What a beautiful sound! Ran Jia can play whatever in a profound softness from her universe which always involves me, but this time she plays Schubert again!
The trill which opens the Sonata in B flat in effect trembles more than one: it’s no doubt a beginning with an element of key syntax of triumphant Viennese classicism. Beethoven signs his piano with a trill just like Schubert himself here wants to do in his last sonata. However, his trill is totally different with Beethoven’s. The pianists always have no idea about how to accomplish it, Kempff resolves the problem with creating a light secret, Lazar Berman or Stephen Bishop Kovacevich dig it to make it a threat, Jia Ran ties it into a line- she plays it more rigor later, music with an idea of silence before the silence-and she don’t expatiate, Schubert flows with the source.