andras schiff tour 2022

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Andras Schiff tour dates 2025

Andras Schiff is currently touring across 2 countries and has 2 upcoming concerts.

Their next tour date is at Muziekgebouw Eindhoven in Eindhoven, after that they'll be at Casals Forum in Kronberg im Taunus.

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• 🇳🇱 Netherlands

Upcoming concerts (2) See nearest concert

Muziekgebouw Eindhoven

Casals Forum

Past concerts

Marian Anderson Hall, Kimmel Center

Konzertsaal im Kulturpalast Dresden

Pierre Boulez Saal

View all past concerts

Recent tour reviews

Amazing experience with the Maestro! Bosendorfer piano is not so lout so you could not hear perfectly all the passages with the orchestra of sitting in the back but it was incredible overall. Very nice encore with a Capriccio by J.S.Bach.

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Andras Schiff Tour Dates & Concerts 2024 & 2025

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About andras schiff.

András Schiff, a world-renowned pianist and conductor, has captivated audiences globally with his exceptional talent and profound interpretations of classical music. Born in Budapest, Hungary, Schiff's musical journey began at a young age, and his passion for music has only grown stronger over the years. His fans, who span across continents, are always eager to witness his performances, which are often described as a blend of technical mastery and emotional depth. Schiff's repertoire is extensive, ranging from Bach to Bartók. His performances are characterized by a deep understanding of the music, a keen sense of structure, and a refined touch. His fans appreciate his ability to bring out the subtleties in the music, making each performance a unique experience. Schiff's interpretations of Beethoven and Schubert, in particular, have been highly praised by critics and fans alike. In addition to his solo career, Schiff has also made a name for himself as a chamber musician. He has collaborated with some of the most prestigious orchestras and musicians, further cementing his status in the classical music world. His fans often laud his collaborative performances for their synergy and the seamless blending of individual talents. Schiff's contributions to music extend beyond performing. He is also a dedicated teacher, imparting his knowledge and passion for music to the next generation of musicians. His masterclasses, often held at music festivals, are a testament to his commitment to nurturing talent and promoting classical music. Schiff's recordings have also garnered much attention. His discography is extensive, featuring works by a wide range of composers. These recordings have not only been well-received by his fans but have also won numerous awards, further attesting to Schiff's musical prowess. Schiff's performances at music festivals are always highly anticipated events. His fans flock to these festivals, eager to witness his masterful performances live. These festivals often serve as a platform for Schiff to showcase his versatility, as he performs a wide range of pieces, from solo works to chamber music. Despite his numerous achievements, Schiff remains a humble and dedicated musician. His fans admire him not only for his musical talent but also for his integrity and commitment to his craft. Schiff's passion for music is evident in every performance, making him a beloved figure in the classical music scene. In the world of classical music, András Schiff stands as a beacon of excellence. His fans, whether they are attending a music festival or listening to one of his recordings, can always expect a performance that is both technically brilliant and emotionally resonant. Schiff's dedication to his craft, his extensive repertoire, and his ability to connect with his audience make him a truly exceptional artist.

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Sir András Schiff

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Sir András Schiff

Colburn celebrity recital, tue / oct 11, 2022 - 8:00pm.

Schiff brings an insight that intensifies the intimate connection of a solo recital.

Masks are required for all guests. Read more about our  safety policies .

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About this Performance

Whether performing the complete piano sonatas of Beethoven, or the keyboard works of J.S. Bach, Sir András  Schiff  brings a purity of musicality and clarity of insight that enthralls his listeners into a direct connection with the composers themselves.

The program will feature works by Bach, Mozart, and Schubert and run approximately 2 hours, with a 20-minute intermission. The artist will introduce the selections from the keyboard and share insights about the music.

Programs, artists, dates, prices, and availability subject to change. Ticket limits may apply. All sales are final.

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András Schiff on the recording of Bach's „The Well-Tempered Clavier"

András Schiff Plays Bach: Chromatic Fantasy and Fugue in D Minor, BWV 903

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Sir András Schiff | piano

As an incomparable interpreter of the Leipzig Cantor, Sir András Schiff devotes himself to the composer's Well-Tempered Clavier.

Bach The Well-Tempered Clavier (Book I - BWV 846 to BWV 869)

Sir András Schiff has been called "Bach's grandson" or "Bach's contemporary" and has chosen two iconic venues in Paris: the Théâtre des Champs-Elysées and the Philharmonie de Paris to play the first and second books of Johann Sebastian Bach's Well-Tempered Clavier. Today he remains an incomparable interpreter of the Leipzig Cantor, of whom Daniel Barenboim says: "It is ... in the level of his mysterious identification with Bach's music that he is unique. Without losing sight of the true style, he succeeds in making Bach's music contemporary, and for this he has my admiration and gratitude.

Production Piano****

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Piano Series // October 16, 2022

Sir andrás schiff, piano.

Sir András Schiff returns to the Piano Series to perform a recital featuring the works of Beethoven, Mozart, and Schubert.

Sir András Schiff returns to FCM to open our 2022-23 Piano Series.  One of the most celebrated pianists of our time, as well as a renowned conductor, lecturer, and teacher, Sir András brings masterful and intellectual insights to his performances which have inspired audiences and critics alike. He returns to Gates Concert Hall with a program he will announce from stage featuring the music of Beethoven, Mozart, and Schubert.

“András Schiff’s recital was one of the great musical events of the season.” Washington Post

Click here for complete concert program.

SPECIAL NOTE:  This program will NOT be live streamed.  We hope you will consider joining us in the concert hall for this special Sunday afternoon performance.

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Venue Information

• J.S. Bach: Goldberg Variations 1. Aria
• J.S. Bach: Italian Concerto in F major BWV 971
• Franz Joseph Haydn: Sonata in G Minor, Hob.XVI:44
• W.A. Mozart: Sonata No. 17 in B-flat major, K.570
• Ludwig van Beethoven: Sonata No. 30 in E major, Op. 109
• W.A. Mozart: Rondo in A minor, K. 511
• Franz Schubert: Sonata No. 20 in A major, D. 959

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• Discography

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Sir András Schiff is world-renowned as a pianist, conductor, pedagogue and lecturer.  Called “one of the most penetratingly serious masters of the keyboard before the public today” ( Boston Globe ), Sir András continues to awe audiences and critics alike. Born in Budapest, Hungary, in 1953, Sir András studied piano at the Liszt Ferenc Academy with Pal Kadosa, György Kurtág, and Ferenc Rados; and in London with George Malcom.

He has performed cycles of complete Beethoven sonatas and the complete works of J.S. Bach, Haydn, Schubert and Bartók, which constitute an important part of his work.  Having collaborated with the world’s leading orchestras and conductors, he now focuses primarily on solo recital, play-conducting appearances, and exclusive conducting projects. In the 2022-2023 season, he was named Artist-In-Residence by the New York Philharmonic, with whom he performed nine concerts. His Bach has become an annual highlight at the BBC Proms, and he regularly performs at the Verbier, Salzburg and Baden-Baden Festivals as well as Wigmore Hall. 

In the 2023-2024 season Sir András plays recitals presented by Carnegie Hall, Celebrity Series of Boston, Chicago Symphony Presents, Washington Performing Arts, Club Musical de Québec, Toronto’s Royal Conservatory of Music, and Friends of Chamber Music Kansas City. Sir András now prefers announcing each recital program from the stage; as The New York Times has pointed out, “he has an impish streak and likes to surprise.” Schiff joins the Philadelphia Orchestra to direct and perform piano concertos by Haydn and Mozart and conducts Schubert’s second symphony.

Vicenza is home to Cappella Andrea Barca, his own chamber orchestra founded in 1999, comprised of international soloists, chamber musicians and friends. He curates an annual festival in Vicenza at the Teatro Olimpico. Sir András enjoys close relationships with the Chamber Orchestra of Europe, Budapest Festival Orchestra, and Orchestra of the Age of Enlightenment. In 2018 he accepted the role of Associated Artist with the OAE, complementing his interest in performing on period keyboard instruments; in 2024 he conducts the complete symphonies of Mendelssohn, directing the composer’s two concertos from the keyboard.

With a prolific discography, he established an exclusive relationship in 1997 with producer Manfred Eicher and ECM New Series. Highlights have included the complete Beethoven Piano Sonatas recorded live from Zurich; solo recitals of Schubert, Schumann and Janáček; and J.S. Bach’s Partitas, Goldberg Variations, and Well-Tempered Clavier.  His most recent discs, a two- CD set of works by J.S. Bach performed on the clavichord, were released in early 2023.

He continues to support new talent, primarily through his “Building Bridges” series, which offers performance opportunities to promising young artists. He also teaches at the Barenboim-Said and Kronberg Academies and gives frequent lectures and masterclasses. In 2017 his book “Music Comes from Silence,” essays and conversations with Martin Meyer, was published by Bärenreiter and Henschel.

Sir András Schiff’s many honors include the International Mozarteum Foundation’s Golden Medal (2012), Germany’s Great Cross of Merit with Star (2012, the Royal Philharmonic Society’s Gold Medal (2013), a Knighthood for Services to Music (2014) and a Doctorate from the Royal College of Music (2018). He was awarded the Jean Gimbel Lane Prize in Piano Performance in 2021 from The Henry and Leigh Bienen School of Music at Northwestern University.

AUGUST 2023 AT THE REQUEST OF THE ARTIST – PLEASE DO NOT ALTER THIS BIOGRAPHY   

Sir András Schiff Piano

Friday, October 14, 2022  |  8:00pm

Herbst Theatre Venue Information

$105/$90/$75

As this event is special to our season, no discounts are available.

About This Performance

Renowned pianist András Schiff returns to the Herbst Theatre for an incomparable performance. “There are many things to marvel at in the playing of pianist András Schiff,” says the San Francisco Chronicle , and his many performances here over the years attest to his enduring popularity. In addition to performance acclaim, he is widely known for his warm humor and engaging presence.

As Announced from Stage BACH: Goldberg Variations , Aria BACH: 3 Part Ricercare from the Musical Offering MOZART: Fantasia in C Minor, K. 475 BACH: French Suite No. 5 in G Major, BWV 816 MOZART: Gigue in G Major, K. 574 BACH: Prelude and Fugue in B Minor, BWV 869 from The Well Tempered Clavier, Book 1 MOZART: Adagio in B Minor for Piano, K. 540 MOZART: Piano Sonata No. 18 in D Major, K. 576 INTERMISSION HAYDN: Keyboard Sonata in G Minor, Hob. XVI:44 BEETHOVEN: Bagatelles , Op. 126 BEETHOVEN: Piano Sonata No. 31 in A-Flat Major, Op. 110

Artist Information

Performer biography.

Sir András Schiff is world-renowned as pianist, conductor, pedagogue and lecturer. He brings masterful and intellectual insights to his performances,which have inspired audiences and critics alike. Born in Budapest, Hungary, in 1953, Sir András studied piano at the Liszt Ferenc Academy with Pal Kadosa, György Kurtág and Ference Rados; and in London with George Malcome.

He has performed cycles of complete Beethoven sonatas as well as projects including the complete works of J.S. Bach, Haydn, Schubert, and Bartok which constitute an important part of his work. Having collaborated with the world’s leading orchestras and conductors, he now focuses primarily on solo recital, play-conducting appearances and exclusive conducting projects. His Bach has become an annual highlight at the BBC Proms and he regularly performs at the Verbier, Salzburg, and Baden-Baden Festivals as well as Wigmore Hall. This season in North America he will perform all Mozart programs in Quebec, Carnegie Hall, and Chicago’s Symphony Hall.

Vicenza is home to Cappella Andrea Barca, his own chamber orchestra consisting of international soloists, chamber musicians and friends founded in 1999. Together they have appeared at Carnegie Hall, Lucerne Festival, and Salzburg Mozartwoche, while forthcoming projects include a tour of Asia and a cycle of Bach’s keyboard concertos in Europe. He currently curates at festival in Vicenza at the Teatro Olimpico.

Sir András enjoys close relationships with the Chamber Orchestra of Europe, the Budapest Festival Orchestra, and the Orchestra of the Age of Enlightenment. In 2018 he accepted the role of Associated Artist with the OAE, complementing his interest in performing on period keyboard instruments.

With a prolific discography, he established an exclusive relationship in 1997 with Producer Manfred Eicher and ECM New Series. Highlights have included the complete Beethoven Piano Sonatas recorded live from Zurich, solo recitals of Schubert, Schumann, and Janáček, as well as J.S. Bach’s Partitas, Goldberg Variations, and Well-Tempered Clavier. His most recent discs were the two Brahms Concerti with the Orchestra of the Age of Enlightenment on period instruments in June 2021.

He continues to support new talent, primarily through his “Building Bridges” series, which gives performance opportunities to promising young artists. He also teaches at the Barenboim-Said and Kronberg academies and gives frequent lectures and masterclasses. In 2017 his book Music Comes from Silence , essays and conversations with Martin Meyer, was published by Bärenreiter and Henschel.

Sir András Schiff’s many honors include the International Mozarteum Foundation’s Golden Medal (2012), Germany’s Great Cross of Merit with Star (2012, the Royal Philharmonic Society’s Gold Medal (2013), a Knighthood for Services to Music (2014) and a Doctorate from the Royal College of Music (2018). He was awarded the Jean Gimbel Lane Prize in Piano Performance in 2021 from The Henry and Leigh Bienen School of Music at Northwestern University.

Artist Links

Sir andrás schiff, artist video, andrás schiff plays bach: chromatic fantasy and fugue in d minor, bwv 90.

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Sir András Schiff, piano

“[andrás schiff] is one of the most penetratingly serious masters of the keyboard before the public today. full stop.” ( boston globe ).

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A pianist, conductor, and lecturer, he brings masterful and intellectual insights to his performances which have inspired audiences and critics alike. He will draw from his vast classical repertoire, brilliantly uniting performance and pedagogy as he brings his role as a master educator to the stage, allowing audiences to experience both his artistry and the thinking behind it. The program will include works by Mozart, Beethoven, and Schubert, with each selection introduced from the stage.

Program (updated after the concert)

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A panoply of pleasures with András Schiff in Los Angeles

Bach – Goldberg Variations , BWV988, Aria; Italian Concerto in F Major, BWV971; Chromatic Fantasy and Fugue in D Minor, BWV903 Haydn – Piano Sonata No.33 in C minor, Hob.XVI/20 Beethoven – Piano Sonata No.17 in D Minor, ‘Tempest’ Mozart – Rondo in A minor, K511 Schubert – Piano Sonata No.20 in A major, D959

Sir András Schiff has long been praised as one of the most accomplished pianists and conductors in the world of ‘art music’. He arrived at the Walt Disney Concert Hall with yet another carefully curated body of keyboard works that included pieces by Bach, Haydn, Beethoven, Mozart and Schubert.

Schiff began the program with one of J. S. Bach’s most admired solo keyboard compositions: the Aria from what Schiff dryly referred to as ‘the so-called Goldberg Variations ’. After the Aria, he took to the microphone and spoke to the audience, which certainly differs from past performances that I have attended. He explained that there would be no encore because the final piece on the program, Schubert’s Piano Sonata in A Major, should not have an encore – all that needs to be said has already been said.

There were some highly memorable moments in Schiff’s commentary to the audience. At one point he asked, ‘What is the future of classical music? There are too many rituals connected to classical music’. He had tired of having to come up with a program three years ahead of a performance, which often leads audiences to ‘over-familiarize themselves with a single “best” recording of those pieces in advance’, creating disappointment and diminishing returns for all involved. During the pandemic, he had time to think how he might do things differently, such as deciding on a program closer to the time of the performance.

Following the Aria was Bach’s Italian Concerto in F Major, another beautiful example of the technique of composition. It is a three-movement wonder, beginning with a balanced melody presented in a manner that was settled and straightforward, followed by a second movement with a repeated baseline and augmented with a tensely driven melody, and a final movement filled with good tidings and joy. The performance was exceedingly pianistic, the clarity marvelous and the applause greatly deserved. It should be added that his third movement differed from all other versions I have heard (and that’s a lot) in terms of both tempo (a tad slower) and dynamics (a spot softer). It should also be noted that balance between the upper and lower parts was modified by pianistic possibilities and demands. Voicing is of great importance to Schiff, especially when primary voices occur in inner voices: it is the bass line that drives the composition.

The Italian Concerto was followed by Haydn’s Piano Sonata No.33 in C minor. Before playing, Schiff commented that Haydn is the most ‘underrated composer in the world’. Credited with sixty-two piano sonatas in his long and fruitful career, Haydn is often referred to as the ‘inventor’ of the sonata-allegro form. To my ears, his works are amazing devices of balance, within measures, within phrases, within movements and, indeed, within the entirety of the piece. The balance was clear in this sonata, one which I had not heard before. I would unquestionably enjoy listening to and analyzing it even more carefully were it not for the remaining sixty-one sonatas that compete for my attention. That being said, Haydn’s Sonata No.33 was an absolute pleasure: Schiff’s interpretation was nearly perfect in its balance, open in its expression, relatively flawless on a technical level and deeply human in its interpretation.

Schiff returned to Bach for the Chromatic Fantasy and Fugue in D minor, a work of great power and emotion, and open to a variety of interpretations. The transition from the Chromatic Fantasy and Fugue to Beethoven’s ‘Tempest’ Sonata was seamless: Schiff sustained the final tone, only to easily shift straight into the ‘Tempest’ with no break between the two pieces, no applause, just silence. It worked beautifully, and he made it sound so easy.

When Anton Schindler, who was in many ways Beethoven’s closest aide, asked Beethoven who his musical rival was, he got the reply ‘There is none’. It is a lovely answer, if only for its multiple possible meanings. Does Beethoven openly accept other composers at sound value, or does he reject other composers for differences in chord constructions? Much – and sometimes all – of the excellence of music is tied to the ear of the listener.

The ‘Tempest’ Sonata seems to transcend subjectivities entirely, and it belongs in an elite group of ‘there’s nothing better’. It is a great piece of music no matter what the opinion of the past, current or future listener. Schiff’s more leisurely tempo, especially in the fourth movement, brought up new and different points of aural interpretation.

Following a brief intermission, Mozart’s Rondo K511, a singular experience, opened the second half of the program. It consists of one movement that lasts well under ten minutes, it lacks complexity and the melody (‘tune’, if you prefer) is simple and straightforward. There is a major key break towards the middle of the rondo, which moves back to the minor key again, only to close with a relatively brief round-up. In Schiff’s introduction, he explained his fondness for it: it reminds him of ‘something from the Romantic era’, almost as if it was ahead of the time in its phrasing and melodic structure. The delicacy with which Schiff performed the piece brought out those qualities and, at times, made the Mozart sound evocative of Chopin’s keyboard work. This is fitting, as Schiff also noted that Chopin was a great lover of Mozart.

Schiff ended the recital with Schubert’s Piano Sonata No.20, which is filled with surprises. His melodies are universally acclaimed for their elegance and perfection, and he often uses surprising and sudden changes in key and tempo, with unexpected time alterations and pauses in pulse, and sudden changes to and from differing keys. Schiff described the opening of the Andantino as being ‘like the rowing of a boat on a lake’ but with overtones of existential despair instead of pastoral tranquility. His playing was measured and emotionally raw, with darker passages of the Andantino and Scherzo in sharp contrast with the delicate ones that surround them. It was one of the most moving musical experiences I have had in a long time.

Schiff certainly possesses his own distinctive manner of playing and performing. The physical stamina required for this demanding program seemed not to faze him: he played with a lightness, precision and ease one might expect from a much younger pianist. What came through was the pure joy that music gives him. We were the lucky recipients!

Douglas Dutton

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Sir András Schiff

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András Schiff is a master of the Germanic repertoire, especially the works of Bach, which he has performed tirelessly for half a century. He now tackles The Art of Fugue, a score as monumental as it is enigmatic.

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They love Andras Schiff in Leipzig, but not all can endure him

norman lebrecht

June 17, 2022

Andras Schiff received the 2022 Bach-Medaille in Leipzig last night after playing the complete first book of the Well-tempered Clavier.

A retired administrator noted: ‘I was there, but left just before the ceremony – loo called and at my age that is significant. The whole of book 1 in one sitting is just too much for me. Those 5-bar rallentandos before last prominent chord in each p and f in the second half of the book I find difficult.’

See also: Schiff flushes them out

I have to share the story – I met Schiff on one festival as an orchestra member. He played well but was seriously rude numerous times towards orchestral players – both professional and from youth orchestra at the said festival, once terminating the rehearsal “until an orchestra member learned his part” (in my opinion undeservedly so towards that person.

I find myself not being able to enjoy him after this. Good musician needs to be a descen person as well.

A good musician needs to be a Mensch

Absolutely true. Great musician used to have an musical and emotional intelligence in spite to reach their objectives, too. There is always an conductor to any musical requests or corrections at performance but it never allows to soloist any pretentious or rude behaviour as to “educate” or reprimending people who works for his success! It is not only rude, is just unacceptable under any circumstances! Who he thinks he is? Gods messenger sent to humans to teach them this way? I’ve been hearing some similar stories about Schiff at a few occasions already and I am musician by my own, used to be an very known orchestra’s member. I remember still very young Schiff playing Brahms both piano concertos with us and it was still his inexperience noticeably evident but yes, he was rude to the people. Very bad quality to an artist like him.

Interesting case. I know people who are close to him and treasure his friendship and artistry as something of immense sincerity and warmth. Equally I’ve been to concerts where he’s behaved with icy disdain towards his audience, killing any sense of connection with the music and his performance.

Doubtless Schiff regards the idea of music as entertainment – or something merely to be enjoyed – with scorn. But by turning it into something to be endured (and no-one, certainly not Bach, has ever required these pieces to be played in one unbroken stretch, as if they’re Act 3 of Parsifal) he does more harm than good. The audience must – MUST – come first. This, at the very least, sounds like gratuitous discourtesy in pursuit of no meaningful artistic end.

Wrong. The music come first. You can trust Bach, centuries already proved him. If you want entertainment, you better go to a circus.

I’d make the point that was made by someone on the other thread. I saw him do Book 2 in Salzburg five or so years ago. Interval. No problem. Pure bull to suggest it needs to be performed in one sitting.

Time to add another SIR … Big deal!

What tuning and temperament does he use? Personally, I go for a harpsichord tuned to A=415 and meantone. I may not draw audiences like Schiff, but I haven’t (thus far) received a litany of ad hominem attacks on SD.

My audience (Sputnik, my golden retriever) and I both enjoy a short pause after each P & F to digest the piece just performed. A little touch of whimsy (which I have to confess, Sputnik enjoys less than I do) is to use a random number generator to dictate the sequence. I feel John Cage’s blessing from on high when I do this.

But I would never commit the sacrilege of blending works from WTC 1 with those from WTC 2.

Uh oh. I just played the A Major from Book 2 and immediately followed with the f# minor from Book 1.

Schiff would not appreciate that. Where is the continuity of the music???

Dear Andras. Treat me with disdain and you can count me out subsidizing your mortgage and what not. We don’t need Scrooges in this day and age of insanity, Andras. We can do bloody well without you if need be. Never forget that.

I was once at a concert when he flew into a rage when his page turner missed a repeat.

I was at a performance of a Beethoven piano & cello sonata at the Schubertiade in Schwarzenberg a few years ago, when the young page turner made a simple mistake with the exposition repeat. Instead of turning the page himself (as I saw happen during an incredibly complicated Adès piece once when the pianist simply rectified the mistake without missing a beat), he stopped the performance and publicity bullied and humiliated the young girl in front of the entire audience. The man is a pig.

Here again, SlippedDisc centers around a few bad tempered haters, instead on the the Well Tempered Clavier marvels by Andràs Schiff.

Envy is a well known corrosive substance in the table of elements, and of a highly concentrated mass density level in the specific case of the editor of this monotonous gossip-blog. The editor quotes this time a Lilliputian “retired administrator” (probably so retired he is unable to comunicate independently…). The editor, together with his band of some other retired “administrators” and a few juvenile bacchanal haters are puzzled that with Rossini’s “La calunnia è un venticello” they actually keep achieving nothing, and their attempted venticelli whispers of calumniators do not even stir the waters where Schiff’s ship is sailing with his listeners in the ocean of Bach. They achieve no crescendo of schiamazzo, no colpo di cannone, no tumulto generale ( quoting Don Basilio), no aria rimbombar, only the Goldberg aria as encore.

Now less poetry and more practicalities- 1) for those who unfortunately suffer from clinical benign prostatic symptoms, no cynicism here at all, even the Eroica symphony would often be too long. Just book a seat directly near one of the concert hall’s doors so you could independently decide when to take your break ad libitum, fuori ordinanza of the music score.

2) for those who suffer from benign patience symptoms on the other hand, much cynicism here, just try to consider how a continuous two hours Bach concert is actually a wonderful both hypnosis and lucid concentration experience when played like Schiff. Just Consider for example how so many here in Italy daily sit down for dinner for 2 even 3 hours without moving, and certainly not going to the toilet every 45-60 minutes during dinner!

3. On the other hand, In case you attend concerts mainly for the entertaining social “mingling” during the intermission and the glamour show off, consider more going to the vast variety of gala concerts. This is not elitist concept, I know you would hardly believe me on this. But some people prefer Rembrandt, some prefer Boucher. Some both. For many, the lack of social mingling effects in a no break continuous Well Tempered Clavier recital is a privilege of concentration.

Just to add…I found this concert in Leipzig to be one of the most illuminating and uplifting I have ever attended. We are so lucky to have such an incredibly fine musician spend so much of their time living and breathing this music, who is also able and willing to share it with others. Also one of the kindest, most generous, warm-hearted people I know.

“Sir András” is such a pretentiously self-important balloon head. So much the opposite character of the late Radu Lupu.

The sort of musician who has hurt the industry more than helped it. I look forward to him, Barenboim, Isserlis, and other bores who act like they’re Prophets of God on Earth being gone for good.

So much I like Barenboim,I admit you have a point there.

