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David R. Dunsmore
MusicWeb International, February 2015

highly committed performance… © 2015 MusicWeb International Read complete review

John J. Puccio
Classical Candor, December 2014

Jandó has had considerable experience with the music of Haydn, Mozart, and Beethoven…[so his] recording of The Seven Last Words does bear a certain stamp of authority.

…Jandó’s rendering of the work is illuminating—lighter and in some ways maybe more introspective than the bigger-scaled productions. It’s certainly worth a listen. © 2014 Classical Candor Read complete review

David Denton
David's Review Corner, December 2014

The Seven Last Words started life as a group of orchestral sonatas intended to mark Good Friday in the religious calendar, and were to be of a slow processional. The following year, in 1787, Haydn made a version for string quartet—in which form they have become better known—and the following year a further version for solo piano was approved by Haydn but not written by him. From the outset the task of writing seven slow movements were taxing on his ingenuity, but even when pared down to its quartet version, it has sufficient tonal nuances to bring colour to the music. Reduced to a solo keyboard it is often a rather barren picture for the soloist, as the music emerges as a work for a beginner. Jenő Jandó is a consummate artist who manages to make the most simple music attractive, and even manages to place in context the sad events that are the basis of the music. That said, you must also put into the equation the fact that it was probably written for the harpsichord, that instrument bringing a very different sound when compared with Jandó’s modern piano, particularly in the Earthquake finale. The sound has a lifelike quality. © 2014 David’s Review Corner

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, November 2014

Jenő Jandó gives us a performance that does not attempt to wow us with bravura panache. Jandó puts all the expressivity needed into the music and no more. This is the proper reading to my mind. It is in the restraint that the sorrow comes through all the more. That most certainly was Haydn’s intent and it in part is what makes this work so haunting. And when the music calls for it the more agitated expressive passages stand out all the more clearly.

So bravo to Jenő Jandó for this moving version. Very recommended. © 2014 Gapplegate Classical-Modern Music Review Read complete review

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