András Schiff's sharp attention to detail spills over from the first volume in his projected Beethoven cycle into this recital, although he sometimes crosses the thin line separating astute perception and finicky mannerism. The exaggerated quality of his clipped chords and staccato passages proves mincing and ultimately monotonous in No 6's outer movements, although some of the intricate left-hand runs attain uncommon clarity.
Surprisingly, Schiff holds back in No 5's finale, maintaining a comfortable allegro, whereas Beethoven marks prestissimo, in contrast to the thrust and momentum Glenn Gould, Stephen Kovacevich and, more recently, Gerhard Oppitz generate. Although Schiff makes the most of No 7's finale's questioning silences, others bring more gravity and desolation to the sonata's great slow movement (Arrau and Schnabel, for example).
Yet Schiff's subtle tempo modifications in the first movement add expressive dimension to the hurling octaves, while numerous left-hand counterlines zoom to the forefront. He similarly modifies the Pathétique's first movement's basic tempo so that the bass tremolos have enough room to resonate and breathe, and follows the Rudolf Serkin tradition of repeating the introduction.
Intense right- and left-hand interplay vibrantly unhinges the slow movement from its comfort zone, while Schiff's adherence to Beethoven's careful dynamic differentiations restores the Rondo's long lost thematic spice.
Heed these reservations: but respect Schiff's forethought, integrity and utter lack of routine.

…Schiff… modifies the Pathétique's first movement's basic tempo so that the bass tremolos have enough room to resonate and breath, and follows the Rudolf Serkin tradition of repeating the introduction. Intense right- and left-hand interplay vibrantly unhinges the slow movement from its comfort zone, while Schiff's adherence to Beethoven's careful dynamic differentiations restores the Rondo's long lost thematic spice.