Customer Reviews

Piano Sonatas D. 959 & D. 840

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The A major sonata, D. 959, is one of Schubert's masterpieces, and it's a late piece for him. But he wrote it when he was only 28 and had only three years to live. What might he have written if he had lived longer! The "Reliquie" sonata, D. 840, only two movements, languished in a drawer until Schubert's brother gave it to Schumann in 1839. It was finally published in 1861. It is only half a notch less superb than the A major.

Jenö Jandö is Naxos' dogsbody pianist; he's recorded hours and hours of music for them. He's apparently working on a complete traversal of Schubert's piano music. It is to his artistic credit that he has not flagged, either in energy or in musical integrity. He does not have to take a back seat to the group of eminent Schubertians that include Schnabel, Brendel and Richard Goode. These performances are outstanding. They are mainstream, not quirky or showy; the emphasis is on the long line and the architecture of the music.

As to the works themselves, they're so well known that they really need no description. The slow movement of the A major is right up there with Beethoven's late-sonata slow movements, and I'll add my own opinion that the main melody of the A major sonata's fourth movement, the rondo, is one of Schubert's most delicious; one is always glad when it comes back, even when it is varied and decorated.

The sound is clean and true.

This is an easy recommendation.

In his short life, Franz Schubert (1797-1828) composed an astounding body of music. Until relatively recent times, most of his piano sonatas were little known. They frequently were criticized for their technical demands and for their "heavenly length".

In the last year of his life, Schubert composed three piano sonatas. These works are his most important sonatas for the piano and include some of the greatest music composed for the instrument by any composer.

The Sonata in A major, D. 959, featured on this CD, is the second of the set, and to my mind the best of the three. The sonata is in four movements and runs about 40 minutes. As with all Schubert, it is lyrical and songlike. Unlike its successor, the Sonata in B-flat major, D. 960, which is a brooding work, this work is elevated and heroic in its lyricism.

The first movement is an allegro which opens with large chords (which are brought back at the conclusion of the final movement) followed by long, lyrical themes and an extended development.

The points of highest musical interest in this Sonata are the second movement, an andantino, and the fourth movement, a rondo.These movements are separated by a short scherzo which helps break the tension and intensity of the surrounding movements.

The slow movement is sad and meditative, in 3/4 time, at the tempo of a walk, with a yearning theme played over drops of octaves in the bass. The movement gradually intensifies and reaches a climax in long broken octaves in the left hand over high and intricate runs in the right. The movement concludes with a return of the opening, meditative material.

The rondo of this work is one of the glories of piano literature. Schubert borrowed the theme from the slow movement of his own much earlier piano sonata D. 537. This movement is songlike, masterful and transcendental. It is music full of hope, power, and the sheer joy of music-making all at once. The theme is repeated and varied several times with intervening sections. The large opening chords return at the end of the work. I think this finale is music at its highest. The piece as a whole is a truly inspring sonata written by a young man (31) who knew he was on his deathbed.

The CD also includes the so-called "Reliquie" sonata, D. 840, an unfinished work dating from 1825. I was unfamiliar with this work before hearing this disc. The two movements of the work are spacious and large-scale in character (particularly the first movement) with Scubert's gift of song and lengthy transitions of mood from major to minor. It is worthy music in its own right. As with Schubert's Ninth Symphony (which was written around the time of this work) it manages to be both heroic and lyrical. The "Reliquie" is an excellent companion on this disc to the D. 959.

Jeno Jando's recordings on Naxos remind me of the early recordings of Alfred Brendel on Vox. Brendel made these recordings when he was young and little-known and ultimately they helped catapault him to fame. During my adolescence, these Brendel recordings introduced me to much great music, the Beethoven sonatas in particular, at a low price.

Jando is much the same kind of pianist recording much of the classical repertory on Naxos, a budget label. He has recorded the Mozart, Beethoven, and Haydn piano sonatas as well as the Schubert sonatas, a work that remains in process. He plays the works simply and well without over-dramatizing. There is no recording of these Sonatas, of course, that can exhaust this music or do it full justice.

This CD would be of value for those developing an interest in classical music (although these sonatas are not on anyone's list of works introducing people to classical music), piano music, or Schubert. The CD is available at a budget price which, I hope, will introduce and bring to life this glorious music for new listeners.

Jeno Jando has tackled a lot of repertoire for Naxos. He has a multitude of recordings in his name, ranging from Bach to Liszt. I'm not acquainted at all with his Beethoven recordings, but his blockbuster Liszt interpretations were convincing enough for me to recognize him as both a prolific and talented pianist. I am now venturing into his Schubert series and I must proclaim my astonishment at how well he plays these sonatas.

Schubert's D. 959 (No. 20 in A major) is arguably Schubert's greatest piano sonata, and one of the best in the repertoire. While Beethoven's 32 will never be surpassed, there is still a fine Hall of Fame for the sonatas that followed in their wake. Schubert's last three sonatas are his last legacy, but they could have been the start of a great line had he lived longer. In the D. 959 we find a structurally perfect composition. Each movement is motively connected. The first, second and last movement's opening bars are remarkably similar, as are the inflections of the themes. Through Jeno Jando's prowess and sensitivity the herculean first movement becomes a rousing 15 minutes of noble music. Jando has an affinity for playing these kinds of movements with a pleasing Classical fire. So it's mindblowing to hear Jando's heartaching performance of the Andantino, a movement of such pathos and profundity, it transcends Classicism. Jando feels every bar and crisply articulates the despairing treble notes and the gloomy accompaniment. The central agitated section is then played with a satisfying anger and sense of brooding. My only gripe is Jando's lack of legato in the recovering tender section that follows (5:39). In the Scherzo, Jando plays with brio and demonic glee. Then at once, he plays the ravishingly beautiful Rondo with an inspired heroism. (Anyone notice that the USA channel sitcom, "Wings," stole this Rondo theme for their opening credits?) Jando's total execution contains a splendid mixture of grandeur and tenderness. In this magnificent masterpiece of a sonata, Jando joins the ranks of the best of the best here as a true champion of Schubert.

It's quite difficult for any piece to follow after the colossal D. 959 and still be impressive with equally extraordinary music. While the D. 840 'Reliquie' sonata (No. 15 in C) is not on par with the D. 959, it might have been, had it been finished! This sonata is a vastly potent and brilliant one, even when it only has two movements to stand on. The first Moderato movement sounds exotic with its hocketed theme, and Jando is once again in his prime, especially when the rapturous second theme comes along. Jando has a passionate understanding of the drama that is inherent in this work; his touch is remarkable for its immaculate suppleness and robust forcefulness. In the second (and last) movement, Jando cultivates a lyrical and introspective mood. He generally plays with a well-balanced dynamic touch, luring us gently into silence or suddenly erupting with passion. This sonata is among Schubert's finest piano works, even though it seems like a mere hatchling when placed next to the mature entity of the D. 959.

Bottom line: Schiff, Brendel, Perahia, Kempff... This illustrious gang has recorded their share of Schubert sonatas, but Jando is just as notable for the muscular and spirited attributes he possesses when playing this wondrous music of Schubert.