Did the tuner tune in a so-called “well temperament”? (A listener with a good ear will know & can answer)

A puffed up nonentity. He refused to let his recital programme be printed, relying instead on mumbled, long-winded introductions. Most of us could not hear. Worse, he hammered and thumped his way through a very long Schubert sonata, a work uniquely unsuitable for concert performance. Never again!

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András Schiff

Sir András Schiff is among the best  and most versatile pianists of our age and works internationally with leading conductors and orchestras. One focus of his career is directing piano concertos by Bach, Mozart and Beethoven from the keyboard. In 1999 he founded his own chamber orchestra, the Cappella Andrea Barca, with which – as well as with the Chamber Orchestra of Europe and the Orchestra of the Age of Enlightenment – he works regularly as a conductor and soloist.

In his piano recitals, he is particularly drawn to cyclical programmes; accordingly, he has focussed especially on piano works by Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Schumann and Bartók. Since 2004 he has performed the complete cycle of Ludwig van Beethoven’s piano sonatas, in chronological order, in more than twenty cities. The live recordings from the Zurich Tonhalle received the highest awards. In 2012, András Schiff won the International Classical Music Award in the category ‘Solo Instrument. Recording of the Year’ for his CD recording of works by Robert Schumann,  Geistervariationen . His recent recordings for the ECM label include a 2020 album with the clarinettist and composer Jörg Widmann that features Brahms’s Clarinet Sonatas op. 120 alongside intermezzos for piano by Jörg Widmann dedicated to András Schiff, a 2021 recording of both of Johannes Brahms’s piano concertos (performed on a restored Blüthner piano from around 1859) with the Orchestra of the Age of Enlightenment, and, in 2023, an album of key works by Bach entitled Clavichord .

Since his early youth András Schiff has been a passionate chamber musician. From 1989 to 1998 he directed the chamber music festival Musiktage Mondsee, from 1995 to 2013 he and Heinz Holliger were joint artistic directors of the Ittingen Whitsun Concerts at the Ittingen Charterhouse in Switzerland, and since 1998 he has directed the concert series Omaggio a Palladio at the Teatro Olimpico in Vicenza. András Schiff was born in 1953 in Budapest. He began piano lessons at the age of five with Elisabeth Vadász. He continued his studies at the Franz Liszt Academy in Budapest with Pál Kadosa, György Kurtág and Ferenc Rados, and with George Malcolm in London. András Schiff has received numerous international prizes and in June 2006 was made an honorary member of the Beethoven House in Bonn for his exceptional work as a Beethoven interpreter. In 2012 he received the Golden Mozart Medal from the International Mozarteum Foundation. He is a recipient of the Order Pour le Mérite for Sciences and Arts, and of the Great Cross of Merit with Star of the Federal Republic of Germany. He has received honorary doctorates from the University of Leeds and the Royal College of Music. He was awarded an English knighthood in 2014 by Queen Elizabeth II for his services to music. In June 2022 he was awarded the Bach Medal of the City of Leipzig as ‘one of the most important Bach interpreters of our time’. At his 66th appearance at the Salzburg Festival in August 2023 he was awarded the Festival Pin with Rubies.

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SIR ANDRÁS SCHIFF INTERPRETS MOZART September 30 & October 1

Sir András Schiff, one of the world’s foremost pianists, makes a guest appearance at Berwaldhallen both as a soloist and as a conductor. He will be playing Mozart’s Piano Concerto No. 27 , the last work the composer performed in public. Schiff will also conduct the Swedish Radio Orchestra and the Swedish Radio Choir in Schubert’s poignant Mass in E-flat Major – a work inspired by Mozart and also by Schubert´s favorite composer, Beethoven.

Friday’s concert on September 30 will be broadcast live on Sveriges Radio P2 and on Berwaldhallen Play  at 7pm.

SWEDISH RADIO SYMPHONY ORCHESTRA

dot SWEDISH RADIO CHOIR

dot 2022/2023

Participants

The Swedish Radio Symphony Orchestra is a multiple-award-winning ensemble renowned for its high artistic standard and stylistic breadth, as well as collaborations with the world’s finest composers, conductors, and soloists. It regularly tours all over Europe and the world and has an extensive and acclaimed recording catalogue.

Daniel Harding has been Music Director of the SRSO since 2007, and since 2019 also its Artistic Director. His tenure will last throughout the 2024/2025 season. Two of the orchestra’s former chief conductors, Herbert Blomstedt and Esa-Pekka Salonen, have since been named Conductors Laureate, and continue to perform regularly with the orchestra.

The Swedish Radio Symphony Orchestra performs at Berwaldhallen, concert hall of the Swedish Radio, and is a cornerstone of Swedish public service broadcasting. Its concerts are heard weekly on the Swedish classical radio P2 and regularly on national public television SVT. Several concerts are also streamed on-demand on Berwaldhallen Play and broadcast globally through the EBU.

32 professional choristers make up the Swedish Radio Choir: a unique, dynamic instrument hailed by music-lovers and critics all over the world. The Swedish Radio Choir performs at Berwaldhallen, concert hall of the Swedish Radio, as well as on tours all over the country and the world. Also, they are heard regularly by millions of listeners on Swedish Radio P2, Berwaldhallen Play and globally through the EBU.

