Andras Schiff

The gentle melancholy of the "Trout" quintet is beautifully realized here by Andras Schiff and members of the Hagen Quartet. The final two movements almost seem to be one longer movement with a unity of expression between them that is most compelling, to the extent that the themes of the final movement have the feel of being further-flung variations of the "Trout" theme itself. The lower strings are particularly effective in these movements, and Schiff's lucid and un-plushy Bosendorfer sound is ideal. The earlier movements had the feel of a Dumka before Dvorak, with their alternation of more assertive and more quiet sections – but it's the melancholy character that wins out and gives this performance its particular force.

Surely Bach’s French Suites, which he composed during his years at Cöthen (1717–1723), are among the finest inducements to practise that any teacher has ever made to a pupil. In this case Bach wrote them for his young wife, Anna Magdalena. The over-riding impression left by these suites is one of endearing tunefulness. Clavier-Übung II is a later collection of didactic keyboard pieces. It comprises two greatly contrasted works: the Italian Concerto and the Overture in the French Style. These performances admirably demonstrate the thoughtful and persuasive approach that András Schiff adopts when performing Bach. Recorded live at the Bachfest 2010, Protestant Reformed Church of Leipzig, 11 June 2010.

This recording is wonderful! Schiff in particular is clearly inspired, amused and transformed by the astounding young Mr. Mendelssohn. Try them yourself. If you don't smile and your pulse doesn't race a bit, you need to see a doctor as soon as possible.

A countryman of Bela Bartók and a sometime teacher to both György Ligeti and György Kurtág, Sándor Veress emigrated to Switzerland from what was then part of Hungary in 1949. Settling in Bern, he collected various prizes and teaching posts while working in relative obscurity on who knows how many pieces–most of which have been unavailable. This collection is made up of a pithy trio of compositions dated 1938 (Six Csárdás), 1951 (Hommage à Paul Klee), and 1952 (Concerto for Piano, Strings, and Percussion), and they show what a deftly melodic force Veress was. He's thrilled by blustery string wafts, especially in the concerto, where the percussion adds drama and immediacy. But he also favors sweetly chipper string formations, which surprise the ear during the homage to Klee, especially given the dissonances fostered early on by the twin pianos. The closing piano miniatures of Six Csárdás are counterpoint-rich gems, played with sharp precision by András Schiff.

Mozart wrote some of his most appealing music for the mezzo-soprano voice with the roles of Cherubino and Susanna in Le nozze di Figaro, Dorabella in Così fan tutte and Zerlina in DonGiovanni each boasting at least one memorable aria. Alongside these this disc includes a handful of concert arias including Ch'io mi scordi di te? which was written for the farewell performance of the great mezzo Nancy Storace with Mozart playing the concertante piano role. Here with as innate an interpreter of Mozart's piano writing as András Schiff and a voice so remarkably self-assured as Cecilia Bartoli's the electricity of that first, historic performance seems almost to be recreated.

Johann Sebastian Bach was undoubtedly the greatest musical thinker of his age. Dubbed ‘the Old Testament of music’ by the conductor and pianist Hans von Bülow, The Well-Tempered Clavier is acknowledged to be one of the most significant works ever written for the keyboard. Each of these 24 preludes and fugues encapsulates its own mood, and Bach’s delight in mixing technical strictness with freedom of expression has made this work an indispensable element of Western culture for centuries. Sir András Schiff is heralded as one of the finest Bach interpreters today, and this first complete performance at the prestigious BBC Proms was summed up as ‘stupendous’ by The Independent.