★★★★★Andras Schiff, renowned for his graceful stage presence, epitomizes politeness and sophistication as a pianist. Upon taking the stage, he appears almost in meditation, before gracefully moving to the piano keys and, when conducting an orchestra, skillfully guiding the musicians with subtle finger gestures that are refined to a level that makes royal greetings seem informal.

This concert at the Royal Festival Hall was imbued with elegance, featuring only the people and elements that Schiff values. Among them was the Orchestra of the Age of Enlightenment, a long-time collaborator with whom he engages in rich musical dialogues. The evening’s repertoire consisted of works by Schumann and Mendelssohn, two contemporaries sharing a spirit of Romanticism.

A standout in Schiff’s performance was his instrument, a stunning rosewood Blüthner fortepiano from 1859 (serial number 726, a point of interest for piano enthusiasts). Together, Schiff and his piano delivered a captivating interpretation of Schumann’s Piano Concerto, showcasing the unique tonal palette of the Blüthner. The deep bass resonated powerfully, while the sparkling high notes added a lively brightness, and the mid-range offered a variety of textures. Schiff navigated these contrasts masterfully, particularly enchanting in the playful simplicities of the slow movement.

The Orchestra of the Age of Enlightenment, so familiar with the nuances of the music, required minimal direction from Schiff. His only notable intervention was to lead the spirited conclusion of the concerto. His conducting was similarly understated during Schumann’s Konzertstück for piano and orchestra, which showcased the impressive performance of horn players Roger Montgomery and Martin Lawrence, hinting at an exceptional evening.

After the piano was moved aside, Schiff embraced Mendelssohn’s selections from Midsummer Night’s Dream, conducting without a score or podium but infused with clear affection for the whimsical and magical textures crafted by the composer. A particular highlight was the warm sound of Anthony George’s ophicleide, a brass instrument that leaves a lasting impression.

The concert concluded with Mendelssohn’s overture Fingal’s Cave as an expansive encore, equally evocative. Schiff left the stage with his trademark kindness, always composed, gracious, and smiling. His presence is truly remarkable.