CALENDAR

One of today’s most insightful pianists, Mitsuko Uchida begins the final season of her Carnegie Hall Perspectives series with a concert that highlights her supreme sensitivity as a collaborator; dedication to developing extraordinary young talent; and thoughtful, varied programming. The performance comprises music by Beethoven, Robert Schumann, and György Kurtág, whose works Uchida is widely considered to be a master interpreter. It brings Uchida together with exceptional rising professionals from the renowned Marlboro Music Festival, which has introduced audiences to countless modern greats, and of which Uchida is an artistic director.

Kurtág: Play with Infinity from Játékok (Games)
Beethoven: E-flat major Piano Trio, Op. 70, No. 2
Kurtág: Signs, Games and Messages (selections)
Schumann: E-flat major Piano Quartet, Op. 47

Programme
Beethoven: Concerto for Piano and Orchestra No. 3 in C minor op. 37

Performing with
Rundfunk-Sinfonieorchester Berlin
Vladimir Jurowski, conductor

Venue note:
Für das Klavierkonzert Nr. 3 von Ludwig van Beethoven braucht es eine wissende Künstlerin, die imstande ist, die besondere lyrische Qualität dieses Meisterwerkes adäquat wiederzugeben. Mitsuko Uchida bringt genau diese lebenserfahrene „Klugheit des Herzens“ mit. Wir freuen uns sehr über ihr spätes Debüt beim Rundfunk-Sinfonieorchester Berlin!

Wie den heißen Brei umschlich Johannes Brahms die Saurierspuren des verehrten Beethoven, seitdem Robert Schumann ihn aufgefordert hatte, in eben diese Fußstapfen zu treten. Zu den Annäherungsversuchen gehörten das erste Klavierkonzert, verschiedenen Kammermusikgattungen und eben die beiden Serenaden für Orchester. Vladimir Jurowski wird klingend aufzeigen, welch immense Qualität in der Musik der Serenade Nr. 1 steckt – jenseits aller „Sinfonievorbereitung“.

Einer, der wiederum Brahms nacheiferte, war der inzwischen 150-jährige Arnold Schönberg. Das enfant terrible der Musik des frühen 20. Jahrhunderts legte ab etwa 1934 überraschend geläuterte Werke vor, die den Schönbergschen Zuwachs an innovativen Kompositionstechniken nicht leugnen, sich aber mit Lust und Freude auch an das tonale Davor erinnern, als Schönberg noch ein glühender Apologet von Brahms und überhaupt der Romantik und der Klassik gewesen ist. Thema und Variationen für Orchester aus dem Jahre 1943 sind ein charmantes Beispiel für Schönbergs Umsetzung von Brahms‘ Gedanken der „entwickelnden Variation“.

PROGRAMME
Beethoven: Piano Concerto No. 3

PERFORMING WITH
Orchestre de Paris
Klaus Mäkelä, conductor

VENUE NOTE:
Beethoven’s epic-tragic grandeur, sublimated by Mitsuko Uchida’s touch, shines through on this exceptional line-up, all the more so as it is preceded by a premiere and followed by Berlioz’s excess.

It is a privilege to attend the premiere of A Sky too Small bythe young British composer Charlotte Bray, unquestionably one of the most promising talents of her generation. Commissioned by the Orchestre de Paris, this fascinating work is followed by Beethoven’s Concerto No. 3, in which the composer, emancipating himself from the legacy of Mozart and Haydn, takes a leap into history. In the “tragic” key of C minor, he offers an Allegro with a heroic key, a Largo in which the piano, with nocturnal tenderness, unfolds and then adorns a sublime cantilena, and a Finale with a magnetic impulse, until apotheosis.

Finally, the Symphonie fantastique, in addition to being part of the historical roots of the Orchestre de Paris, remains a true standard of French music. Excessive, theatrical, rich in reminiscences of Shakespeare, Goethe, and of course Beethoven, it is structured around a “fixed idea”, until the grandiose, and parodic explosion of the Dies Irae. No work, perhaps, by its scope, the number of personnel it requires, its contrasts and its intensity, is capable of more magnifying the power and expressive capacities of a symphony orchestra.