The award-winning Latvian conductor Kaspars Putniņš was appointed Chief Conductor of the Swedish Radio Choir in 2020. Since January 2019, its choirmaster is French orchestral and choral conductor Marc Korovitch, with responsibility for the choir’s vocal development.

The Swedish Radio Choir was founded in 1925, the same year as Sweden’s inaugural radio broadcasts, and gave its first concert in May that year. Multiple acclaimed and award-winning albums can be found in the choir’s record catalogue. Late 2023 saw the release of Kaspars Putniņš first album with the choir: Robert Schumann’s Missa sacra, recorded with organist Johan Hammarström.

Malin Broman is the first concertmaster of the Swedish Radio Symphony Orchestra since 2008. She served as artistic director of Musica Vitae in 2015–2020, premiering over 20 works and touring and recording extensively. In 2019, she succeeded Sakari Oramo as artistic director of the Ostrobothnian Chamber Orchestra.

As a guest leader, she has been invited to perform with ensembles such as the London Symphony Orchestra, Mahler Chamber Orchestra and the Philharmonia Orchestra. As combined soloist and leader she has performed with the Tapiola Sinfonietta, Nordic Chamber Orchestra, Trondheim Soloists and ACO Collective. Soloist highlights include performances with the Gothenburg Symphony, Copenhagen Phil, BBC Scottish Symphony, Academy of St Martin-in-the Fields, and the Swedish Radio Orchestra, working with such conductors as Neeme Järvi, Andrew Manze and Daniel Harding.

In recent years, she has premiered concertos by Daniel Börtz, Britta Byström, Andrea Tarrodi and Daniel Nelson. She has recorded over 30 albums, including concertos by Carl Nielsen and Britta Byström. Recent releases include an album with music by Laura Netzel, and Stockholm Diary with the Ostrobothnian Chamber Orchestra. Her recording of Mendelssohn’s double concerto together with pianist Simon Crawford-Phillips and Musica Vitae was Grammy nominated in 2019.

She received much acclaim for her recording of Felix Mendelssohn’s string octet in the spring of 2020, where she played all eight parts herself. She has since made two similar recordings: Britta Byström’s octet A Room of One’s Own , and Johan Halvorsens Passacaglia recorded with the Swedish Radio Symphony Orchestra’s solo contrabassist Rick Stotijn.

In 2001, she founded the Change Music Festival in Kungsbacka. She is also co-founder of Kungsbacka Piano Trio, with which she had played more than 700 concerts all ove the world, and of Stockholm Syndrome Ensemble which is made up of some of Europe’s most brilliant chamber musicians.

In 2008, Malin was elected a member of the Royal Swedish Academy of Music. The Kungsbacka Piano Trio has received the prestigious Interpret Prize of the Royal Academy of Music. In 2019, she was awarded H.M. The King’s Medal. She is currently Professor of Viola at Edsberg Institute of Music in Stockholm. She plays a 1709 Stradivarius violin and a 1861 Bajoni viola, both generously loaned by the Järnåker Foundation.

Swedish soprano Johanna Wallroth was thrust into the limelight when she took First Prize at the prestigious Mirjam Helin International Singing Competition in 2019.

Initially training as a dancer at the Royal Swedish Ballet School, Wallroth subsequently focused her principal study on voice and went on to graduate from Vienna’s Universität für Musik und darstellende Kunst (MDW).  In 2013, Johanna Wallroth made her operatic debut as Barbarina in Le Nozze di Figaro under Arnold Östman at Ulriksdal Palace Theatre, Stockholm. Efter that she has regularly appeared on stages in Sweden and worldwide, for example as Despina in Cosi fan tutte at Schlosstheater Schönbrunn Wien and as Pamina in Die Zauberflöte at Moscow’s Gnesin Academy. In the 19/20 season, Johanna made her role debut as Zerlin  in Don Giovanni to great acclaim in a live-streamed semi-staged performance with the Swedish Radio Symphony Orchestra under Music Director, Daniel Harding.

Already with an enviable experience on the concert platform, Johanna Wallroth has for example performed with Sakari Oramo at Helsinki Music Centre in Mahler, Symphony No 4 and Mozart, Requiem with Orchestre Philharmonique de Radio France under Barbara Hannigan. She was soloist on tour to Antwerp, Amsterdam, Dortmund, Köln, Hamburg and Luxembourg with Daniel Harding and the Swedish Radio Orchestra in Mahler, Symphony No 4 .

The 2022/23 season opens with a debut at Sweden’s historic Drottningholm Festival as Leocasta in Vivaldi’s Il Giustino with the Drottningholm Theatre Orchestra under George Petrou, and sees her first appearance at Opernhaus Zürich in a ballet production choreographed by Christian Spück based on the Madrigals of Monteverdi and conducted by Christoph Koncz.

Named as Classical Artist in Residence for the 2022/23 season by the Swedish Radio Symphony Orchestra, Johanna Wallroth joins the orchestra for several concerts across the season including Berg, Sieben frühe Lieder with Daniel Harding, Mozart arias with Martin Fröst and Schubert Mass in E-flat with Andràs Schiff.

