姓名： JenoJando 英文名：- 性别：- 国籍：- 出生地：- 语言：- 生日：- 星座：- 身高：- 体重：-
简诺·扬多（Jeno Jando）是古典音乐录音史上最多产的艺术家之一，而由此为这位钢琴家所带来的赞誉也正在与日俱增。 事实上，扬多迄今为止在Hungaroton与Naxos两种品牌所留下的近百张唱片录音，足以说明他在录音方面不输给任何一位大师级钢琴家，包括录音最多的阿什肯纳吉与布伦德尔（Alfred Brendel）在内。扬多是匈牙利布达佩斯音乐院的钢琴教授，演奏曲目之广泛让人叹为观止。虽然本身已经拥有超凡的演奏技巧，但是扬多仍然抱持着谦虚的赤诚之心。他最敬佩的钢琴家是霍洛维兹，他认为霍洛维兹的演奏具有超现实的戏剧性，而这正是他自己所欠缺的部分。或许是具有学者身份的缘故，扬多对乐曲结构相当重视，整体演奏自然流畅。自然而不矫情的诠释风格，在今天已经不多见了。 在先后录制完成了莫扎特的全部钢琴奏鸣曲和协奏曲、贝多芬和海顿的全部奏鸣曲、两部巴赫的大键琴以及巴托克的所有钢琴协奏曲之后，扬多又马不停蹄地投入到舒伯特的全本钢琴奏鸣曲和巴托克钢琴作品全集的录音工程中。 扬多诞生于匈牙利南部一座安静的小镇珀克斯（Pecs），自幼在母亲的辅导下学习钢琴。随后进入李斯特音乐学院，跟随凯塔林尼姆斯和保罗卡多萨研修钢琴演奏。毕业后，扬多在包括齐法拉和齐亚尼钢琴大赛在内的一系列国际钢琴比赛中获得成功，而当他18岁于贝多芬钢琴大赛上获得第3名后，他的职业演奏生涯才算真正开始。在扬多轻年时代的众多钢琴职业荣誉中还包括1973年匈牙利钢琴大赛的头筹和1977年悉尼国际钢琴大赛室内乐类的首奖。 当NAXOS厂牌尚处于雏形阶段时，公司当时正筹备录制一张贝多芬钢琴奏鸣曲名作集。NAXOS在匈牙利的合作者适时地推荐了扬多并提供了一个样带，于是贝多芬钢琴奏鸣曲全集的录制任务也马上委托给了这位值得信赖的钢琴才俊。此外，扬多还在拉赫玛尼诺夫第二钢琴协奏曲、帕格尼尼主题狂想曲以及格里格、舒曼、勃拉姆斯的钢琴协奏曲的录音中有着令人惊异的表现。 善于灵活地处理不同类型钢琴独奏曲目的才能，同样也表现在扬多与其他音乐家共同合作的室内乐方面。我们可以从他与科达伊四重奏合作录制的舒伯特“鳟鱼”五重奏，或者舒曼及勃拉姆斯的钢琴五重奏等录音作品中，清晰地感受到他对这些作品敏锐的洞察力和非凡表现力，而他所灌录的贝多芬的“大公”和“鬼魂”钢琴三重奏的成功更是有口皆碑。另一方面，作为一位伴奏者，扬多与杰出的西崎崇子女士结成了长期密切的伙伴关系，他们二人相当成功地合作了象弗朗克、格里格或莫扎特等人多部小提琴奏鸣曲。 扬多有着惊人的记忆力，尽管他录音时也随身携带相关乐谱，但却几乎永远不用去翻看它们。录音通常都进行得十分顺利，然而他的制作人却碰到一个特别令人头疼的问题，这位大钢琴家录音时候总爱随着音乐忘我地低声哼唱出来，而最解决这个问题的办法就是在他的嘴里塞上根未点燃的香烟。 这位多产的钢琴家名下骇人的录音数量，似乎使人怀疑留给他本人今后录音的实际空间到底还有多少！但是这并不妨碍扬多重新灌录一些特别的曲目，以求某种更加成熟的诠释，这种愿望实际上已经在一些贝多芬的小品或舞曲上得以实现。 一切迹象都表明，扬多将在NAXOS旗下为全世界听众更多地奉献出他对音乐的那种令人信服的宽广、温暖和人性化的理解。
If the artistic identities of some performers are bound up with the recording companies that preserved their music-making — Artur Rubinstein with RCA Red Seal, for example, or Yo-Yo Ma with the crossover-friendly incarnation of Sony/CBS — then the face of the Naxos label and its repertory-based, high-volume, low-budget ways may well be pianist Jen Jandó. Jandó was born in the southern Hungarian city of Pécs on February 1, 1952. His mother taught him to play the piano, and he went on to study at the Liszt Academy in Budapest. When he was 18 he took third place in the prestigious Beethoven Piano Competition in Vienna, bringing his name before audiences beyond Hungary. He won the Sydney (Australia) International Piano Competition in 1987, but he didn't become a familiar figure to U.S. album buyers until after the founding of Naxos by the German-born, Hong Kong-based entrepreneur Klaus Heymann in the late 1980s.
Jandó was one of the first artists to emerge from Naxos' efforts to record Eastern European artists on a larger scale than any organization outside the former East bloc had previously done. A Hungarian contact sent a tape of Jandó's playing to the company, and he was picked for one of the new company's showcase products: a complete recording of Beethoven's 32 piano sonatas. Jandó followed those up with complete tours through Mozart's piano sonatas and concertos, Bach's entire Well-Tempered Clavier, Bartók's piano concertos, and the comparatively rarer Haydn keyboard sonatas. Jandó continued to explore the heart of the traditional repertory, delving into Schubert's sonatas and undertaking a mammoth survey of Bartók's complete piano music. He has also performed chamber music, inclining toward Hungarian compositions, and he serves as accompanist to his wife, mezzo soprano Tamara Takács.
What suited Jandó so well to the Naxos operation? He is an ideal jack-of-all-classical-trades. His familiarity with the piano literature is wide, and his musical memory is legendary: though he always brings scores of the works he is to play with him to a recording session, he simply lays them to one side and performs from memory. Like Glenn Gould, Jandó is given to humming along with his own playing — a tendency his producers forestall by placing an unlit cigarette in his mouth. Jandó has expressed the amibition to cap off his career by recording a second complete Beethoven sonata set — something previously undertaken only by a select group of the keyboard elite.
