Rachmaninov - Sonatas

Rachmaninov
The Two Piano Sonatas

March 2003
Alain Cochard

"Since the versions of the two sonatas by Weissenberg and Paik are no longer available, the best references for these two works on a single CD are two women performers. Idil Biret has done a good version of these works, although, unfortunately, the sound is a bit harsh. The recording by Lydia Jardon does not suffer from this flaw – anyone who has ever savoured her ample, timbred sonorities in concert will appreciate the fidelity of this recording.
Some speak of fingers and effects in Rachmaninoff; Lydia Jardon responds with song and poetry, with a focus on timbre. Rachmaninoff was the first to admit that his Sonata no. 1 had its weak points, and this artist does not ask it to give more than it can, which is why she is able to make it so captivating. There is nothing forced or needlessly spectacular in her concept, just a simplicity that unleashes the Faustian essence of the text and immerses us in a wondrous poetic voyage, where the sense of freedom is never the result of easy abandon. Jardon’s polyphonic sense (just imagine the technique required for this degree of clarity!) imprints a relief and an incessant vibration over the discourse. And it leaves us hoping for a fabulous Sonata no. 2.
As we said, gratuitous pyrotechnical demonstrations are not the issue here. The authority used by Lydia Jardon to attack the Allegro agitato is that of a performer who has decided to charm the work with magic, rather than setting it on fire. The fundamental nobility of this approach will satisfy fans of this repertory as much as it will lead detractors to revise their prejudices. The nobility of the middle movement (so many mediocre pianists offer this up as a palette of moonlight-on-the-Nile) speaks eloquently of an interpretation that revises our perceptions of the work. As much as the interpretations of the late Serge Florentino (APR, Diapason d’or), and that’s saying a lot.

March-april 2003
Olivier Erouart

"A period of six years (1907 – 1913) separates the two Piano Sonatas by Rachmaninoff (the Russian composer’s only contributions to this genre), and in just a few years, he managed to master the form and the ideas. While the composer considered the First Sonata “interminable,” he compared the next one to Chopin’s Second Sonata, “which lasts for nineteen minutes and says everything.” Breaking with the unity of the whole, and shedding fragmentary light onto the peripheral motifs results in disintegration of the musical piece. Blurring the interconnection between the motifs and the specific heft of each rhythm, leads to the opposite result, which is just as unfortunate. Lydia Jardon has succeeded in avoiding both of these traps, imposing her extraordinary mastery of fingering with a powerful performance that is precise and supple, conducting the musical line while integrating the density of the idea with its corollary of scope and dynamics, as well as the necessary preservation of coherency and sonorous balance, resulting in an accurate, unaffected expression in such places as the slow movements, for example. With music of this sort that is at a constant simmer, Lydia Jardon brings a totally different approach as she joins her illustrious colleagues Weissenberg (Deutsche Grammophon) or the irreplaceable Horowitz (RCA)."

February 2003
Michel Le Naour

"Already released in 2000, this record by pianist Lydia Jardon, devoted to the two Rachmaninov sonatas, now appears under the new AR RE-SE label, for whom Jardon henceforth records. Its publication at the time attracted attention (Le Monde de la musique nr 244) due to the soloist’s aptitude to place herself in an expressive optic built of commitment, force and flamboyancy. These qualities render justice to pages of a difficulty of execution reserved for the digital feats of Vladimir Horowitz or of Rachmaninov himself. In fact, the Russian composer restructured his Sonata nr 2 in B flat in 1942 on the advice of the illustrious performer, thus creating a synthesis between the complicated original 1913 work and that of the clearer, 1931 version chosen here by Lydia Jardon. In this page, as in Opus 28 with its paroxysmal outbursts, the pianist shows proof of her ability to crystallise the opposites. Not long ago, Marie-Catherine Girod illustrated in Sonata nr 2 (in its original version) the intensity of a playing submitted to the realities of the construction. Today, Jardon tackles these voluble pieces head on, retaining only the very core. She can be compared to the best performers: Horowitz, Fiorentino, Askhenazy, Ogdon, Wild, Kocsis (for Opus 36), Berezovsky (for Opus 28), Kun-Woo Paik or Weissenberg for the two sonatas."

"A prizewinner of the Milósz Magin competition, Lydia Jardon has not chosen an easy option with this program, usually an exclusively masculine preserve. This is the age of equality and it is particularly pleasant to observe that the lyricism of these "symphonic" pages does not belong solely to the great names, be they Horowitz, Collard, Ashkenazy, Ogdon or Van Cliburn. What is more, Lydia Jardon has something to say to us. First of all, she has a feeling for the timing of a pause, far from easy with the immense First Sonata! She knows where the final progression of the musical phrase is leading and she gives it full resonance without a break in the chords. The piano is round and warm, although a Kawai was not an obvious choice, given the instrument's heaviness of touch but equally the richness of its base notes. In the First Sonata the pianist brings out its most diaphanous colours and her temperament allows her to carry the melody with superb naturalness (Lento). The Second Sonata with its distinct yet supple rhythm is perfectly controlled. Lydia Jardon takes the time to master the score and bring out fully the clarity of the harmonies. The purely heroic aspect is almost relegated to the background (Finale). One feels that the choice of the revised version is justified here because it corresponds to the balance of the interpretation. The additions of the 1913 version would have supplied nothing further to the understanding of a profoundly spiritual and sincere reading."

Lydia Jardon here shows herself to be a pianist of profound musicality, sensitivity, enviable talent, and virtuoso technique. Her playing demonstrates several fascinating aspects of interpretation and pianism in these two fiendishly difficult sonatas: super-sensitive handling of tone, coloring, and dynamics, potent projection of mood, elastic tempos, refusal to overplay or bang on the instrument, pearly passagework, and most of all, a poetry, a rare ability to paint Rachmaninoff’s music with a kind of "brushwork" that, for want of a better description, seems reminiscent of the evocative paintings of Turner. All of this coalesces into a canvas that is expressive and captivating.
The First Sonata, only seldom performed, requires repeated hearings, for it is a serious, densely textured work. Jardon’s playing of this rather grim, dark piece is ideal, bringing out its latent beauty with great effectiveness. Her approach to the more popular Second Sonata is similar (Rachmaninoff’s revised version of 1931). Although the beautiful playing is very satisfying, in this piece I slightly miss the incomparable temperament of Horowitz, the glowing expressivity of Friedrich Höricke (MDG), and the high-octane brilliance and elan of Scherbakov (Naxos) – all exceptional recordings.
Jardon’s recording was made in 1999 in the Theatre de Poissy on a Kawai EX piano, and it deserves a high recommendation, especially because it offers both sonatas. I hope to hear more from this outstanding pianist.