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Penguin Guide, January 2009

Jandó opens with the Rhapsodies: the first, although marked Agitato, seems just a shade rushed at the opening, but it soon settles down; the Molto passionato of the G minor is well judged. The lovely Intermezzi are sensitively done, but Jandó is at his best in the Waltzes, have both sparkle and affection. The Handel Variations are well characterized but a little lightweight. Yet this may be partly due to the Hungarian studio acoustic; the recording is truthful and present…

Scott Cantrell
The Dallas Morning News, June 2007

The symphonies paired here are real beauties, strong yet graceful. The Fourth, dating from 1889, is a substantive work worthy of a place alongside Dvorák’s symphonies; the slow movement’s transition from tragedy to affirmation is quite striking. The 1911 Seventh, Stanford’s last, is shorter and lighter in both texture and emotion, a charmer more in the manner of Brahms’ serenades.

Wonderful late offshoots of the rich 19th-century Austro-German symphonic tradition, lovingly performed and resonantly recorded.

David Denton
David's Review Corner, June 2007

Is this going to form part of a new Brahms piano music cycle from long-time Naxos house pianist, Jeno Jando? His playing is always thoughtful, never flashy or questionable, though I know those who prefer greater personal involvement by the soloist. Others realise that Jando is a pianist you can return to when others have long left the catalogue, and so is the case here. Listen to the first of the waltzes where it has become custom to elongate the first note each time the phrase comes round, Jando playing it strictly in waltz time, his unaffected rhythmic approach continuing throughout the work, happiness being the key ingredient. Don’t let me have you think these are faceless readings, Jando shapes the music with great affection, as you would do with old friends. The two Rhapsodies have a nice sense of freedom, and the Variations never lose contact with their Baroque origins, the tight trills of the theme setting the scene. I equally enjoy the way Jando moves in and out of the Brahms era as the variations progress, the fugue section possessing all of the inner clarity we require. The sound is highly realistic in a nice warm ambience. Much recommended as your library choice.

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