A Sky too Small by Charlotte Bray was commissioned by the Festival d’Aix-en-Provence and the Philharmonie de Paris – Orchestre de Paris. The world premiere took place on July 13, 2024 with the Orchestre de Paris, conducted by Klaus Mäkelä.

PROGRAMME
Beethoven: Piano Concerto No. 3

PERFORMING WITH
Orchestre de Paris
Klaus Mäkelä, conductor

VENUE NOTE:
Beethoven’s epic-tragic grandeur, sublimated by Mitsuko Uchida’s touch, shines through on this exceptional line-up, all the more so as it is preceded by a premiere and followed by Berlioz’s excess.

It is a privilege to attend the premiere of A Sky too Small bythe young British composer Charlotte Bray, unquestionably one of the most promising talents of her generation. Commissioned by the Orchestre de Paris, this fascinating work is followed by Beethoven’s Concerto No. 3, in which the composer, emancipating himself from the legacy of Mozart and Haydn, takes a leap into history. In the “tragic” key of C minor, he offers an Allegro with a heroic key, a Largo in which the piano, with nocturnal tenderness, unfolds and then adorns a sublime cantilena, and a Finale with a magnetic impulse, until apotheosis.

Finally, the Symphonie fantastique, in addition to being part of the historical roots of the Orchestre de Paris, remains a true standard of French music. Excessive, theatrical, rich in reminiscences of Shakespeare, Goethe, and of course Beethoven, it is structured around a “fixed idea”, until the grandiose, and parodic explosion of the Dies Irae. No work, perhaps, by its scope, the number of personnel it requires, its contrasts and its intensity, is capable of more magnifying the power and expressive capacities of a symphony orchestra.

A Sky too Small by Charlotte Bray was commissioned by the Festival d’Aix-en-Provence and the Philharmonie de Paris – Orchestre de Paris. The world premiere took place on July 13, 2024 with the Orchestre de Paris, conducted by Klaus Mäkelä.

PROGRAMME
W. A. MOZART: Piano Concerto No.18 K.456
G. F. HÄNDEL: Concerto Grosso op. 3 No. 2
W. A. MOZART: Piano Concerto No.21 K.467

PERFORMING WITH
Mitsuko Uchida piano & director
José Maria Blumenschein concertmaster & leader
Mahler Chamber Orchestra

MCO NOTE:
The fifth year of our collaboration with Artistic Partner Mitsuko Uchida brings us from Luxembourg to London.

For this concert in Luxembourg Mozart’s Piano Concerto No. 18 and No. 21 frame George Frideric Handel’s Concerto Grosso op. 3 No. 2.

Often overshadowed by his more famous B-flat concerto (Piano Concerto No. 27), Mozart’s Piano Concerto No. 18 leans towards the entertaining rather than the expressive, offering glimpses of the deeper poignance that would characterize his later works.

The opening movement of Handel’s Concerto Grosso op. 3 No. 2 bears a close relationship to Handel’s Brockes Passion of 1716. Two dance movements, a minuet, and a gavotte complete the concerto. In the Largo, the oboe’s expressive cantilena is gently accompanied by the broken-chord accompaniment of two concertante cellos.

The concert concludes with Mozart’s Piano Concerto No. 21, K. 467, a work of depth and beauty. Known for its large melodic leaps and underlying restlessness, this concerto’s middle movement is particularly renowned for its expressive poignancy.

PROGRAMME
W. A. MOZART: Piano Concerto No.18 K.456
L. JANÁČEK: Mládí
W. A. MOZART: Piano Concerto No.21 K.467

PERFORMING WITH
Mitsuko Uchida piano & director
José Maria Blumenschein concertmaster & leader
Mahler Chamber Orchestra

MCO NOTE:
The fifth year of our collaboration with Artistic Partner Mitsuko Uchida brings us Luxembourg to London. For this concert in Dortmund Mozart’s Piano Concerto No. 18 and No. 21, frame Leoš Janáček’s wind sextet, Mládí (“Youth”).

