Andras Schiff, Wigmore Hall, London, review:
The classical pianist Sir Andras Schiff performed at Wigmore Hall in the last of his Bach-and-Bartok programmes in full aristocratic regalia
Your support helps us to tell the story
This election is still a dead heat, according to most polls. In a fight with such wafer-thin margins, we need reporters on the ground talking to the people Trump and Harris are courting. Your support allows us to keep sending journalists to the story.
The Independent is trusted by 27 million Americans from across the entire political spectrum every month. Unlike many other quality news outlets, we choose not to lock you out of our reporting and analysis with paywalls. But quality journalism must still be paid for.
Help us keep bring these critical stories to light. Your support makes all the difference.
When Andras Schiff, 64, gives a recital at the Wigmore, he comes over all patrician in a three-piece suit complete with Edwardian gold watch-chain, and with a faltering voice which seems to come from far away in time. For this last in his series of Bach-and-Bartok programmes he began with a curiosity – Bach’s Capriccio on the Departure of his Most Beloved Brother – and followed it with Bartok’s Bulgarian Dances and Piano Sonata, interspersed with Bach’s Four Duetti from Clavier-Ubung Book III. Well, that was what the programme said, but he warned us (with sadistic pleasure) that he’d shuffled the cards differently, and said it really shouldn’t matter whether we knew what he was playing at any given moment, as we’d realise how close they were in musical thinking, if not in time.
The Capriccio had charm, the Dances came smart as a whip, the Sonata was a feast of furious virtuosity, the rarely-performed Duetti emerged with aggressively experimental boldness, then came the second half with Janacek’s In the mists and Schumann’s Fantasie in C Op 17, both the latter bearing Schiff’s stamp in forcefully didactic mode.
On the following night we got that for real, as Schiff gave a masterclass for two young pianists, Jean-Selim Abdelmoula and Julia Hamos. Abdelmoula played the Janacek with rather more empathy than Schiff had done, and Hamos delivered a warmly seductive account of the Schumann. Now Schiff was more relaxed and human, laying bare the mechanics of these two great works so that the young players – and we – could savour their beauties in analytical close-up.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments