This French pianist has wide musical palate

By Pablo A. Tariman

Many things are musically intriguing about French pianist Dana Ciocarlie who will make her Philippine debut in Cebu City’s Fernan Hall on March 16(Tuesday) and at the Philamlife Theater on March 19 (Friday).

A top prizewinner of the Robert Schumann International Piano Competition, Ciocarlie is identified with the last piano sonata of Franz Schubert and Robert Schumann and yet had shown some intelligence and sensitivity as soloist in an unpopular but highly challenging Age of Anxiety by Leonard Bernstein.

The American Music Guide describes her thus: “”Dana Ciocarlie is a whirlwind. She has you burn technique, her instinctive musical imagination makes every piece an exciting experience.”

A French publication extols her in such enchanting terms: “”Dana has Ciocarlie of fire, biting everything in a game very clear and precise. Close to the instrument, she touches immediately by a game inspired, warm and masterly.”

In Manila, she figures in an all-Chopin recital as one of the highlights of the Chopin Manille 2010 Bicentennaire. She observed Chopin’s birthday in France by playing on a historical Pleyel piano identified with the Polish composer. In Manila, she plays on a brand new Bosendorfer identified with the singing tone of Placido Domingo. In Manila, she figures in an all-Chopin recital as one of the highlights of the Chopin Manille 2010 Bicentennaire. She observed Chopin’s birthday in France by playing on a historical Pleyel piano identified with the Polish composer. In Manila, she plays on a brand new Bosendorfer identified with the singing tone of Placido Domingo.

She offers possible connection between Chopin, Schubert and Schumann and how they pose as challenge to any interpreter.

Ciocarlie points out: “I see more connection between Chopin and Schubert instead of Schumann and Chopin. The Polish composer and Schubert are both inspired by the human voice — Schubert in the intimate field of vocal chamber music, and Chopin is a lover of opera singing. Both sources are clear in their piano writing, in the ‘cantabile style’ of the right hand’s melody. Schumann finds his inspiration in the orchestral texture which he transposes in the piano part, and also in literature sources, such as E.T.A Hofmann and Jean-Paul Richter. On the other hand, Schubert’s particularity is his very special use of timing linked with musical form. Between these three composers, Chopin is, from far, the most classic in using the form. Schumann creates new patterns (like the Fantasy pieces, the Novelettes and the Intermezzis) specially adapted to his very spontaneous and poetical style of writing.”

The toast of France at the moment, Ciocarlie is a fan of France’s legendary pianist Alfred Cortot but actually has an interesting Romanian musical connection. Indeed, her resume cites her Romanian musical origins more than her French status.

Ciocarlie explains her unusual musical circumstances by pointing out: “I went to France in 1991 to work with Victoria Melki (pupil of Alfred Cortot and Geza Anda) in Ecole Normale de Musique ‘A. Cortot’, in Paris. I was awarded there with Diplôme de Concertiste (Concert Diploma). Then I was accepted for two years in the prestigious Artists Diploma Program in the Paris National Conservatory (named in French “Troisième Cycle”) where I was a pupil of Dominique Merlet and Georges Pludermacher.”

What does she like in the piano playing of Dinu Lipatti, Clara Haskil and Radu Lupu who share her Romanian musical ties?

“With these three icons of piano playing, I share more than patriotic connection. It’s a real musical affiliation as we all belong to the same musical school. Dinu Lipatti was Florica Musicescu’s first pupil, and she was the founder of the Romanian piano school. Later, Radu Lupu studied with her as well as Ludmila Popisteanu, who was my own teacher. Lipatti and Haskil both continued their studies in Paris with Alfred Cortot, in Ecole Normale de Musique, the same school where I graduated and where I still teach in the last five years.”

She reserves her best compliment for the French piano icon Cortot and how he relates to the younger generation of pianists.

Ciocarlie told the Inquirer: “I think Alfred Cortot was an incredible piano model. He is a real inspiration, with his fantastic imagination, and poetical vision. Luckily, he completed his editions of Chopin, Schumann and Liszt works so that all young pianists benefit from his advice, fingerings and technical solutions. I am also an admirer of Samson François, one of the most inspired musicians of the post-Cortot years.”

Her thoughts on the Chopin bicentenary? “I am thinking about this miracle which happened 200 years ago, this explosion of romantic geniuses: in 1810 Schumann and Chopin, and a year later – Franz Liszt. I think the best tribute to Chopin is to play his works as often possible, in any circumstances and not only for this anniversary year!”

Indeed, her Manila debut coincides with the Chopin Manille 2010 Bicentenaire sponsored by the French Embassy and Alliance Francais which will mount an exhibit highlighting the life and music of Chopin at the Cultural Center of the Philippines from March 22 to April 22. Other coming Chopin bicentenary concerts include that of Raul Sunico on March 24, Cecile Licad on March 27 (solo recital) and 29 with the Manila Symphony Orchestra and Cristine Coyiuto on April 8.

Ciocarlie’s March 19 recital program presented by the ROS Music Center and Philippine American Life Insurance Company includes Rondeau à la Mazur en fa majeur op. 5, 3 Mazurkas op. 59 ,Polonaise n° 7 en la bémol majeur opus 61, Polonaise Fantaisie, Nocturne op. 27 n°2 en ré bémol majeur, Nocturne opus posthume en ut mineur, Deuxième Ballade en Fa majeur , Valse op. 64 n°1 : Valse du petit chien, 3 Grandes Valses Brillantes op. 34 . Please call 3573811 or 09065104270.