{"id":1187,"date":"2008-01-08T12:03:00","date_gmt":"2008-01-08T20:03:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1187"},"modified":"2008-01-08T12:03:00","modified_gmt":"2008-01-08T20:03:00","slug":"cd_andras_schiff","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2008\/01\/cd_andras_schiff\/","title":{"rendered":"CD: Andras Schiff"},"content":{"rendered":"<p><strong>Andr\u00c3\u00a1s Schiff<\/strong>, <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FBeethoven-Piano-Sonatas-Vol-Opp%2Fdp%2FB000TLPW5I&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\"><em>Ludwig Van Beethoven, The Piano Sonatas, Vol. V<\/em><\/a> (ECM). This leg of Schiff&#8217;s journey through the 32 Sonatas finds him in Beethoven&#8217;s middle period. Of the four included here, those given names as well as opus numbers are the most famous; &#8220;The Tempest,&#8221; &#8220;The Hunt&#8221; and &#8220;Waldstein.&#8221; The brilliant Austrian plays them with grace, passion and his celebrated touch and dynamic sense. But I find myself going back to the earliest of the set, number 16 in G-Major, for the unexpected treasure Schiff finds in the adagio movement. His complete sonatas project is on the way to ranking with Arthur Schnabel&#8217;s and Richard Goode&#8217;s.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Andr\u00c3\u00a1s Schiff, Ludwig Van Beethoven, The Piano Sonatas, Vol. V (ECM). This leg of Schiff&#8217;s journey through the 32 Sonatas finds him in Beethoven&#8217;s middle period. Of the four included here, those given names as well as opus numbers are the most famous; &#8220;The Tempest,&#8221; &#8220;The Hunt&#8221; and &#8220;Waldstein.&#8221; The brilliant Austrian plays them with [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-1187","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1187","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=1187"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1187\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1187"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1187"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1187"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}