Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
Mahler Chamber Orchestra

W. A. MOZART Piano Concerto No. 23, K. 488
W. A. MOZART Serenade No. 6, K. 239 (Serenata Notturna)
W. A. MOZART Piano Concerto No. 24, K. 491

Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost two years since our last performance together, we reunite to begin a tour sharing our celebrated approach to Mozart’s piano concertos.

The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart’s creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart’s recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musicial situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special. The Serenata notturna, performed by the MCO alone, forms the programme’s centrepiece.

Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
Mahler Chamber Orchestra

W. A. MOZART  Piano Concerto No. 23, K. 488
A. WEBERN Five Movements, Op. 5
A. WEBERN Variations, Op. 27
W. A. MOZART Piano Concerto No. 24, K. 491

Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost two years since our last performance together, we reunite to begin a tour sharing our celebrated approach to Mozart’s piano concertos.

The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart’s creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart’s recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musicial situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special. The Serenata notturna, performed by the MCO alone, forms the programme’s centrepiece.

Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
Mahler Chamber Orchestra

W. A. MOZART  Piano Concerto No. 23, K. 488
A. WEBERN Five Movements, Op. 5
A. WEBERN Variations, Op. 27
W. A. MOZART Piano Concerto No. 24, K. 491

Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost two years since our last performance together, we reunite to begin a tour sharing our celebrated approach to Mozart’s piano concertos.

The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart’s creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart’s recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musicial situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special. The Serenata notturna, performed by the MCO alone, forms the programme’s centrepiece.

Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
Mahler Chamber Orchestra

W. A. MOZART  Piano Concerto No. 23, K. 488
A. WEBERN Five Movements, Op. 5
A. WEBERN Variations, Op. 27
W. A. MOZART Piano Concerto No. 24, K. 491

Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost two years since our last performance together, we reunite to begin a tour sharing our celebrated approach to Mozart’s piano concertos.

The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart’s creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart’s recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musicial situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special. The Serenata notturna, performed by the MCO alone, forms the programme’s centrepiece.

Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
Mahler Chamber Orchestra

Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost two years since our last performance together, we reunite to begin a tour sharing our celebrated approach to Mozart’s piano concertos.

The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart’s creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart’s recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musicial situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special. The Serenata notturna, performed by the MCO alone, forms the programme’s centrepiece.

Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
Mahler Chamber Orchestra

W. A. MOZART  Piano Concerto No. 23, K. 488
A. WEBERN Five Movements, Op. 5
A. WEBERN Variations, Op. 27
W. A. MOZART Piano Concerto No. 24, K. 491

Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost two years since our last performance together, we reunite to begin a tour sharing our celebrated approach to Mozart’s piano concertos.

The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart’s creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart’s recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musicial situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special. The Serenata notturna, performed by the MCO alone, forms the programme’s centrepiece.

Performing with
Chicago Symphony Orchestra
Miccardo Muti, conductor

Performing
Beethoven: Piano Concerto No. 4

Programme also includes
Beethoven: Overture to The Ruins of Athens
Glass: Symphony No. 11

One of Beethoven’s most reflective and serene creations, the Fourth Piano Concerto is an ideal vehicle for Mitsuko Uchida, who conveys “a sense of intimacy and directness in her playing, as well as a certain quiet grace” (San Francisco Chronicle). Riccardo Muti also conducts Glass’ Eleventh Symphony, a colorful, exuberant score that the composer wrote for his own 80th birthday celebration.

Performing with
Chicago Symphony Orchestra
Miccardo Muti, conductor

Performing
Beethoven: Piano Concerto No. 4

Programme also includes
Beethoven: Overture to The Ruins of Athens
Glass: Symphony No. 11

One of Beethoven’s most reflective and serene creations, the Fourth Piano Concerto is an ideal vehicle for Mitsuko Uchida, who conveys “a sense of intimacy and directness in her playing, as well as a certain quiet grace” (San Francisco Chronicle). Riccardo Muti also conducts Glass’ Eleventh Symphony, a colorful, exuberant score that the composer wrote for his own 80th birthday celebration.

Performing with
Chicago Symphony Orchestra
Miccardo Muti, conductor

Performing
Beethoven: Piano Concerto No. 4

Programme also includes
Beethoven: Overture to The Ruins of Athens
Glass: Symphony No. 11

One of Beethoven’s most reflective and serene creations, the Fourth Piano Concerto is an ideal vehicle for Mitsuko Uchida, who conveys “a sense of intimacy and directness in her playing, as well as a certain quiet grace” (San Francisco Chronicle). Riccardo Muti also conducts Glass’ Eleventh Symphony, a colorful, exuberant score that the composer wrote for his own 80th birthday celebration.

Performing with
Cleveland Orchestra
Franz Welser-Möst, conductor

Performing
SCHOENBERG: Concerto for Piano and Orchestra

Programme also includes
BRUCKNER: Symphony No. 9 in D minor

Performing with
Cleveland Orchestra
Franz Welser-Möst, conductor

Performing
SCHOENBERG: Concerto for Piano and Orchestra

Programme also includes
BRUCKNER: Symphony No. 9 in D minor

Performing with
Cleveland Orchestra
Franz Welser-Möst, conductor

Performing
SCHOENBERG: Concerto for Piano and Orchestra

Programme also includes
BRUCKNER: Symphony No. 9 in D minor

Performing with
Mark Padmore, tenor

Programme
BEETHOVEN An die Hoffnung
BEETHOVEN Resignation
BEETHOVEN Abendlied unterm gestirnten Himmel
BEETHOVEN An die ferne Geliebte
SCHUBERT Swan Song (Schwanengesang)

Performing with
Mark Padmore, tenor

Programme
BEETHOVEN An die Hoffnung
BEETHOVEN Resignation
BEETHOVEN Abendlied unterm gestirnten Himmel
BEETHOVEN An die ferne Geliebte
SCHUBERT Swan Song (Schwanengesang)

“If you hear a lot of concerts in your lifetime, you might eventually hit upon one of a small handful in which the yards between you and the performer telescope to inches” (Philadelphia Inquirer). Padmore’s performances with the Society have exemplified intimate and forceful Lieder singing, and this appearance with Uchida, who needs no introduction, promises no less.

Performing with
Mark Padmore, tenor

Programme
BEETHOVEN An die Hoffnung
BEETHOVEN Resignation
BEETHOVEN Abendlied unterm gestirnten Himmel
BEETHOVEN An die ferne Geliebte
SCHUBERT Swan Song (Schwanengesang)

After her debut on our series was canceled in March 2020 due to the COVID-19 pandemic, legendary pianist Mitsuko Uchida makes a triumphant, long-anticipated return in two programs that showcase the range of her prowess as both chamber musician and soloist. In this first program, she joins illustrious tenor Mark Padmore for a joint Princeton University Concerts debut exploring songs by Beethoven and Schubert.

Performing with
Mark Padmore, tenor

Programme
BEETHOVEN An die Hoffnung
BEETHOVEN Resignation
BEETHOVEN Abendlied unterm gestirnten Himmel
BEETHOVEN An die ferne Geliebte
SCHUBERT Swan Song (Schwanengesang)

Hear a seldom encountered side of Beethoven and a Schubert masterpiece when Mark Padmore and Mitsuko Uchida—two artists closely associated with the music of both composers—perform together in intimate Zankel Hall. Beethoven was not remembered as a song composer, but he assigns the piano a major role in An die ferne Geliebte, a song cycle that moves with its nature imagery and depiction of longing. The Schwanengesang don’t tell a particular story, but Schubert addresses the quintessentially Romantic themes of nature, love, and loss with soaring lyricism.

Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
Mahler Chamber Orchestra

W. A. MOZART  Piano Concerto No. 23, K. 488
A. WEBERN Five Movements, Op. 5
A. WEBERN Variations, Op. 27
W. A. MOZART Piano Concerto No. 24, K. 491

Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost two years since our last performance together, we reunite to begin a tour sharing our celebrated approach to Mozart’s piano concertos.

The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart’s creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart’s recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musicial situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special. The Serenata notturna, performed by the MCO alone, forms the programme’s centrepiece.

Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
Mahler Chamber Orchestra

W. A. MOZART  Piano Concerto No. 23, K. 488
A. WEBERN Five Movements, Op. 5
A. WEBERN Variations, Op. 27
W. A. MOZART Piano Concerto No. 24, K. 491

Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost two years since our last performance together, we reunite to begin a tour sharing our celebrated approach to Mozart’s piano concertos.

The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart’s creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart’s recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musicial situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special. The Serenata notturna, performed by the MCO alone, forms the programme’s centrepiece.

Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
Mahler Chamber Orchestra

W. A. MOZART  Piano Concerto No. 23, K. 488
A. WEBERN Five Movements, Op. 5
A. WEBERN Variations, Op. 27
W. A. MOZART Piano Concerto No. 24, K. 491

Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost two years since our last performance together, we reunite to begin a tour sharing our celebrated approach to Mozart’s piano concertos.

The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart’s creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart’s recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musicial situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special. The Serenata notturna, performed by the MCO alone, forms the programme’s centrepiece.

Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
Mahler Chamber Orchestra

W. A. MOZART  Piano Concerto No. 23, K. 488
A. WEBERN Five Movements, Op. 5
A. WEBERN Variations, Op. 27
W. A. MOZART Piano Concerto No. 24, K. 491

Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost two years since our last performance together, we reunite to begin a tour sharing our celebrated approach to Mozart’s piano concertos.

The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart’s creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart’s recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musicial situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special. The Serenata notturna, performed by the MCO alone, forms the programme’s centrepiece.

Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
Mahler Chamber Orchestra

W. A. MOZART  Piano Concerto No. 23, K. 488
A. WEBERN Five Movements, Op. 5
A. WEBERN Variations, Op. 27
W. A. MOZART Piano Concerto No. 24, K. 491

Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost two years since our last performance together, we reunite to begin a tour sharing our celebrated approach to Mozart’s piano concertos.

The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart’s creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart’s recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musicial situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special. The Serenata notturna, performed by the MCO alone, forms the programme’s centrepiece.

Performing with
London Philharmonic Orchestra
Vladimir Jurowski, conductor

Performing
Beethoven Piano Concerto No. 4

Programme also includes
Helmut Lachenmann Marche fatale (UK premiere)
Bruckner Symphony No. 6

With some artists, the name is enough, and when Mitsuko Uchida plays Beethoven … well, it’s not really necessary to say more. Few musicians on the planet come closer to capturing the combination of eloquence, drama and deep poetry that makes the Fourth Piano Concerto one of Beethoven’s most limitless – and most personal – works. It’s hard to match that, but Vladimir Jurowski always sees things differently, and after beginning with Helmut Lachenmann’s pitch-black musical joke, he scales the huge vistas and Alpine peaks of Bruckner’s colossal Sixth Symphony: a sweeping spiritual voyage filled with some of the 19th century’s most ravishing sounds. Soul music, Austrian-style.

Performing with
London Philharmonic Orchestra
Vladimir Jurowski, conductor

Performing
Beethoven Piano Concerto No. 4

Programme also includes
Beethoven Prometheus Overture
Bruckner Symphony No. 6