Often overshadowed by his more famous B-flat concerto (Piano Concerto No. 27), No. 18 leans towards the entertaining rather than expressive, offering glimpses of the deeper poignance that would characterise Mozart’s later works.

Janáček’s Mládí adds contrast to the programme. Composed during a reflective period in Janáček’s life, this wind sextet is a recollection of his youth, infused with astute humor and a classical form. Written during a stay in his birthplace of Hukvaldy, Janáček uses fresh expressions and a quote from his earlier work, March of the Blue Boys, to evoke the spirit of his younger days. The addition of a bass clarinet to the traditional wind quintet lends the piece a unique, rich texture.

The concert concludes with Mozart’s Piano Concerto No. 21, K. 467, a work of depth and beauty. Known for its large melodic leaps and underlying restlessness, this concerto’s middle movement is particularly renowned for its expressive poignancy.

PROGRAMME
W. A. MOZART: Piano Concerto No.18 K.456
L. JANÁČEK: Mládí
W. A. MOZART: Piano Concerto No.21 K.467

PERFORMING WITH
Mitsuko Uchida piano & director
José Maria Blumenschein concertmaster & leader
Mahler Chamber Orchestra

MCO NOTE:
The fifth year of our collaboration with Artistic Partner Mitsuko Uchida brings us Luxembourg to London. For this concert in Dortmund Mozart’s Piano Concerto No. 18 and No. 21, frame Leoš Janáček’s wind sextet, Mládí (“Youth”).

Often overshadowed by his more famous B-flat concerto (Piano Concerto No. 27), No. 18 leans towards the entertaining rather than expressive, offering glimpses of the deeper poignance that would characterise Mozart’s later works.

Janáček’s Mládí adds contrast to the programme. Composed during a reflective period in Janáček’s life, this wind sextet is a recollection of his youth, infused with astute humor and a classical form. Written during a stay in his birthplace of Hukvaldy, Janáček uses fresh expressions and a quote from his earlier work, March of the Blue Boys, to evoke the spirit of his younger days. The addition of a bass clarinet to the traditional wind quintet lends the piece a unique, rich texture.

The concert concludes with Mozart’s Piano Concerto No. 21, K. 467, a work of depth and beauty. Known for its large melodic leaps and underlying restlessness, this concerto’s middle movement is particularly renowned for its expressive poignancy.

PROGRAMME
W. A. MOZART: Piano Concerto No.18 K.456
L. JANÁČEK: Mládí
W. A. MOZART: Piano Concerto No.21 K.467

PERFORMING WITH
Mitsuko Uchida piano & director
José Maria Blumenschein concertmaster & leader
Mahler Chamber Orchestra

MCO NOTE:
The fifth year of our collaboration with Artistic Partner Mitsuko Uchida brings us Luxembourg to London. For this concert in Dortmund Mozart’s Piano Concerto No. 18 and No. 21, frame Leoš Janáček’s wind sextet, Mládí (“Youth”).

Often overshadowed by his more famous B-flat concerto (Piano Concerto No. 27), No. 18 leans towards the entertaining rather than expressive, offering glimpses of the deeper poignance that would characterise Mozart’s later works.

Janáček’s Mládí adds contrast to the programme. Composed during a reflective period in Janáček’s life, this wind sextet is a recollection of his youth, infused with astute humor and a classical form. Written during a stay in his birthplace of Hukvaldy, Janáček uses fresh expressions and a quote from his earlier work, March of the Blue Boys, to evoke the spirit of his younger days. The addition of a bass clarinet to the traditional wind quintet lends the piece a unique, rich texture.

The concert concludes with Mozart’s Piano Concerto No. 21, K. 467, a work of depth and beauty. Known for its large melodic leaps and underlying restlessness, this concerto’s middle movement is particularly renowned for its expressive poignancy.

