Andras Schiff at the Chopin and His Europe Festival

The recital by the beloved Andras Schiff on Tuesday, August 25^th, in Warsaw’s Philharmonic Hall, provided a very interesting contrast from Eric Lu’s performance the evening prior. 

 

From a distinguished, hugely talented young artist at the outset of his artistic journey, to an artist that brings to each performance a lifetime of deep thinking and experience, each of the two artists have something unique and special to offer, and their performances underscore the beauty of great art, in how different artists could bring something unique and original to even the most familiar works of art.

 

Schiff sat down at the Steinway piano and tantalized the audience with the Aria from Bach’s Goldberg Variations, and proceeded to perform Bach’s youthful Capriccio on the Departure of a Beloved Brother, BWV 992. Schiff did not try to make the music greater than what it is, but performed it with great charm and humour.

 

More Bach follows as Schiff continued with the French Suite No. 5 in G Major, BWV 816, a performance that underscores the artist’s refined culture and musicality. Without a pause, he launched into Mozart’s Eine kleine Gigue, K. 574, highlighting the forward-looking and pointillistic characteristic of this late (1780) work. For the entire first half, Schiff was effectively highlighting the influence of Bach on the composition of Mozart. 

 

The artist returned to Bach with a profound interpretation of a Recercar from Bach’s A Musical Offering, BWV 1079, and then Mozart’s Fantasy in C minor, K. 475, making the connection between the chromaticism of the Bach with that of the opening of the Mozart.

 

Schiff then played the first two movements of Mozart’s Sonata in F Major, K. 533, another work that demonstrated the composer’s debt to Bach. The more than generous first half concluded with a spirited performance of Bach’s Italian Concerto, BWV 971. I was especially taken with his interpretation of the third movement (Presto), where he did not fall into the “speed trap”, but highlighted the different voices of the ripieno and concertino, in a performance that was always musical and exciting.

 

In the second half, Schiff played on Chopin’s last Pleyel piano, restored by Paul McNulty, beginning with Bach’s Prelude and Fugue in C Major, from Book 1 of the Well-Tempered Klavier. I was very happily surprised when he launched into a performance of Chopin’s 24 Preludes, Op. 28. It was an astounding performance, brimming with incredible lyricism and beauty.

 

Not surprisingly, his playing of the stormy Prelude in D minor that concluded the set resulted in a rousing – and well-deserved - ovation. This was then followed by an exceedingly generous five encores – Chopin’sMazurka in A minor, Op. 17, No. 4, Mozart’s Rondo in A minor, K. 511, Chopin’s Mazurka in C Major, Op. 24, No. 2 and Waltz in A minor, Op. 34, No. 2, and concluding the already very full evening with the Nocturne in F-sharp Major, Op. 15, No. 2. In the Mozart, Schiff kept the impetus as well as the almost dance-like feel of this music, which even more effectively highlighted its ambivalence of emotion. Each of the Chopin performance had something special to offer, and served as a reminder that a great artist such as Schiff would have insights into whatever he chooses to play.

 

I was filled with gratitude at the conclusion of these two incredible evenings, to have experienced the music-making of two such outstanding artists. We have the Chopin Institute to thank for inviting these distinguished artists and ensemble to grace the stage of Warsaw’s Philharmonic Hall.