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.
After this route of wing, a piano is subtle without loose the meolody and is disposable without ostentation of the variety of vocabulary,few of pianists could convert so easily in a fluidity of discourse. A secret also: a fabulous left hand reveals the polyphonic texture.
A miracle of disc is the Andante sostenuto of the B flat Sonata, in which the balance between the barcarolle motif and the lied’s theme has been archived unbelievably- Nikolayeva and Berman are excellent here by suspending the space-time. Ran Jia has no suspend, she goes ahead with the theme and exposes her going within the caesuras, but the surprise is from the other ways: expressivity of the sound and the profound of the hypnosis-like left hand.
The taste of the surprise: if the D.960 is disengaged of all the dramatic interest, the music finally changes to another side of the mirror, Jia Ran also gives the smaller sonata(D.664) an dramatic amplitude on respecting all the recapitulations. The initial theme from the first modulation introduced by the left hand tends foward intranquil, and the second theme is beautiful and been played very decidedly this time, the sonata seems to follow from the salon where the pianists surround it.
The central storm of the first movement is a black vision and a genius moment of piano music, where the crescendo is suggested to a way of be not saturate the piano: the shadow of gust is more impressionable than there is never the gust. Once，Glenn Gould did the same in l’orage of the Pastorale. And all the rest of this Sonata—— the Leiermann-like solitude of the Andante, the Musensohn-like revolt of the Final——is the same moving and inventif, and is different with all the others performances which we have heard.