PROGRAMME
W. A. MOZART: Piano Concerto No.18 K.456
G. F. HÄNDEL: Concerto Grosso op. 3 No. 2
W. A. MOZART: Piano Concerto No.21 K.467

PERFORMING WITH
Mitsuko Uchida piano & director
José Maria Blumenschein concertmaster & leader
Mahler Chamber Orchestra

MCO NOTE:
The fifth year of our collaboration with Artistic Partner Mitsuko Uchida brings us from Luxembourg to London.

For this concert in Luxembourg Mozart’s Piano Concerto No. 18 and No. 21 frame George Frideric Handel’s Concerto Grosso op. 3 No. 2.

Often overshadowed by his more famous B-flat concerto (Piano Concerto No. 27), Mozart’s Piano Concerto No. 18 leans towards the entertaining rather than the expressive, offering glimpses of the deeper poignance that would characterize his later works.

The opening movement of Handel’s Concerto Grosso op. 3 No. 2 bears a close relationship to Handel’s Brockes Passion of 1716. Two dance movements, a minuet, and a gavotte complete the concerto. In the Largo, the oboe’s expressive cantilena is gently accompanied by the broken-chord accompaniment of two concertante cellos.

The concert concludes with Mozart’s Piano Concerto No. 21, K. 467, a work of depth and beauty. Known for its large melodic leaps and underlying restlessness, this concerto’s middle movement is particularly renowned for its expressive poignancy.

PROGRAMME
W. A. MOZART: Piano Concerto No.18 K.456
L. JANÁČEK: Mládí
W. A. MOZART: Piano Concerto No.21 K.467

PERFORMING WITH
Mitsuko Uchida piano & director
José Maria Blumenschein concertmaster & leader
Mahler Chamber Orchestra

MCO NOTE:
The fifth year of our collaboration with Artistic Partner Mitsuko Uchida brings us Luxembourg to London. For this concert in Dortmund Mozart’s Piano Concerto No. 18 and No. 21, frame Leoš Janáček’s wind sextet, Mládí (“Youth”).

Often overshadowed by his more famous B-flat concerto (Piano Concerto No. 27), No. 18 leans towards the entertaining rather than expressive, offering glimpses of the deeper poignance that would characterise Mozart’s later works.

Janáček’s Mládí adds contrast to the programme. Composed during a reflective period in Janáček’s life, this wind sextet is a recollection of his youth, infused with astute humor and a classical form. Written during a stay in his birthplace of Hukvaldy, Janáček uses fresh expressions and a quote from his earlier work, March of the Blue Boys, to evoke the spirit of his younger days. The addition of a bass clarinet to the traditional wind quintet lends the piece a unique, rich texture.

The concert concludes with Mozart’s Piano Concerto No. 21, K. 467, a work of depth and beauty. Known for its large melodic leaps and underlying restlessness, this concerto’s middle movement is particularly renowned for its expressive poignancy.

PROGRAMME TO INCLUDE
Beethoven: Sonata in E minor, Op. 90
Schubert: Sonata in B-flat, D. 960

VENUE NOTE
Legendary pianist Dame Mitsuko Uchida brings a deep insight into the music she plays through her own quest for truth and beauty. Renowned for her interpretations of Mozart, Schubert, Schumann and Beethoven, she has also illuminated the music of Berg, Schoenberg, Webern and Boulez for a new generation of listeners. She is a former Visiting Fellow of Peterhouse, Cambridge, and her February 2023 recital is her seventh for Camerata Musica Cambridge.

She has enjoyed close relationships over many years with the world’s most renowned orchestras, including the Berlin Philharmonic, Royal Concertgebouw Orchestra, Bavarian Radio Symphony, London Symphony Orchestra, London Philharmonic Orchestra, and – in the US – the Chicago Symphony and The Cleveland Orchestra, with whom she recently celebrated her 100th performance at Severance Hall. Conductors with whom she has worked closely have included Bernard Haitink, Sir Simon Rattle, Riccardo Muti, Esa-Pekka Salonen, Vladimir Jurowski, Andris Nelsons, Gustavo Dudamel, and Mariss Jansons.

