I am not one to believe that there are many hidden masterpieces lying abandoned on the shelves of music libraries. However, these sonatas by the French composer Hyacinthe Jadin (1769—1802) are to my mind quite equal in quality to the best by Dussek and deserve recognition as pieces that bridge the gap between the classical and romantic eras. The wholly individual use of rapid modulations and memorable melodic material leads one to marvel at the ease of craftsmanship. It is a tragedy that he died so young.
The sleeve-note mentions the writing as being prophetic of Weber and Schubert, but Jadin's approach is considerably more small-scale. He achieves his mark in contrasting short episodes, the music constantly evolving and shifting from one emotion to another. The opening movement of the F sharp minor has some Fieldian vocal decoration, and there is a strong affinity with the Irish composer's Op. 1 Sonatas.
Every device is used for the sake of variety, whether it is a single and unadorned melodic line, quasi-orchestral chords or a lilting Schubertian waltz that forms the trio section of the minuet from the F sharp minor Sonata. Despite the wealth of ideas, the overall effect is not fragmentary; these sonatas are put together with enormous self-confidence, and each is of a consistently high quality.
The disc is recorded using an 1830 Schott piano, which though not contemporary with the music, seems to convey the delicacy of sonority much better than would a modern grand. Jean-Claude Pennetier plays with a fluent sensitivity, and although I think he occasionally misjudges the use of the 4 pedal, I award him full marks for treating this highly original music with such committed sympathy.'