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