Bolet and Schiff: change the text?

What about the notes the composer wrote on the page? "I have been criticised for saying something like this; butI still. believe it: look, the composer writes, he sends it to the publisher, and his moment of creation is over. A composer's involvement with his piece in terms of time is very limited. We take that creation and we study it and learn it and play it and study some more and play it again ... How long are we involved? A lifetime! I am playing pieces I learnt first when I was 14 years old. It seems to me that after spending 50 years or more with a work of art I maybe know a little more about it than the composer. "Don't get me wrong. I wouldn't change Mozart. Not a note. With Beethoven I don't think I would. Well, the Hammerklavier is unplayable. It should be done in the Weingartner orchestration, then it would really, become the monumental work Beethoven intended. Chopin? Yes, I change some things; there is a note in the A flat Ballade where I think the clef change is in the wrong place. Rachmaninov changed things all the time. When he performed his compositions he didn't play what he wrote because he realized it didn't work."

Nicholas Kenyon, The Times 6 October 1984

So would András Schiff go as far as Jorge Bolet in his recent interview here, and claim the right to change the notes in Rachmaninov and Chopin? "I don't mind if he changes Rachmaninov; I couldn't care less, to be honest. (And I hate Liszt as well, though probably because I used to hear it massacred daily in the practice-room at the Budapest Academy.) But Chopin knew exactly what to do. I heard [Ivo] Pogorelich the other day saying that Chopin didn't know how to express himself. What utter nonsense. Liszt was a big change but not Chopin. And Chopin admired, Liszt as a virtuoso but I think he despised him as a musician. . ."

Nicholas Kenyon, The Times 27 October 1984