Placed symmetrically, towards the two ends of creation, the sonatas are genuine proofs of the composer’s virtuosity through the choice of changing techniques and patterns that make up an idiomatic matrix capable of underlying various avatars, from pure diatonic tonality to marked chromatism.  With the sonatas being basically monothematic and brilliantly well-proportioned, the dual appearance reveals a single unified aspect of his bountiful personality.  While for novices the two works may seem as springing from two different realms, the dyad actually sketches Jan’s image: the same head bearing two apparently different faces and expressions, a technical body of work made of extremely carefully selected components, able to be part of any stylistic fantasy play, just as an edifice whose chambers are shaped and reconfigured according to the will of its great architect: Sigismund Toduţă.

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