Not so long ago, one of the most renowned contemporary pianists, Sir András Schiff, canceled the autumn concerts. “Currently, I only have a broken leg in my diary,” says the Budapest native, who will nevertheless come to Prague on Saturday, November 2, to open this year’s Rudolf Firkušný Piano Festival in the Dvořák Hall of the Rudolfinum. He organizes Prague Spring, where Schiff has already performed many times.
He is looking forward to returning to the Czech capital. ”Prague is one of my favorite places, it touches me emotionally more deeply than any other city in the world,” he says.
The 70-year-old virtuoso did not reveal the evening’s program this time. He will decide only on stage. At the time of the coronavirus pandemic, when he could not perform due to hygiene measures, he thought about contact with the audience. he came up with a new concept where he doesn’t announce what he’s going to play in advance, and thinks about the mood in the hall.
“I really like to talk to the audience and bring a bit of humor into the communication. It often breaks the wall and releases the atmosphere of exaggerated seriousness that is associated with classical music,” describes Sir András Schiff.
According to him, the performer and the audience are in the hall to experience something together, which requires mutual trust and respect. “Listeners have to trust me that I will play the best and that I will be as well prepared as possible. In return, I rely on their sensitivity or wit. This way we can experience concerts in a new, unconventional way,” he believes. When asked, however, he indicates that he will present compositions by some Czech authors in Prague.
He had previously studied the works of Antonín Dvořák or Bedřich Smetana. However, she prefers Leoš Janáček, especially for his singing and melodiousness. They are also the currency of Schiff’s play. “He captivated listeners with his singing tone, elegantly shaped phrases and wonderful details in counterpoint,” wrote the American newspaper Los Angeles Times about him.
In Janáček, Schiff also appreciates the fact that he dealt with folk music and was able to incorporate it into his compositions without citing specific motives. He was more inspired by the rhythms of folk dances, harmonies or intonations, similar to his Hungarian contemporary and neo-folklorist Béla Bartók, another Schiff favorite.
The artist could complement the Czech pieces with something by Wolfgang Amadeus Mozart, associated with Prague, or Johann Sebastian Bach, whose compositions he particularly likes. Schiff describes how he begins each day by playing something of his work.
He received a Grammy Award in 1990 for his recording of Bach’s English Suites. He also feels a close relationship with Beethoven’s music, especially the sonatas.
András Schiff received his musical education at the Liszt Academy in his native Budapest, he improved his chamber music with, among others, the living classic György Kurtág. Although he then completed summer courses at the Weimar University named after Franz Liszt, he does not have many of this composer’s works in his repertoire today. He perceives them as too technical, even flamboyantly exhibitionistic. Schiff prefers a deeper emotional and intellectual engagement where he can focus on nuance.
After emigrating from Hungary, he settled in London and Salzburg in 1979, where he became the director of the Musiktage Mondsee chamber music festival, started giving concerts with famous orchestras and also conducting from the piano.
In 1999, he founded the occasional orchestra Cappella Andrea Barca, humorously named after the Italian translation of his name. He combined it with a mystifying biography of the fictitious composer Barca, who allegedly turned the pages of Mozart and created an opera about burnt Tuscan bread soup.
Today, Schiff is best known for performing complete piano cycles. He recorded all of Beethoven’s sonatas, performed the complete piano works of Joseph Haydn, Franz Schubert or Béla Bartók. His repertoire includes all of Janáček’s compositions for piano.
Other guests of the festival
Sir András Schiff supports young talents. His South Korean student Chloe Jiyeong Mun will be heard by visitors to the Rudolf Firkušný Piano Festival on November 3 in the Bohuslav Martinů Hall at HAMU. After the concert, both will participate in a debate.
Two days later, Alexandr Melnikov will perform again at the Rudolfinum. On November 7, he will be followed by Ivo Kahánek and his students in a pure Smetán program. Jean-Efflam Bavouzet will close the show on November 9.
His Bach interpretations have become an annual highlight of the BBC Proms festival. He also performs regularly at shows in Verbier, Switzerland, Salzburg, Austria, or Baden-Baden, Germany.
with his empathy and attention to detail. “As if he cursed the audience,” the British newspaper The Independent described the atmosphere of one of Schiff’s concerts.
