The example of the programs, with regard to the classical repertoire, offers authors the choice of which is connected to the same evolution of the instrument: D. Scarlatti, WA Mozart and L. van Beethoven. From fanciful pre- classicism of the first to the complexity of Mozart, until the development of language and expressiveness in Beethoven’s piano works, the fundamental path of Stefania Amedeo does not neglect any aspect of the process that, through the great composers, leads to the affirmation of the “piano” .
in this sense the piano classics is at its best in the solid construction of the Beethoven sonata, addressed in “passionate” (sonata in F minor op.57) with particular stylistic force for Stefanía Amedeo. The works of the Romantic repertoire, proposals in the various sample programs, constitute moments of test and study, for a complete pianism, which we can not escape, and that in any case involving particular qualities of their own interpreter to the usual occurrence of executions . The choice, complemented by other pieces by composers such as Rimsky Korsakov and Rachmaninoff, is conducted on works and authors which opens, in essence, the discourse of modern technique and piano writing. In this sense, the “Sonata in B Minor” by Franz Liszt, analyzed and performed by Stefania Amedeo since the years of the Conservatory, won a central place in the repertoire of the pianist who has devoted to Liszt, even with the deepening of the “Transcendental Etudes” and of other compositions, a large part of its preparation. The essential Chopin piano accompanying the proposal of the Romantic repertoire, completed the preparation of the “Concerto for Piano and Orchestra No.2 in B flat major” and other compositions by J. Brahms.