Sergei PROKOFIEV (1891-1953)
Piano Sonata No. 7, in B-Flat Major, Op. 83 (1939-42) [20:30]
George ENESCU (1881-1955)
Suite for Piano No. 3, Op. 18 “Pieces Impromptues” (1913-16)
No. 7 - Carillon nocturne [9:48]
Claude DEBUSSY (1862-1918)
Préludes, Book 1, L. 117 (Nos 2, 5, 6, 8, 9 & 12) (1909-10) [22:23]
Franz LISZT (1811-1886)
Années de pèlerinage, Second Year, Italie, S. 161 (1846-49) No. 7, Après une lecture du Dante[19:25]
Daniel Ciobanu (piano)
rec. May, 2020 Gewandhaus, Leipzig, Germany
ACCENTUS MUSIC ACC30515 [72:13]
Romanian pianist Daniel Ciobanu came to international attention when he won the silver medal at the 2017 Arthur Rubinstein International Piano Master Competition in Tel Aviv. Here, for his debut recording, he has chosen repertory having a wide range of styles, taking in the virtuosic brilliance and sinister character of Liszt's Dante Sonata, the subtle and emotionally cool Impressionism of Debussy's Book I Préludes, the curious bell-like sonorities of Enescu's Carillon nocturne, and the dark lyricism and crushing dynamism of Prokofiev's Seventh Sonata. A pianist must therefore have an almost chameleonic nature to convincingly perform such varied works and Ciobanu largely makes the case that he is fully up to the task.
He begins with a very distinctive account of the Prokofiev Seventh Sonata, the composer's most popular of the nine in his canon. Ciobanu consistently chooses moderate to slow tempos throughout the work. That might suggest to some that his performance lacks spirit, but it most assuredly does not, registering instead as one of the more intense and convincing renditions of this work. His first movement opening is weighty, clear and he highlights the percussive character in the bass writing, italicizing rhythmic aspects to generally good effect. The second theme, marked Andantino, is one of Prokofiev's more profound utterances in this work and Ciobanu plays it with great feeling, capturing its restless, tortured character most effectively. The development section is played with powerful dynamics again in the piano's bass regions, while the music gains urgency and momentum that lead to the collapse at the climax. The recapitulation and coda are played most convincingly.
In so many performances of this sonata the second movement is taken too fast, as is the case with Horowitz and Argerich, to name just two. Here Ciobanu selects a much slower but perfectly workable tempo, effectively capturing the main theme's yearning and sense of loss. He incarnates the intense and explosive music in the long inner section that follows with marvelous insight, subtly building toward the climax and pointing up the sadness and crushing disappointment at its end. The finale again features a more moderate tempo, one that fits the music: it is marked, after all, Precipitato, which so many other pianists seem to read as Prestissimo. The music here is well accented and moves with a nervous momentum, finally reaching an utterly crushing climax. In sum, Ciobanu delivers a performance of this great Prokofiev sonata that I find better than most, and one that stands in the company of Richter (various labels), Sokolov (Euroarts DVD), Glemser (Naxos), Giltburg (Orchid Classics), Pollini (DG) and perhaps a few others.
Ciobanu deftly renders the harmonies and subtle thematic character of the Enescu Carillon nocturne via his subtle shifts in dynamics and imaginative use of the pedal. Of course this piece is a brilliant depiction of bells ringing and thus requires a sensitive, thoughtful interpretation, but here Ciobanu's way with it may strike some listeners as a bit static in his 9:48 duration. All other performances I've come across are paced much more quickly, a couple nearly cutting his timing in half. Yet, as suggested above Ciobanu makes a fine case for his approach with his imaginative phrasing, imparting an almost mesmeric atmosphere as the piece unfolds. In the end, one can assess that this performance serves as a valid alternative way to interpret this colorful piece.
Ciobanu's pacing in the Debussy prelude selections is also on the expansive side, most noticeably in Nos. 5 (Les collines d'Anacapri) and 8 (La fille aux cheveux du lin). Yet even in these pieces, his interpretations are largely convincing. The latter, especially, has a lovely lyrical flow and arresting, gentle manner. Ciobanu gives No. 2 (Voiles) a hypnotic quality, again with his subtle use of the pedal and well chosen dynamics. In No. 5 (Des pas sur la neige) he wisely chooses a slower tempo to great effect: this is the one piece that usually doesn't work without fairly deliberate pacing. Ciobanu plays both Nos. 9 (La sérénade interrompue) and 12 (Minstrels) with spirit and lively tempos, capturing the playful manner of each, pointing up their vivid colors and charm. These are fine, distinctive interpretations of these Debussy masterworks.
Ciobanu's account of the Liszt Dante Sonata is filled with tense, dark atmosphere in the opening moments where the music is mostly anxious and driven. In the long, lyrical section that follows he is slower than most other pianists but utterly sensitive in his subtly shaped phrasing. In the latter half of the piece Ciobanu ratchets up the tension to bring out the colors and fiery character of the piece, his dynamics well judged but tending toward the weighty side and his accenting fitting well the rhythmic drive and edginess of the music. Yet, while his playing is undeniably exciting, he never surrenders to the urge to dazzle or show off at the expense of the music. This is a splendid account overall then, very much in contention with the finer performances on record. Among the competition are convincing efforts by Lise de la Salle (Naïve), Alfred Brendel (Philips) and Jerome Rose (Vox). But I must single out a scorching account from a live 1972 Milan concert on IDIS by Lazar Berman that is utterly sensational. But, alas, it is in mono sound and not very good mono sound, at that. Thus, I can only say you may want to stick with Ciobanu's performance of the Dante Sonata unless the sound quality of the somewhat better one by Berman won't bother you.
Accentus Music provides excellent sound reproduction in all works and the notes by Mihai Cojocaru and the pianist himself are quite informative. The comments about the Prokofiev Seventh are especially interesting, perhaps even provocative in their dark take on the work. In sum, this is an impressive debut recording by Daniel Ciobanu, especially in the Prokofiev and Liszt works.
Robert Cummings
