The playing of American pianist Jonathan Biss is as studious as the photo on the cover of this Onyx-label release might suggest. Biss was a student of Leon Fleisher, but his playing in Classical and early Romantic repertory might also suggest Rudolf Serkin, whom he also somewhat physically resembles. He is probably a finer technician than either of those models, with an awesomely precise, crystalline sound. In a work like the Fantasy in G minor, Op. 77, Biss' careful reading, rarely rising above mezzo forte, is decidedly ...
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The playing of American pianist Jonathan Biss is as studious as the photo on the cover of this Onyx-label release might suggest. Biss was a student of Leon Fleisher, but his playing in Classical and early Romantic repertory might also suggest Rudolf Serkin, whom he also somewhat physically resembles. He is probably a finer technician than either of those models, with an awesomely precise, crystalline sound. In a work like the Fantasy in G minor, Op. 77, Biss' careful reading, rarely rising above mezzo forte, is decidedly out of the mainstream, and the first movement of the Piano Sonata No. 14 in C sharp minor, Op. 27/2 ("Moonlight"), seems to lose part of its reason for being in Biss' minimally pedaled reading. But there are many very beautiful moments on the program. The Piano Sonata No. 4 in E flat major, Op. 7, which is almost nobody's pick as a favorite among the 31, seems to magically fall into its proper proportions in Biss' hands, with the slow movement, which Biss in his own notes aptly...
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