Marie Henriette Reinhold har uppträtt som solist med bland andra Orchestre des Champs-Élysées, Gewandhausorchester Leipzig, Concerto Köln och Il Giardino Armonico samt med körer som Collegium Vocale Gent, Münchener Bachchor och Kammerchor Stuttgart. Bland operarollerna kan nämnas Grevinnan i Albert Lortzings Tjuvskytten , Fricka i Wagners Rhenguldet , Cornelia i Händels Julius Caesar och tredje damen i Mozarts Trollflöjten . Hon har uppträtt vid Bayreuth-festivalen flera gånger, bland som Grimgerde i Wagners Valkyrian . Hon medverkar på ett flertal inspelningar från olika skivbolag, bland annat i Haydns Stabat Mater med Kammerchor Stuttgart och Frieder Bernius, Bachs Johannespassion under ledning av Peter Schreier och Matteuspassionen med Hans-Christoph Rademann.

Tenoren Joel Annmo har mottagit ett flertal priser och utmärkelser, såsom Birgit Nilsson-stipendiet och Luciano Pavarotti Award för bästa manliga röst i Viotti Music Competition i Italien. Annmo har medverkat I ett stort antal uppsättningar vid Kungliga Operan, bland annat kan nämnas Tamino i Mozarts Trollflöjten , Lenskij i Tjajkovskijs Eugen Onegin , Rinuccio i Puccinis Gianni Schicchi och huvudrollen i Bernsteins Candide . Andra engagemang inkluderar bland annat roller som Jamie i Bjarnasons Brothers vid Danska Nationaloperan och Belmonte i Mozarts Die Entführung aus dem Serail vid Stadttheater Bremerhaven. Som konsertsolist har han bland annat framträtt i Hamburg och Nürnberg, och på svenska konsertscener återkommande sjungit i bland annat Mozarts Requiem och Bachs Magnificat . Under hösten 2022 medverkar Annmo i Kungliga Operans uppsättning av Verdis La Traviata , i rollen som Alfredo Germont.

Barytonen Jóhann Kristinsson kommer denna säsong att gästa bland andra Philharmonisches Staatsorchester Hamburg i Brahms Requiem och Islands Symfoniorkester i Mahlers Lieder eines fahrenden Gesellen . På Staatsoper Hamburg kommer han att medverka i uppsättningar av Donizettis Don Pasquale och han medverkar också i Haydns Årstiderna tillsammans med Bachakademie Stuttgart. Kristinsson har mottagit ett flertal priser, såsom juryns pris från Wiener Musikverein och han erhöll första pris i prestigefyllda Stella Maris Vocal Competition 2019. 2018 utnämndes han till årets mest lovande unga musiker i Icelandic Music Awards och året innan vann han publikens pris vid International Vocal Competition Das Lied i Heidelberg. Han har uppträtt vid festivaler som Oxford Lieder Festival och Dresdner Musikfestspiele och med dirigenter som Pier Giorgio Morandi, Bertrand de Billy, Kent Nagano och Herbert Blomstedt. Han har studerat för Bergþór Pálsson på Island och därefter vid Hanns Eisler School of Music i Berlin.

Chief conductor of the Jeune Choeur de Paris, he started a collaboration with the SWR Vokalensemble Stuttgart in 2013 (including a recording of Ravel’s Daphnis et Chloé ), and also works regularly with the Chœur de Radio-France and the Choeur Accentus since 2014, for tours, radio performances, recordings, preparations and A Cappella concerts. He collaborates with many personalities, such as Sir Simon Rattle, Gustavo Dudamel, Daniele Gatti, Louis Langrée, Stéphane Denève, Daniel Harding, Laurence Equilbey, L. G. Alarcon… He has also conducted the WDR Rundfunkchor in 2016. In July 2016, he has prepared both the SWR Vokalensemble Stuttgart and the NDR Chor for Berlioz’s Romeo et Juliette . In 2017, he has participate to the opening of the Seine Musical conducting the choir accentus and in 2018, he starts a collaboration with the Croatian Radio Choir. Korovitch works for many festivals: the Mozartwoche in Salzburg, Recontres Musicales d’Evian, the Festival de Radio-France in Montpellier or the festival Mozart in New York.

Approximate timings

Approximate concert length: 2 hours 10 min, including intermission, more concerts, svensktoppen 60 years, svensktoppen celebrates its 60 th anniversary with a musical feast at berwaldhallen, classic films with live music, experience three of film history’s silent film classics at berwaldhallen together with live music by the swedish radio symphony orchestra.  , chaplin songs, soprano camilla tilling performs daniel nelson’s chaplin songs for the first time in berwaldhallen. also featured is a musical tribute to ralph vaughan williams on his 150 th anniversary., select language.

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Andras Schiff

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Andras Schiff published the most popular album 'András Schiff - Solo Piano Music' which contains some of the most beloved tracks from the Andras Schiff catalog. 'András Schiff - Solo Piano Music' has made itself the most recognized album for followers to enjoy during the gigs. A handful of Andras Schiff's most famous tour albums and songs are provided below. After releasing 'András Schiff - Solo Piano Music' and making a massive effect in the industry, followers continue to unite to see Andras Schiff appear live to perform favorites from the entire discography.

Andras Schiff Tour Albums and Songs

Andras Schiff: András Schiff - Solo Piano Music

Andras Schiff: Leos Janacek, A Recollection

Andras Schiff: Beethoven : Piano Concertos Nos 1 - 5

Andras Schiff: Bach: Goldberg Variations

Andras Schiff: Mozart: Clarinet Trio "Kegelstatt", Piano Trios K502 & K542

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