Since 2016, Mitsuko Uchida has been an Artistic Partner of the Mahler Chamber Orchestra, with whom she is currently engaged on a five-year touring project in Europe and North America. She also appears regularly in recital in Vienna, Berlin, Paris, Amsterdam, London, New York and Tokyo, and is a frequent guest at the Salzburg Mozartwoche and Salzburg Festival.

Mitsuko Uchida records exclusively for Decca, and her multi-award-winning discography includes the complete Mozart and Schubert piano sonatas. She is the recipient of two Grammy Awards – for Mozart Concertos with The Cleveland Orchestra, and for an album of lieder with Dorothea Röschmann – and her recording of the Schoenberg Piano Concerto with Pierre Boulez and the Cleveland Orchestra won the Gramophone Award for Best Concerto.

PROGRAMME TO INCLUDE
Beethoven: Sonata in E minor, Op. 90
Schubert: Sonata in B-flat, D. 960

VENUE NOTE:

World famous for her impeccable interpretations, Mitsuko Uchida always seeks the very depths of the music. And there is no better piece in which to do so than Schubert’s last piano sonata. In this monumental work, with its exceptional emotional range, the Austrian master takes us on an inner journey. Untrammelled joy and profound stillness are just two of the stations on the way. Beethoven’s self-assured, compact Piano Sonata No. 27 is the perfect counterweight. “Every time you play a great piece of music, there is a new discovery. Every time”, Uchida claims. What will she lead us to discover this time?

PROGRAMME TO INCLUDE
Beethoven: Sonata in E minor, Op. 90
Schubert: Sonata in B-flat, D. 960

VENUE NOTE
Mitsuko Uchida macht kein Geheimnis daraus, wofür ihr Musikerherz am stärksten schlägt: „Jeder Tag meines Lebens, an dem ich Mozart, Beethoven, Schubert und auch die Musik unserer Zeit spielen darf – das ist für mich ein Geschenk von irgendwoher. Wenn es den Himmel gibt, dann ist es der Himmel.“ Zur Wiener Klassik und überhaupt zur deutsch-österreichischen Klavierliteratur hegt die Pianistin ein enges Verhältnis. In der Alten Oper hat sie das bereits regelmäßig unter Beweis gestellt und kehrt auch in dieser Saison mit zwei gewichtigen Werken Beethovens und Schuberts hierher zurück. Sein spätes Sonatenschaffen läutete Ersterer mit seiner Sonate op. 90 ein, während Letzterer mit seiner B-Dur-Sonate sein schöpferisches Leben vollendete: Zwei Monate nach Uraufführung des aufwühlenden Werks starb Schubert im Alter von nur 31 Jahren.

Konzertpate: B. Metzler seel. Sohn & Co. AG

PROGRAMME
W. A. MOZART: Piano Concerto No.18 K.456
L. JANÁČEK: Mládí
W. A. MOZART: Piano Concerto No.21 K.467

PERFORMING WITH
Mitsuko Uchida piano & director
José Maria Blumenschein concertmaster & leader
Mahler Chamber Orchestra

MCO NOTE
Our tour with Artistic Partner Mitsuko Uchida brings us to the USA for the fifth time. For this edition, Mozart’s Piano Concerto No. 18 and No. 21 frame Leoš Janáček’s wind sextet, Mládí (Youth).

Often overshadowed by his more famous B-flat concerto (Piano Concerto No. 27), No. 18 leans towards the entertaining rather than the profoundly expressive, offering glimpses of the deeper poignance that would characterize Mozart’s later works. Uchida’s interpretation brings out the concerto’s intricate elegance, highlighting its playful yet sophisticated nature.

