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Penguin Guide, January 2009

With such lightweight items as the two German Dances and the Twelve Minuets Jandó’s fresh, alert manner unobtrusively enhances their charms alongside equally winning performances of the headlong Rage over a Lost Penny and the substantial set of variations, Andante favori, that Beethoven originally intended as a middle movement for the Waldstein Sonata. Excellent sound.

Robert Cummings
Classical Net, January 2002

"This is truly one of the most charming humorous piano works ever written, and Jando turns in a spirited performance that misses none of the work's zany rambunctiousness, and none of its rich colors. They are charming pieces that divulge a Mozartean flavor, though the sonic power in the openings of several of the Minuets may cause you to doubt the latter observation. Jando renders them all with panache and grace, fully capturing their light beauties and moments of muscle. Naxos lavishes Jando with excellent sound here and Keith Anderson, as usual, provides informative notes. A thoroughly charming disc."

Michael Jameson, March 2001

"Jenó Jandó's Naxos survey of Beethoven's Bagatelles and dances for solo piano reaches Volume 3. Jandó's adroit and stylish readings have much to commend them, especially in their technical agility and clarity of execution. The greater part of this release is given over to the 12 Minuets--not normally the kind of music that lends itself usefully to cyclical hearing. But in these performances Jandó manages to get away from any repetitiveness and predictability, a potential danger in genre pieces, particularly when heard en masse. That he characterises each so effectively comes down to taut rhythms and clinical exactitude in matters of dynamics and articulation.

"The disc opens with six more substantial items, including the two Op. 51 Rondos, the A major Rondo WoO 49, the so-called 'Andante favori' (Andante in F WoO 57), and the famous 'Rage over a lost penny', otherwise the Rondo a Capriccio in G Op. 129. Again, Jandó's performances are enjoyable and illuminating. Note for example how he highlights contrasts of mood and dynamics so effectively in the last of these works, sharpening the acerbity of its more fevered passages through a clarity of attack that owes more to keyboard articulation than to the pedal--commendable, given his brisk tempo. The two Op. 51 Rondos are also more tersely etched and rigorous than you'll often hear, so I'm inclined to rate Jandó's accounts more highly than Brendel's here. Another welcome addition to a useful budget series."

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