped, much in line with the poetic of the late romantic pianists.

Fortunately, we have his recordings: extraordinary performances that testify to his approach to interpretation. Recordings that had and continue to impact many musicians significantly.  Playing his transcriptions and compositions and analyzing his recordings is a way to better understand this distant, refined, and poetic approach that can tell us a lot about the romantic art of interpretation.

• In the process of writing an article about Mario Parodi, style of interoperation and the correlation with pianist of the school of Listz
• Series of videos with his music and transcriptions
• Concerts with his music
• A radio program dedicated to his figure for the Radio Marconi

Liszt: Liebestraum No. 3, Notturno (Transc. Mario Parodi/Marco Ramelli)

Liszt and Parodi – A Rediscovery of Romantic Interpretation

Liszt: Liebestraum No. 3, Notturno (Transc. Mario Parodi/Marco Ramelli)
Playing Liszt on the guitar might be considered a risky endeavor, but it offers a fascinating opportunity to approach Liszt’s music from a new perspective. For me, Mario Parodi served as a bridge into this exploration, offering insights not only into Liszt’s music but also into the interpretive practices of the Romantic tradition.

Starting with Parodi’s transcriptions, my aim was not simply to perform the arrangements, it was to delve into Parodi sophisticated approach to performance, which transcends the boundaries of the guitar and provides a window into the Romantic approach.

Understanding Parodi’s background is essential to appreciating his unique style. Born in Turkey to a Genovese father, Parodi relocated to Argentina in 1950. In Istanbul, he began as a self-taught guitarist but received formal training in counterpoint, harmony, and interpretation from pianists—a crucial detail for understanding his interpretive style.

A Connection to Liszt’s Legacy

What interpretive traditions might Parodi have absorbed from his piano instructors in Turkey?
 Turkey, during the late 19th and early 20th centuries, retained a strong connection to Liszt’s legacy, particularly following Liszt’s mid-19th-century visit to Istanbul. Many Turkish pianists were influenced directly or indirectly by Liszt’s teaching.
One notable example is Faik Bey, also known as Francesco della Sudda (1859–1940). Trained in Weimar by Liszt himself for over three years, Faik Bey was affectionately nicknamed “Der Pasha” by Liszt. This deep connection to Liszt’s teachings shaped Turkish piano pedagogy well into the 20th century, remaining relatively insulated from other interpretive traditions.
In this context, Parodi absorbed a performance style steeped in Lisztian ideals. His playing is characterized by masterful manipulation of time, nuanced rubato, and an almost tactile treatment of sound. Parodi’s interpretations reflect a Romantic ethos, where sound is a material to be molded, and phrases breathe with dramatic flexibility.

Preserving and Reinterpreting Parodi’s Legacy

Thankfully, Parodi’s recordings allow us to glimpse his world of interpretation. His performances reveal a Romantic tradition rooted in Liszt’s teachings, aligning with the work of Liszt’s students such as Frederic Lamond. However, in 20th-century Argentina, this interpretive style was largely misunderstood. Parodi was perceived as eccentric, his approach misaligned with the prevailing trends of his contemporaries.
My recording of Liebestraum No. 3 seeks not only to honor Parodi’s transcription but also to embrace his philosophy of interpretation as a creative act. Inspired by Liszt’s own concept of “recreation,” I have adapted Parodi’s transcription, particularly in the cadenzas, incorporating my own creative voice while staying true to the spirit of the Romantic tradition.
This project highlights Parodi’s interpretive richness, bridging Liszt’s Romantic ideals with the guitar’s expressive possibilities. It underscores the enduring relevance of rediscovering these forgotten voices and their unique contributions to music history.