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“Eduard Stan’s playing is completely natural but always highly sensitive, on the basis of an excitingly beautiful piano sound…“

PIZZICATO, Luxemburg 2010 – Norbert Tischer

International Press Quotes & Reviews

“Pianist Eduard Stan is memorably supple in terms of both rhythm and touch, vital attributes...“

Rob Cowen, February 2009

“Eduard Stan, a pianist revealing an eminent sense of tonal timbres and colours…”

Ellen Kohlhaas, 13 September 2008

“… Piano à Riom Festival with works by Schubert (Impromptu in F Minor D 935 No. 1, Sonata in B flat Major D 960), Liszt and Chopin … A perfectly profound and vivid interpretation which not only gave homage exclusively to the music, but also revealed the interpreter’s love for it. A really heavenly concert, performed at an outstanding level…”

Marjorie Lequet, 10 June 2010

Romanian Piano Art – Eduard Stan particularly enthused with music from his homeland

“Stan’s particular achievement is his commitment for his great compatriot George Enescu. The fact that Enescu is performed far too little in these parts induced him to act as his prophet interpreter. Thus, the 2nd Piano Suite in D major op. 10 stood at the end of his programme, a work composed between 1901 and 1903, after the stroke of genius represented by the String Octet op. 7, dated 1900. This suite with its impressionistically elucidated musical language is again a proof of genius at the age of twenty.

By means of such splendid interpretation it has become obvious how much the artist feels at home in this music. The large audience in the Altes Kino Ebersberg followed the pianist through his concert with enthusiastic applause.”

Claus Regnault, 30/31 October - 1 November 2010

“An enthralling reading of a singular work … characterfully delivered, with sustained emotional charge … Eduard Stan’s pianism was at its most commanding.“

Richard Whitehouse, 18 September 2008 (Wigmore Hall debut)

“Stan’s piano-playing provides imposing forward momentum and adroitly pointed contributions throughout.“

Evan Dickerson, July / August 2007

“Power was married to sensitivity in Chopin’s Polonaise in F sharp minor: Stan was at home on the Bösendorfer. The national character of this work came out clearly; it is a rewarding piece while acting out great emotions. The pianist is well able to savour the breathing moments, to intensely fade away the final tones, thus creating for the audience the opportunity of tracing the sounds… In the Chopin Barcarole, a highly beautiful increase could be experienced again, while developing an immense sonority in the most literal sense. Even though the piece reveals preliminary stages of impressionism, it still remains the purest Chopin, which is really suited perfectly to Eduard Stan.

The music of his compatriot George Enescu lies particularly close to his heart, and thus, the 2nd Suite in D major turned out to be the pinnacle of the evening. The work … was fortunate to find an interpreter who does not pursue a mechanical playing, but instead is capable of presenting it in a lively, entertaining, and finally even very human way.”

Elisabeth Frank, 29 October 2010

“Pianist Eduard Stan reveals a fine gift of restraint and an instinctive feel for balance.”

Roderic Dunnett, May 2007

“Enescu captivatingly played … Eduard Stan, an exemplary interpreter with that typical „parlando rubato“ in his blood, and all imaginable means of expression firmly in his grasp. One could not wish for a more authentic interpretation of this music steeped in folk music elements.”

Walter Labhart, 5 May 2007
MUSIK & THEATER - Switzerland

Stan’s immaculate playing charms 200 auditors

"On the occasion of the series “Meisterkonzerte” of the Wetzlarer Kulturgemeinschaft in the Civic Hall, Stan proved himself to be a master of entrancingly silent tones, an accomplished and perfectly gliding culture of legato as well as breathtaking velocity. About 200 audience members listened carefully to the flawless performance. The hall was so quiet one could hear a pin drop. The programme opened with the six piano pieces op. 118 by Johannes Brahms. Eduard Stan boasts with a marvellous suppleness and a sophisticatedly wide range of emotion. He seems to master the perfectly dosed touch with a somnambulistic assurance.

The second work was the 2nd piano suite by George Enescu. An involvement with the Romanian composer particularly close to Stan’s heart… Yet again, no superficial keyboard acrobatics was to the fore, but rather whole-hearted poetry.

