Alexander Tchobanov, piano
Weill Recital Hall at Carnegie Hall, New York, NY
May 18, 2013 (reviewed April 3, 2020)
As a fatal virus alternately slinks and races across the globe, technology seems to offer the solace of connection, especially for performing artists. Thus, I was able to hear, at some remove in time and space, three extracts from an award-winning recital by young Bulgarian pianist Alexander Tchobanov, which gained him the top honor in the Bradshaw and Buono International Piano Competition in 2013. He earned his master’s degree from Rutgers, studying with noted pianist Susan Starr, and he coached with Jerome Lowenthal in Santa Barbara.
All three selections were Russian: one by Rachmaninoff and two by Scriabin, and they were recorded live at the recital.
The Rachmaninoff consisted of the third section (sometimes referred to as a separate movement, though they are run-on) of his Second Piano Sonata, Op. 36, in B-flat minor. Mr. Tchobanov gave an extremely passionate, energetic performance, full of forward drive and momentum. For this listener, it worked very well, as it organizes the sometimes prolix Rachmaninoff into a big picture. Of course I know some of you are saying who on earth would want ‘less’ Rachmaninoff? Certainly not me! This is a performance I would have wished to hear live, since it appears to be note-perfect in this unedited document- an amazing achievement. The only two items on my wish list would have been 1) more expansion in the climaxes, a quality I’m sure Mr. Tchobanov will gain as he matures, and 2) greater attention to soft dynamics, even if they are relative rather than absolute. There’s something great about pulling back ever so slightly to make the headlong plunge even more exciting.
Where I heard real poignancy was in Scriabin’s oft-played Etude, Op. 2, No. 2, in C-sharp minor. The andante tempo never dragged, but the colors and voicing were superb, creating that ineffable aura of Russian sadness we love so much.
The final extract in my digital file cabinet was another Scriabin etude, the D-sharp minor, Op. 8, No. 12, made famous by Horowitz and essayed by so many others. Mr. Tchobanov was firmly in command of the piece’s ungainly large intervals and polyrhythms, again organizing all the material neatly into one élan. Once again, there are a few opportunities for that sense of expansion, though this was a very satisfying rendition.
I would not wish to render a judgment as to Mr. Tchobanov’s total artistry based only on these three Russian selections, but from what I did hear, there is a major virtuoso there, one who I hope will have many successes after the world ‘opens up’ again.
