Sir András Schiff - Lucerne Festival Switzerland


and his Concert Grand in Pyramid Mahagony


As part of the Piano Festival 2018, Sir András Schiff played on November 29 and 20 in Lucerne on his personal Bösendorfer Concert Grand 280VC in pyramid mahogany

Rezital 2 - A concert consists of different compositions, but it can also seem like a small work of art in its own right with its sequence. Hardly any other pianist "composes" his programs as beautifully as Sir András Schiff: He grouped his two recitals, which he created for the 20th anniversary of the Lucerne Piano Festival, around the late work of Johannes Brahms, who seems to recall: to older colleagues whom he either knew, like Robert Schumann, or admired throughout his life, like Mendelssohn and Mozart; to the "giant" Beethoven, out of whose shadow he had to laboriously struggle; or the myth Bach, which formed the feast of Brahms's spiritual world. The interplay of his and her works creates an "alliance of related spirits", a musical portrait of a family in two parts: lines of tradition are exposed, surprising references apparently. And suddenly the time disappears from the room: The historical distance seems to be lifted, because the artistic similarities are stronger than the change of the epochs.

 

Rezital 3 - Western music reaches an absolute peak with and at the time of Bach,” Sir András Schiff believes. “It then has a second golden age with Viennese Classicism up until the death of Schubert in 1828. The Romantic and Late-Romantic eras form additional productive phases.” In his two concerts at the 2018 Piano Festival, he will focus entirely on these three great heydays of music history, juxtaposing them directly. By doing so, Schiff will provide striking insights, for example regarding the “modernity” of these composers: “One cannot seriously claim that Brahms is more progressive than Bach,” he explains. But the recital promises to yield even more discoveries. When Schiff plays Beethoven, audiences can anticipate a “metaphysical and cosmic” experience, while Robert Schumann’s last work, the Ghost Variations – long considered the creation of a “madman” – can bring the listener to tears. The late piano pieces of Brahms, which Schiff describes as “autumnal, melancholic, resigned,” offer a fitting complement. A moving farewell – and yet no swan song.

 

The newspaper Neue Züricher Zeitung writes: "Brahms' late piano music, which, with the exception of the Rhapsody op. 79 was heard completely, was placed by András Schiff again in a revealing dialogue with works by his" house gods "Bach, Beethoven, Mozart, Mendelssohn and Schumann. Even Schiff's choice of a distinctly chamber-musical sounding Bösendorfer grand piano was a statement: not the concertante, but a school of listening was in the foreground, combined with the recognition of how organically piano music of the German tradition, despite all stylistic differences, develops one from the other. It also becomes clear how far Brahms is looking back at Bach in his piano work, but also looking ahead of modernity and burgeoning Impressionism. ... All didactic transcending, Schiff succeeds in a haunting, for every precious moment struggling reproduction of the late loneliness monologue of Brahms, which he sets with style-consciousness and superior creative power to the other works in an intimate relationship.

 

 

"NZZ/Christian Wildhagen/excerpt from the article "In the school of hearing"/23.11.2018

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Lucerne Piano Festival 2018 - Sir András Schiff premieres with his in summer finished pyramid mahogany Bösendorfer Model 280VC "Vienna Concert":