It was a surprise to many when pianist András Schiff took up the playing of historical instruments in mid-career, but by now he is generally acclaimed as one of the few players who can draw equally good results from both historical pianos and modern ones. The 1820 Viennese instrument by Franz Brodmann heard here has appeared on several of his recordings, and you can see why he acquired it (when not in action, it lives on loan at the Beethoven-Haus in Bonn). The instrument fits his style, his sensitivity of touch combined ...
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It was a surprise to many when pianist András Schiff took up the playing of historical instruments in mid-career, but by now he is generally acclaimed as one of the few players who can draw equally good results from both historical pianos and modern ones. The 1820 Viennese instrument by Franz Brodmann heard here has appeared on several of his recordings, and you can see why he acquired it (when not in action, it lives on loan at the Beethoven-Haus in Bonn). The instrument fits his style, his sensitivity of touch combined with driving forward energy, in a remarkable way. It has four pedals to modulate the dynamics, with the result that even though you are at no point in the top of the dynamic range of a modern piano, you feel it's quite a ride. Superficially, you may miss the dreamy, Schumann-like languidness of the Four Impromptus, D. 899, but the detail more than makes up for it. Sample the A flat impromptu, which gives an idea of the different tonal qualities of the fortepiano across its range, and...
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![Schubert: Sonatas & Impromptus[2 Cd]](https://www4.alibris-static.com/cover/o56164ha0my_t.jpg)
