Pianist Ciocarlie Perfects a Balance

Romanian pianist Dana Ciocarlie, who closed the Pro Musicis recital series at the Los Angeles County Museum of Art on Wednesday, is one of those quietly commanding players who gets right down to business, in the best way. She finds a working balance of technical and emotional strengths, with musicality and digital prowess on her side.

Ciocarlie dove into a program of Scarlatti, Ravel and Schubert’s great, final sonata with a sense of palpable understanding of the music’s worth and meaning. It made for a complete and impressive pianistic display. Her solid footing was established with five short Scarlatti Sonatas, from the brisk gush of 16th notes in the D Minor Sonata, K. 517, to the familiar, almost martial cadence of the central motif of the Sonata in E, K. 380.

Leaping ahead two steps, and back one, she tackled Ravel’s wondrous “Le Tombeau de Couperin,” a quasi-backward glance by the 20th century impressionist composer, making a bow to the 18th century French composer. Couperin’s imprint notwithstanding, the work is a product of seminal 20th century thought. Hearing this piece, with its mysterious contours and searching harmonies, it’s easy to hear why jazz musicians often cite Ravel as an influence.

The best came last. Schubert’s Sonata in B flat, D. 960, the last instrumental creation of his short life, took up the second half and effectively showed what the pianist was made of. Schubert’s work, movingly read by Ciocarlie, exemplifies music that is almost painfully heartfelt--especially in the opening slow movements--but never cloying. Hers was a clear, persuasive account, soulful and polished, by turns.