András Schiff on performance tradition and choice of instruments | ECM Records
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- čas přidán 7. 06. 2021
- Sir András Schiff in conversation about the Piano Concertos of Johannes Brahms
Johannes Brahms: Piano Concertos
András Schiff - piano
Orchestra of the Age of Enlightenment
ECM New Series 2690/91
Release: June 4, 2021 on 2-CDs, download and streaming: ECM.lnk.to/BrahmsPianoConcert...
“My enthusiasm for Brahms goes back to my youth, and the piano concertos are largely responsible for it,” writes Sir András Schiff in a liner note for this remarkable new recording. It finds the great pianist reassessing interpretive approaches to Brahms in the inspired company of the Orchestra of the Age of Enlightenment. To fully bring out the characteristics of Brahms’s music Schiff’s choice of instrument is a Blüthner piano built in Leipzig around 1859, the year in which the D minor concerto was premiered. The historically informed Orchestra of the Age of Enlightenment plays with the flexibility, attitude, and responsiveness of a chamber music ensemble, as they work without a conductor, listening attentively to each other. András Schiff’s collaboration with the orchestra in a series of concerts was widely acclaimed: “Brahms’s First Piano Concerto was reborn thanks to the OAE’s incisive playing and András Schiff’s characterful phrasing”, The Guardian exclaimed. The musicians’ mutual wish to recapture the experience led to the present double album, recorded in London in December 2019. An extensive CD booklet includes liner notes by András Schiff and Peter Gülke in English and German.
Video recorded at Beethoven Haus in Bonn by Klangmalerei.TV
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An absolutely wonderful experience every time Andras speaks, plays... is!
At last. About Brahms. My brother and I always had difficulty listening to and following Brahms. In addition to the huge ponderousness, we described his symphonies and the 2 piano concerti as “muddy.” We thought this might be on account of our moderate hearing deficits. But now that I have heard the two concerti played on the Blüthner by Sir András Schiff, with the remarkable OAE and this glorious transparency, everything changes. I wish my brother were still alive to hear it. Thank you, Sir András, for your work and the clarity of your explanations - and for being online!
I would recommend that you listen to Sir Charles MacKerras' recordings of the four symphonies and the Academic Festival Overture. He did exactly what Sir Andras is talking about -- used the 45-piece Meiningen setup that Brahms used when he conducted the premiere of the 4th Symphony. It's a revelation. The thick paste that all of us are used to in those symphonies is gone (I would except Carlos Kleiber's 2nd Symphony, which I think is a marvel, from the 'thick paste' category of performances by modern orchestras).
@@donaldallen1771 : Thank you! Will do that ASAP, if not sooner. Excited just reading what you have said. 🙏
Completely by coincidence I was listening to the second concerto recording this very morning. It is so wonderful to find Andras Schiff talking about these recordings now. Cannot recommend this too highly.
Wonderful to listen to Sir András! Thank you so much!
Always superb. Presented with such humility, awe and wonder. As it should be with every composer but ESPECIALLY Brahms.
"To find the right world of sound", an imaginary realm, subjective in essence, a piece of art that decays at any given moment, still with an emotional impact that can lead to tears. I love listening to András for his ability to open the doors of perception. Thank you.
I agree🤗✌️
So happy you are going this way!
Vivre la differance! I want to remember that one!
Vive la différence :)
Great, as always. However, who is directing the orchestra? is it Sir András?
Yes, he did
anyone know what piece he played at 5:11?
Intermezzo no.4 in E Major, op. 116 from Brahms
@@rodrigosantana5721 thanks
Did he conduct them?
Period instruments should get back in the spotlight. They're not inferior, just different instruments . And when a whole century of piano manufacturing spends its time trying to sound like Steinway, you just know its because of marketing. Steinways pianos used to be very good, inded. But they were that good because they were loud to fill giant halls. And loudness is way different from tone quality. As Sir Andras Schiff explained, you lose tone quality in order to extract more volume, but what at cost? Most composers didnt create music for those kind of pianos and we simply buried their original ones for. To play beautiful pieces made with/for straight strung pianos on modern pianos because they're supposed to be superior? Bullshit!
Morgan collection for Mac / Win
is schiff a whole beat enjoyer...?
what?
It’s a false theory
Yes, using the same piano for different composers, styles and periods, is like cooking all your recipes in the same pot..(what a good chef would never do)...
We are losing subtlety in our culture. A Steinway can be so scary, and yet, most all musicians just used whatever comes new. I can’t imagine how music would be like in a few decades. Very scary.
He admits “togetherness” is like illness, but still teaches it in the masterclasses on youtube.
1:58
Interpretation is also a little bit we like restoring restoring a work of art trying to get rid of the layers of dirt layers of dust.
Tradition is a wonderful thing but we have to look at tradition critically and not just to copy it.
7:00
pianists are very pedantic and listeners too. because they think that you know this is how it is on the on the paper.
but the old pianist the two hands are never together. So not mathematically together. this togetherness is is like an illness.
7:36
Even a very good orchestra playing. a brahms symphony the double basses have to play before the first violins. otherwise it's no it's not good.
I mean the bass is the foundation and on that foundation we build the sound of overtones and it is like like a pyramid.
8:45 Different instruments for different composers or different pieces and always to find the right world of sound
I’ve always enjoyed his playing but his whole shtick - ‘all those other guys are unthinking hacks and i’m here to show you how things really ought to sound’ - is beginning to verge on self-parody. It’s gotten to the point where i can invariably tell what he’s going to say (both musically and verbally) without hearing it