Schubert’s four Impromptus op. 142 D 935 concluded the official part of the evening. Stan performed those atmospheric pieces in a gentle, polished and securely flowing manner. Only on rare occasions can one listen to such a finely polished Impromptu in A flat, particularly with regard to the rather massive chords of the Minuet. The flexible performance of the variations on the “Rosamunde” theme completely beguiled the audience into dreaming. And finally, a radiant performance of the bizarre Scherzo (Impromptu No. 4 in F) ravished all the listeners…”

Tanja Löchel, 9 October 2007

“Eduard Stan achieves the most special and masterly sounds and colours in his playing, from a delicate pianissimo to an organ quality fortissimo, going through all the intermediate dynamics in between.“

Dan Scurtulescu, 11 April 2007

“Eduard Stan revealed a perfect partnership with the quartet in the piano quintets (Shostakovich and Dvorak) … The audience admired the poetic and inspiring art of this pianist.”

Hilda van Heel, 16 March 2007
D’WORT - Luxemburg

Debussy and the others – Eduard Stan’s technically brilliant piano recital at the Massenet festival

“In his most inspired Debussy, the pianist offered various contrasting and frequently witty images full of colours and liveliness. A clearly organized and always cheerful and precise interpretation, which at all times paid homage to the high art of Cantabile… In his Chopin at the end, Eduard Stan was able to demonstrate a mighty pianism which never became violent, paired with a lyrical playing which never turned into mannerism.”

Jean-Luc Perrot, 27 November 2005

Poetic thinker at the piano

“Stan turned out to be a knowledgeable guide to the musical soul-landscapes of Schumann, Liszt and Schubert… By means of his versatile touch, he created to each of Schumann’s Forest Scenes a peculiarly unique sound. His playing provided a steadying balance within a stress ratio of inner emotion and outer control. Thanks to his art of touch he succeeded in leveraging the subtlest dynamic nuances while creating texturing or characterizing elements. Thus he was able to render the few fortissimo outbreaks with powerful but never harsh quality… Schubert’s Wanderer-Fantasie comprises a large four-movement sonata which, by the composer’s own admission, probably exceeded his pianistic abilities. Stan convinced the audience with an enormously sophisticated and thrilling interpretation.”

Sabine Zeller, 11 April 2005

Extraordinary piano art of Eduard Stan / The pianist plays with the water

“In his concert, Eduard Stan proved himself to be an extremely sensitive pianist. He is a master of the flexible touch, a perfect technique paired with a deep understanding of music, into which he immerses completely, breathing life into the sounds and creating an atmosphere of coming to rest. His diaphanous piano playing was like poetry in music… The Chopin Barcarolle was performed with that touch of wistfulness – more narrative, rearing up in the course of awakening. Yet again, one could perpetually listen to those undulations, delicately moulded by the artist.”

Ilse Walther, 1 April 2003

“Beethoven’s 3rd piano concerto proved to be a particular treat. Pianist Eduard Stan was the host, and together with conductor Dorsch and the outstandingly prepared orchestra he impressed with a really splendid achievement. He excellently met the masculine tone of the first movement and performed securely, distinctly and powerfully. The sweetness of the second theme was also superbly shaped. Stan convinced with the greatest possible emotional range, which proved advantageous particularly in the magnificent Largo. Here, one was listening to a poem by Eichendorff in terms of sound. Stan let the tones whisper, whereas the orchestra took up again that enchanting atmosphere. One felt one was listening to a tête-à-tête of two lovers…”

Wolfgang Rittmeier, 8 May 2002

Glistening Gondola-Rhythms

“To be played throughout full of fantasy, and passionately” is written by the composer at the beginning of the first movement from Schumann’s Fantasie in C Major op. 17, and so also could one describe the character of the entire Fantasie. Passionate eruptions, wonderfully and beautifully smooth tones, magnificent chords becoming engulfed in tranquillity – all this is combined in this powerful, dramatic work, played with a healthy pathos by Eduard Stan. Most fascinating the slow last movement with its sheer endless suspenseful line, which Stan was able to bring out and through his excellent pedal-technique. Quite different was Chopin’s Barcarole in F sharp Major, in three part musical form. Exquisite, how Stan develops the dazzling melodies here, with swaying Gondola-rhythm in a six-eight time, and spreads silvery shimmering ornamentation.

