In his liner notes, Klaus Schweizer describes a unique meeting of minds
when pianists András Schiff and Peter Serkin appeared on stage together
for a November 1997 concert held at New York’s Metropolitan Museum of
Art. Rather than join forces, these two “protagonists” rubbed those
forces together to see what kind of electricity could be produced, so
that “the audience had the pleasure of enjoying a contest of
temperaments…and may have come away with the impression that such
‘contrapuntal’ music-making can be more stimulating than the harmony of
two kindred souls.” The spontaneity of said performance and all its
glorious vices have made their way into this subsequent studio
recording, for which we are treated to the same sounds that graced the
eyes and ears of all who were there for this rare event. As Schweizer so
keenly sees it, this is a program of fugal magnificence, each work
drawing from Bach’s highest art its own vivid line of continuity. (ECM Reviews)In his liner notes, Klaus Schweizer describes a unique meeting of minds
when pianists András Schiff and Peter Serkin appeared on stage together
for a November 1997 concert held at New York’s Metropolitan Museum of
Art. Rather than join forces, these two “protagonists” rubbed those
forces together to see what kind of electricity could be produced, so
that “the audience had the pleasure of enjoying a contest of
temperaments…and may have come away with the impression that such
‘contrapuntal’ music-making can be more stimulating than the harmony of
two kindred souls.” The spontaneity of said performance and all its
glorious vices have made their way into this subsequent studio
recording, for which we are treated to the same sounds that graced the
eyes and ears of all who were there for this rare event. As Schweizer so
keenly sees it, this is a program of fugal magnificence, each work
drawing from Bach’s highest art its own vivid line of continuity. (ECM Reviews)
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