Video: Sir András Schiff plays Janáček
Sample from the recording of the piano cycle In the Mists by Leoš Janáček, made by Sir András Schiff. Photo: Nadja Sjöström | Video: Decca
Interview between Time.news Editor and Sir András Schiff
Editor: Good morning, Sir András. It’s a pleasure to have you here, especially as you prepare for the Rudolf Firkušný Piano Festival in Prague. You mentioned earlier that you only have “a broken leg in your diary.” Can you elaborate on how you are feeling and what this concert means to you at this time?
Sir András Schiff: Good morning! Yes, it’s an unusual situation for me, but music always has a way of healing. This concert in Prague holds a very special place in my heart. Prague is one of my favorite cities—emotionally, it resonates with me more deeply than any other place. It feels like coming home.
Editor: It sounds like Prague has a profound impact on you. Speaking of impact, you’ve adopted an intriguing approach to your upcoming performance, choosing not to announce the program in advance. What inspired this decision?
Sir András Schiff: During the pandemic, I had a lot of time to reflect on the relationship between performer and audience. I realized how essential it is to build a connection in real-time. By deciding on stage, I can gauge the mood and energy of the room; it creates a unique communal experience. It’s about trust—listeners trust that I will deliver, and I trust their sensitivity to guide our journey together.
Editor: That’s a fascinating concept. You also have a reputation for bringing humor into your performances. How does this light-heartedness affect the atmosphere in a classical music setting?
Sir András Schiff: Classical music can often feel overly serious, which sometimes alienates the audience. By incorporating humor, I aim to break that barrier and create a warm, welcoming environment. It opens the door to spontaneity and enhances the collective experience. Everyone, including myself, feels more at ease and engaged.
Editor: You have a deep appreciation for Czech composers like Dvořák and Janáček. Can you tell us what draws you to Janáček in particular?
Sir András Schiff: Janáček’s music captivates me because of its exquisite singing quality and its melodic richness. His incorporation of folk elements—without directly quoting melodies—adds layers to his music. I find his rhythmic complexities and emotional depths profoundly compelling, reminiscent of Bartók, whose work I also deeply admire.
Editor: With your extensive repertoire, how do you decide which pieces to perform, especially in a festival setting?
Sir András Schiff: It begins with my intuition as well as the context of the concert. I have a deep connection with the works of Mozart, Bach, and of course, the Czech composers, so I often find elements that resonate at the moment. The idea is to create a narrative throughout the performance, sometimes juxtaposing pieces to highlight their emotional contrasts or thematic connections.
Editor: You mentioned your daily ritual of playing Bach. What is it about Bach’s music that you connect with on such a personal level?
Sir András Schiff: Bach’s music is incredibly rich and profound; it challenges both the performer and listener. It demands emotional and intellectual engagement, allowing for endless interpretation. Each day, when I play his work, I find new nuances, new insights; it’s a continual dialogue between myself and the music.
Editor: You’ve achieved considerable recognition throughout your career, including a Grammy Award for your recording of Bach’s English Suites. How do accolades influence your artistic journey?
Sir András Schiff: While recognition is always appreciated, what truly matters is the response from the audience and my personal growth as an artist. Each performance is a new challenge, and my focus is continually on evolving, both technically and artistically. The accolades serve as reminders of the hard work, but they do not define my path.
Editor: As you look ahead, what role do you see yourself playing in nurturing young talent within the classical music community?
Sir András Schiff: Supporting young musicians is critical. I believe in sharing knowledge and experience, encouraging them to find their voice. Festivals, like the Firkušný Piano Festival, provide platforms for emerging talents, and it’s vital we cultivate this next generation. They represent the future of classical music, full of potential and fresh perspectives.
Editor: Thank you, Sir András, for sharing your insights today. It’s evident your passion for music and connection with your audience remains as strong as ever. We wish you a successful concert and look forward to your innovative performance in Prague!
Sir András Schiff: Thank you for having me. I’m excited to share this musical journey with everyone in Prague!