However, Chopin had a rather harmless effect, compared to the drama and melancholy that Eduard Stan was able to bring with Schubert’s Piano Sonata in A Minor op. 42. Beginning gently restrained, the seemingly unpretentious themes grow stronger and take shape to an oppressing forcefulness. The Scherzo was interpreted by Stan with inner strife rather than light and cheerful, but with charmingly played rhythms, even in the Stringendo. In conclusion the Rondo was driving unrest. Thus was absent the leisure of any Viennese cosiness, but instead, the pianist challenged the attentive audience with a strict diction – and all this with an amazing clarity and text precision.

The suspense was relaxed only with the encore, a Toccata by Stan’s Romanian compatriot Enescu. Stan has a particular closeness to this composer, literally setting free once again his brilliant power and bravura – and the public thanked him with animated applause.“

Ulrike Stahn, 30 September 2000

“Romania has always had a forum of enduring musical tradition – composers and performers such as George Enescu, Dinu Lipatti, … – and was proud to be a geographically located focus of latin, slavic, magyarion and gypsy influence. This gave it a unique place in musical history.

The young and fiery Eduard Stan belongs to this interesting strain of pianists who, while formed by the German school, never renounces however his Transylvanian temperament. In this manner Eduard Stan, in bold fashion, has right at the start set his hand to Beethoven’s feared op. 110 … shaping the magnificent “Arioso dolente” with much self-confidence and the so complexly-built Fugue with undeniable vitality in tone.

His nature corresponds perfectly the Viennese soul, which had such important significance to the genesis of the “Romanian School”… With this quality, Eduard Stan succeeded with his first cast of the die a superb interpretation of Brahms’ opus 76, hereby giving a true picture of the creator of the “German Requiem”, which was traced with finesse and acumen in his piano playing, accentuated with melancholy and resigning contours.”

Philippe Gaucher, 27 May 1998

Caught in the ecstasy of the world of sounds

“Emotion and the ability to shape musical form are qualities of the distingished young pianist Eduard Stan, who inspired at the Forumskonzert. There could not have been a better choice for the contribution to the Schubert year in the City Hall than Eduard Stan, who gave an exciting concert with three Schubert sonatas (in E flat Major op. 122, in G Major op. 78, and the Wandererfantasie in C Major op. 15). The young artist interpreted these sonatas with an admirable affinity, possibly because his "Romanian soul" is inclined to Schubert's emotional world. At the same time, he is capable of a very precise touch and also gives a virtuoso performance of thundering 64th-note-figures.

Only on rare occasions can one hear such an atmospherically dense and intelligent interpretation of Schubert's sonatas. It was a cheering concert!“

Detlev Kittler-Capredon, 26 March 1998

“Exclusively Schubert: Eduard Stan dared to undertake this daunting yet exhilarating task and won an enthusiastic audience by his convincing performance. Virtually total identification with the composer and his work is required in order to perform two of his great sonatas in one evening. Eduard Stan has all it takes for the task, including a perfect empathy for the sensitive psyche of this composer...

He brought out movingly the battle for self-realization of the composer who was haunted by forebodings of death, with sudden break-offs in the melodic flow as if posing the question: Can it continue, and if yes, how? Is there any hope? The escape into illusion leads to fantastic tonal flights of fancy which are far ahead of the history of music… Eduard Stan's interpretation mediated this tension with an admirable affinity. His touch was finely differentiated… He used the pedals sparingly and adapted very well to the acoustics of the hall.

The degree of self-control effected by the artist's listening to himself again and again was fascinating to behold and experience. The final tones and chords were a pleasure in themselves, the prolonged holding of the sounds like a transition into eternity. The final point in the Allegretto of the Sonata in G Major was a seal of the end, causing the audience to remain in meditative silence for some moments before breaking into an enthusiastic applause.”

H.D.Kiemle (Schubert researcher), 9 December 1997

“Schubert sonata in E flat Major ... In his technical perfection, Eduard Stan met all expectations: as he played, the soft and brillant aspects of the composition sounded from the playfully easy to solemn without becoming extreme at any point. Those superb shades characterized the movements of the sonata in G Major as well…

The audience remained most anxious to listen to the "Wanderer-Fantasie" … Eduard Stan succeeded to brillantly translate into musical poetry the storm and the melancholy of this densly-textured work. This aspect was most distinct in the variations of the Adagio: he displayed clear lines without any showmanship, while he executed the technical difficulties with such sovereignity that his interpretation gave way to brilliant sounds. Eduard Stan left Gladbeck with an enthusiastic audience and a highly memorable Schubert homage.“

Katja Slawitsch, 26 March 1998