Composer: Franz Schubert
Works: Piano Sonata in A minor, D.845; Piano Sonata in E flat major, D.568
Performers: Jeno Jando (piano)
Recording: Recorded at the Phoenix Studios, Budapest, February 1998
Label: NAXOS
Schubert’s piano sonatas, particularly those from his late period, embody a unique blend of lyricism and structural innovation. The A minor Sonata, D.845, composed in 1825, is often regarded as a testament to Schubert’s ability to infuse profound emotional depth within classical forms, while the E flat major Sonata, D.568, reflects a more playful and lyrical disposition that emerged in his earlier works. This recording by Jeno Jando offers listeners an opportunity to engage with these masterpieces, though it does so in a manner that invites both appreciation and critique.
Jando’s interpretation of the A minor Sonata opens with a robust and direct approach, allowing the architectural integrity of the phrases to shine through. His rendering of the expansive first movement benefits from a disciplined technique that favors clarity and precision over sentimentality. However, this very straightforwardness may cause some of the sonata’s inherent subtleties to recede. For instance, the haunting opening theme, which demands an introspective quality, feels slightly underexplored; a comparison with Alfred Brendel’s more nuanced interpretation reveals a richer tapestry of emotional gradation that Jando’s rendering lacks. Brendel’s ability to ease into the tension around 7:24 in the first movement provides a stark contrast to Jando’s more aggressive phrasing, which, while technically proficient, misses the poignant ‘heavenly lengths’ that Schubert so masterfully interweaves.
The scherzo, with its syncopated rhythms, emerges as a vibrant highlight in Jando’s performance, yet even here, the intensity sometimes leans toward aggression, overshadowing the delicate interplay present in Brendel’s interpretation. The contrast with the trio section, where space and lightness are essential, feels somewhat compromised in Jando’s reading. Moving to the E flat major Sonata, the more buoyant character of the material aligns more closely with Jando’s temperament. His confident articulation suits the playful nature of this work, although moments of overzealousness persist. The Andante’s lyrical passages, while never collapsing under the weight of excess, do occasionally flirt with a heaviness that detracts from the movement’s natural flow.
The technical aspects of Jando’s performance exhibit commendable control and rhythmic precision, yet the emotional palette feels somewhat limited when juxtaposed against the interpretations of historical giants. The sound quality of the recording is commendable, featuring a well-balanced tonal picture that captures the nuances of Jando’s playing without excessive mic proximity, although minor tuning discrepancies in the upper register of the A minor Sonata may raise concerns for discerning listeners. In contrast, the E flat Sonata appears more consistently tuned, perhaps reflecting the inevitable variances in instrument maintenance.
While Jando’s efforts in this recording are commendable, they do not quite ascend to the heights reached by the venerable interpreters who have shaped the landscape of Schubert’s piano sonatas. The performances may serve as an accessible entry point for those seeking to explore these works, yet they ultimately lack the profound interpretive depth and emotional resonance that define the masterpieces. The recording, while technically proficient and enjoyable, does not challenge the listener to delve deeply into the sonorous complexities of Schubert’s genius, leaving one with a sense of missed opportunity in the exploration of these rich musical narratives.
