Mihaela Ursuleasa possesses many qualities that make her musicality amongst the younger generation of pianists particularly appreciable. Her phrasing is considered without ever sounding stolid or calculated, her choice of tempo is in general terms judicious, and she has a technique that can do much with the music chosen. The programme provided interest and showed a sense of adventure on Ursuleasa’s part by including relatively unknown works - and composers, even – alongside the better known. However, that all, except the Ravel, firmly occupied the territory of Romanticism meant that not much was to be had in the way of variation of feel throughout the programme. Nor was a totally rounded impression to be had of Ursuleasa’s abilities as a result.

Medtner’s ‘Sonata-Reminiscenza’ in A minor, op. 38, is largely reflective in character, and Ursuleasa succeeded in bringing out the closely knit structure of its single movement. Tonal variety had much to do with the performance’s success, demonstrating along the way an intimate appreciation for the particular sound that is often called for when playing works of the Russian school.

Schumann’s ‘Phantasiestücke,’ op. 12, presents a series of brief sound-pictures of which Ursuleasa largely allowed each an individual presence. The seriousness of her approach rather took away from some of Schumann’s humour, though with care for shaping each episode this was all that could be found wanting. Particularly touching was her playing of the final “Ende vom Lied”, which was very much in the spirit of a song without words.

The challenges of Ravel’s ‘Gaspard de la nuit’ seem to both be relished and feared by pianists, even today. With technique arguably emphasised at the expense of interpretation in some emerging artists, Ursuleasa held both in equal sway. Her understanding of Ravel’s particular sound was well formed, capturing with care the subtle gradations to he heard within both ‘Ondine’ and ‘Le gibet.’ To my ear, particularly successful was her ability to sustain a long expressive line, thereby allowing the music some room to breathe. Only ‘Scarbo’ left me with a tiny doubt about Ursuleasa in this repertoire. Whilst her playing was fully committed, the result did not quite leave one conscious that a seriously fearsome event had just transpired.

Ginastera’s Piano Sonata No. 1, op. 22, is another work that demands a formidable technique from the performer. Along her traversal of the score Ursuleasa captured much of the work’s inherent energy and jazziness, an aspect she clearly relishes. The strong fingering required in the first movement’s marcato sections makes the full contrast with the second movement’s misterioso, which is further emphasised by changes in tempo a vital impression was gained of the composer. With feverish dance-like elements dominating the work’s second half a strong conclusion was attained for the recital as a whole.

 

Evan Dickerson