András Schiff Bach Recital

Concert Programme

Italian Concerto BWV 971

Overture after the French Style BWV 831

Goldberg Variations BWV 988

I felt that András Schiff’s tone is absolutely mesmerizing. It was astounding as to how he simply presses the key and produces magical sound. Even in fast, virtuosic and quiet passages, the sound produced is still so beautiful and resonant. As to how he can produce such beautiful tone, I can only have a guess:

1. He uses his natural weight. To produce a sound, he simply lets his hand fall on the key, yet the sound produced is controlled and resonant at the same time.

2. He uses his upper arm (which he mentioned in his own Masterclass of the importance of using the upper arm). It was amazing to see how András Schiff having minimal wrist and even “finger” movement. This was firstly due to his use of the arm, his fingers always remaining on the key surface and firm fingertips and wrist (but not stiff or inflexible).

3. Use of correct tension. I could not spot any physical tension in his body throughout the almost 3 hour long recital. However, his lines are so long and beautiful that could only be due to the amount of tension he was holding within.

4. Physical detachment from his music. The most striking characteristic feature of András Schiff’s playing was his seemingly “detachment” from his music. I remember reading (most probably Piano Notes by Charles Rosen) that stated that only when we detach ourselves from the music, then can we truly start listening and enjoying the sound produced. He also had minimal physical movement (but some facial expressions) and seemed as if he was enjoying the music his fingers played from an “outsider” point of view. This, I feel, allows him to be very in control and express natural singing lines. The music produced, despite the “physical detachment”, was absolutely beautiful. He never hits the piano. Even in the loudest of passages (e.g. in the encore Beethoven Sonata), his sound is still extremely full and resonant. His range is also huge. The main technique that he used is the “touch and press” method, never “tapping” or “hammering”.

The word that I had in mind throughout the performance was that András Schiff’s playing was “spiritual”. He connected with the audience on a spiritual level through Bach’s music. I especially enjoyed the concert as I felt that he brought out all of the different characteristics in Bach’s music. From the very courtly and pompous dances, to intimate and quiet passages to solemn and churchlike overtures, I was awed and touched by the purity of Bach’s music and this, I feel, is the goal of every pianist: To share and touch the audience with the composer’s intention and one’s interpretation on a spiritual level. As George Stauffer said in his Bach Lecture (Why Bach Matters?), there is something magnetic about Bach’s counterpoint, and I was certainly able to feel that in András Schiff’s playing.

I could also tell that András Schiff was not only thinking of the piano when he was playing. He was also thinking of a string player or even string quartet. I can say this because in some instances in his performance, his finger continues to “vibrate” the key even after it was pressed down. This surely meant that he was thinking of “vibrato” that only a string player could produce.