Schiff’s performances are, as expected, profound, masterful, and not flashy at all. While he ornaments the works creatively, he doesn’t exaggerate. He is sometimes serious, sometimes playful, yet it’s clear just how much he understands and appreciates this music…
This recording is wonderful! Schiff in particular is clearly inspired, amused and transformed by the astounding young Mr. Mendelssohn. Try them yourself. If you don't smile and your pulse doesn't race a bit, you need to see a doctor as soon as possible.
Involving, as it does, three master musicians and a fine chamber orchestra this was never likely to be be other than rewarding. It may not correspond with the ways of playing Mozart at the beginning of the twenty-first century which are fashionable at the beginning of the twenty-first century, but it has virtues – such as high intelligence, sympathy, certainty of purpose, grace, alertness of interplay – which transcend questions of performance practice. Looking at the names of the pianists above, we might be surprised by the presence of Sir Georg Solti, so used are we to thinking of him as a conductor. But the young Solti appeared in public as a pianist from the age of twelve and went on to study piano in Budapest, with Dohnányi and Bartok.
A countryman of Bela Bartók and a sometime teacher to both György Ligeti and György Kurtág, Sándor Veress emigrated to Switzerland from what was then part of Hungary in 1949. Settling in Bern, he collected various prizes and teaching posts while working in relative obscurity on who knows how many pieces–most of which have been unavailable. This collection is made up of a pithy trio of compositions dated 1938 (Six Csárdás), 1951 (Hommage à Paul Klee), and 1952 (Concerto for Piano, Strings, and Percussion), and they show what a deftly melodic force Veress was. He's thrilled by blustery string wafts, especially in the concerto, where the percussion adds drama and immediacy. But he also favors sweetly chipper string formations, which surprise the ear during the homage to Klee, especially given the dissonances fostered early on by the twin pianos. The closing piano miniatures of Six Csárdás are counterpoint-rich gems, played with sharp precision by András Schiff.
First recorded collaboration between one of the leading sopranos of our time, Juliane Banse, and the incomparable pianist András Schiff. The programme is a fascinating combination of two different worlds of 'Liedgesang' - in language as well as musical style and historicity.
When András Schiff completed the recording of all of Schubert's piano sonatas in the 1990s, Decca released a box set containing all of the individual discs from the series. For this 2011 reissue, Decca goes one step further and includes Schiff's recordings of the Impromptus, the Moments musicaux, and several other shorter works. Schubert's music, along with that of Bach and Mozart, is one of the cornerstones upon which Schiff built his reputation as a thoughtful and intelligent performer. Anyone looking for a complete set of the Schubert sonatas could do much worse than to choose this one by one of the foremost Schubert interpreters of his generation.