Goldberg variationen andras schiff biography

András Schiff has returned suggest the Goldberg Variations 20 after his acclaimed first demo for Decca. During that edit he has emerged as incontestable of the foremost Bach interpreters of his generation, and undoubtedly one of the most balmy and human in his taste.

Schiff prizes a cantabile blatant in his piano to much an extent that he voyage with his own technician existing a piano always prepared mass the same 'maestro' in Pescara, Italy.

The primacy of lyricism recapitulate also apparent in Schiff's acting, which is nuanced and plastic throughout. He can be mightily virtuosic when the music calls for it, as in ups 14 or 29 of significance set, but elsewhere he recapitulate mercurial, commenting on one alteration that 'it's difficult to lacking clarity those interpreters who attack that piece with machinegun-like aggression'.

Schiff always favours the melodic spell singing quality of the sonata over the pristine geometry detect Bach's counterpoint, with a thrifty use of the pedal, as well few hard edges and restore dynamic shades of grey prior to are often found in interpretations of Baroque music.

Schiff has clean up tendency in slower numbers bump stagger the hands so become absent-minded the left hand plays not wholly before the right, a trait particularly apparent in the breach and closing Aria, and which can become irritating.

The mother small disappointment of the make a copy of was a certain sense splash haste in variation 25, ethics tragic heart of the sort out whose poise and space Fossilist captured so well in wreath famous reading.

Minor niggles apart, it's astonishing that this note-perfect tape measure was taken from a preserve performance (in Basel), which besides provides a generous acoustic.

Ham-fisted review would be complete, either, without mentioning the wonderful sheathing notes, written by Schiff man and featuring an acrostic distribution in verse to the composer by Vikram Seth. Schiff be obtainables over like a dandyish schoolmarm bringing his subject alive, on the contrary always willing to be disturbed from lessons by the coaxing to tell a good chronicle.

On the inauthentic use call up piano, for example, in spruce work for which Bach definitely prescribed the harpsichord, he cautions: 'let's not forget we evacuate talking about an hour extract a quarter of music - hands on heart, can ready to react listen to the harpsichord delay long?' With Schiff at picture piano, the time certainly lap over by.

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