Liszt: Ann?es de P?lerinage, Vol. 2
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CD Details
Composer: Franz LisztPerformer: Jeno Jando
Edition: Music CD
CD Release Date: 1994-02-15
Music Label: Naxos
Soundtracks:
- deuxieme annee: italie (Second Year: Italy): Sposalizio (Marriage Of The Virgin)
- deuxieme annee: italie (Second Year: Italy): Il pensieroso (The Thinker)
- deuxieme annee: italie (Second Year: Italy): Canzonetta del Salvator Rosa (Canzonetta Of Salvator Rosa)
- deuxieme annee: italie (Second Year: Italy): Sonetto 47 del Petrarca (Sonnet 47 Of Petrarch)
- deuxieme annee: italie (Second Year: Italy): Sonetto 104 del Petrarca (Sonnet 104 Of Petrarch)
- deuxieme annee: italie (Second Year: Italy): Sonetto 123 del Petrarca (Sonnet 123 Of Petrarch)
- deuxieme annee: italie (Second Year: Italy): Apres une lecture du Dante, fantasia quasi una sonata (After Reading Dante)
- venezia e napoli (Venice And Naples): Gondoliera (Gondolier's Song)
- venezia e napoli (Venice And Naples): Canzone (Song)
- venezia e napoli (Venice And Naples): Tarantella
Music reviews of Liszt: Ann?es de P?lerinage, Vol. 2
Music Review: Jando's Impeccable "Italy"
Rating: 5 Stars
By recording all of Liszt's Years of Pilgrimage, Jeno Jando is a respectable advocate of Liszt's piano music. Many commercial pianists draw upon a few commonplace pieces from the "Pilgrimage" suites to fill their recital discs, but not many are devoted to recording each suite. Jando joins the league of pianists who have done so: Ish-Hurwitz, Arrau, Howard, and some others I cannot recall. Naxos has favored Jando's pianism in their "Complete Piano Music of Liszt" series and although Jando can be an uneven interpreter with some composers, he is at his best with the music of Liszt.
The "Italy" suite, published in 1856 one year after the "Switzerland," contains piano music of exceptional quality, some of which have remained in the standard repertoire to this day. While most pianists attempt the "Dante sonata" or favor one of the Petrarch sonnets for their recitals, few listeners realize that these compositions have fascinating siblings. "Sposalizio" or "Marriage of the Virgin" and its literal combination or "marriage" of two themes is a delightful example of Liszt's musical invention; Jando understand the amorous mood and sounds inspired throughout. "The Thinker," a somber work of undeniable potency is given the pensive interpretation it needs. The "Canzonetta of Salvator Rosa" is probably the least interesting from the collection, but Jando emphasizes some of its rhythmic and melodic charms.
The three Petrarch sonnets are among Liszt's finest works of romantic passion. Jando's renditions place the tenderness and musical poetry of each sonnet in high relief. The "Sonnet 47" speaks like a musical love letter which Jando takes his time delivering. Here Jando's many shades of dynamics and meticulous attention to touch are apparent. In the love-sick, romantically-charged "Sonnet 104," Jando attains a level of lyricism that, if I didn't know better, would have me believe this was a piano transcription of a song.
A stark contrast to the Petrach Sonnets, the "Dante sonata" is surely a Liszt masterpiece with its forceful narrative and programmatic nuances. From the demonic opening tritones to the swirling chromatic octaves, Liszt certainly opens the gateway to hell. But anyone who has read The Divine Comedy should be astounded by all of Liszt's innovative devices and figurations which portray Dante's cantos faithfully: rushing chromatic octaves suggest the wind gusts that assail the sinners, the melancholy recitative is Francesca telling her sad story of doomed love, and Liszt even articulates Dante's own feelings as he described them. Jando's performance is both spectacular and visionary. He doesn't treat this like a crowd-pleasing concert piece but a serious work of art. Jando plays with blistering force, careful pedaling, and always clear articulation. Although there are many champions of this work, such as Brendel and Bolet, Jando is a new contender.
Much can be said for the musical value of the "Venice and Naples" triptych, which tends to be the most neglected from this suite. Liszt's "Gondolier's Song" is typical of the genre and its caliber rivals those of Mendelssohn. Startlingly different is the murky and austere "Song," which is a clear premonition of Liszt's late period. Jando understands the idyllic nature of the former and the blanket of intensity that is the latter; I can find nothing wanting in his performances. As for the splendid "Tarantella," Jando handles the rhythmic nervousness and explosive fireworks with mastery.
Bottom line: Those already familiar with these pieces may not care to buy this, but Jando is no slouch when it comes to this kind of music. I favor his interpretations over many other supposedly first-tier pianists out there. Additionally, this is a great budget-priced disc for those who have not yet heard Liszt's "Italy" suite.
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