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Posted by Don Satz on January 27, 2007, 9:38 am, in reply to "Donald Satz" Mr. Routledge states that I derided and humiliated the pianist, a premise that is entirely untrue. My negative comments were restricted to Jando's playing style and interpretive decisions. At no time did I attack his pianism, experience, character, level of effort or intentions. In fact, my review clearly indicated that Jando is a fine house pianist for Naxos whose recorded performances are generally excellent but a step below the best on record. Further, I wrote that I thought very well of Jando's set of Bach's Well Tempered Clavier. Unfortunately, Mr. Routledge seems to equate criticism of a performer's interpretation of a single work with an overall condemnation of the artist. Mr. Routledge's second argument revolves around the matter of reviewer qualifications. Apparently, a negative review of a Jando performance must mean that the reviewer is inadequate to the task. More specifically, Mr. Routledge appears to hold the view that only a professional pianist who "has the ability to bring tears to the eyes of an audience" has the right to criticize the performance of another pianist. Does a reviewer only have the right to criticize a conductor's performance if the reviewer is also a conductor on the public stage? Of course not. Mr. Routledge would like to know about my musical background. I will be sending my profile to MusicWeb International, and it should soon be available for Mr. Routledge to peruse. In the meantime, I would like to point out that Mr. Routledge never brings up the importance of the reviewer's knowledge of the composer, the music or the discography accorded the music. I own over 100 recordings of the Goldberg Variations and greatly enjoy the work in a variety of styles, instrumentation and interpretive stands. Although my opinions of the different versions possess no greater authority than those of other serious record collectors and Bach enthusiasts, I am confident that I know the Goldbergs intimately and have an admirable handle on its discography. I would also like to note that my review clearly puts forth the problematic aspects of the Jando performance and cites some of the specific variations where the problems reside. This allows readers who are familiar with the Jando Goldbergs to compare my impressions with their own. But Mr. Routledge is unable to make these comparisons because he has never heard the recording. If he does acquaint himself with it, I would be glad to discuss our respective positions. Finally, I do want to assure Mr. Routledge that I consider Jeno Jando an excellent pianist; my proof is that I own many of his recordings and continue to regularly acquire them.
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I am sorry to hear that Mr. Routledge became livid upon reading my review of the Jando recording of the Goldberg Variations. However, his two primary arguments do not pass muster.
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