Janáček’s Mládí adds contrast to the program. Composed during a reflective period in Janáček’s life, this wind sextet is a recollection of his youth, infused with astute humor and classical form. Written during a stay in his birthplace of Hukvaldy, Janáček uses fresh expressions and a quote from his earlier work, March of the Blue Boys, to evoke the spirit of his younger days. The addition of a bass clarinet to the traditional wind quintet lends the piece a unique, rich texture.

The concert concludes with Mozart’s Piano Concerto No. 21, K. 467, a work of depth and beauty. Known for its large melodic leaps and underlying restlessness, this concerto’s middle movement is particularly renowned for its expressive poignancy.

PROGRAMME
W. A. MOZART: Piano Concerto No.18 K.456
L. JANÁČEK: Mládí
W. A. MOZART: Piano Concerto No.21 K.467

PERFORMING WITH
Mitsuko Uchida piano & director
José Maria Blumenschein concertmaster & leader
Mahler Chamber Orchestra

MCO NOTE
Our tour with Artistic Partner Mitsuko Uchida brings us to the USA for the fifth time. For this edition, Mozart’s Piano Concerto No. 18 and No. 21 frame Leoš Janáček’s wind sextet, Mládí (Youth).

Often overshadowed by his more famous B-flat concerto (Piano Concerto No. 27), No. 18 leans towards the entertaining rather than the profoundly expressive, offering glimpses of the deeper poignance that would characterize Mozart’s later works. Uchida’s interpretation brings out the concerto’s intricate elegance, highlighting its playful yet sophisticated nature.

Janáček’s Mládí adds contrast to the program. Composed during a reflective period in Janáček’s life, this wind sextet is a recollection of his youth, infused with astute humor and classical form. Written during a stay in his birthplace of Hukvaldy, Janáček uses fresh expressions and a quote from his earlier work, March of the Blue Boys, to evoke the spirit of his younger days. The addition of a bass clarinet to the traditional wind quintet lends the piece a unique, rich texture.

The concert concludes with Mozart’s Piano Concerto No. 21, K. 467, a work of depth and beauty. Known for its large melodic leaps and underlying restlessness, this concerto’s middle movement is particularly renowned for its expressive poignancy.

PROGRAMME
W. A. MOZART: Piano Concerto No.18 K.456
L. JANÁČEK: Mládí
W. A. MOZART: Piano Concerto No.21 K.467

PERFORMING WITH
Mitsuko Uchida piano & director
José Maria Blumenschein concertmaster & leader
Mahler Chamber Orchestra

MCO NOTE
Our tour with Artistic Partner Mitsuko Uchida brings us to the USA for the fifth time. For this edition, Mozart’s Piano Concerto No. 18 and No. 21 frame Leoš Janáček’s wind sextet, Mládí (Youth).

Often overshadowed by his more famous B-flat concerto (Piano Concerto No. 27), No. 18 leans towards the entertaining rather than the profoundly expressive, offering glimpses of the deeper poignance that would characterize Mozart’s later works. Uchida’s interpretation brings out the concerto’s intricate elegance, highlighting its playful yet sophisticated nature.

Janáček’s Mládí adds contrast to the program. Composed during a reflective period in Janáček’s life, this wind sextet is a recollection of his youth, infused with astute humor and classical form. Written during a stay in his birthplace of Hukvaldy, Janáček uses fresh expressions and a quote from his earlier work, March of the Blue Boys, to evoke the spirit of his younger days. The addition of a bass clarinet to the traditional wind quintet lends the piece a unique, rich texture.

The concert concludes with Mozart’s Piano Concerto No. 21, K. 467, a work of depth and beauty. Known for its large melodic leaps and underlying restlessness, this concerto’s middle movement is particularly renowned for its expressive poignancy.

PROGRAMME
W. A. MOZART: Piano Concerto No.18 K.456
L. JANÁČEK: Mládí
W. A. MOZART: Piano Concerto No.21 K.467

PERFORMING WITH
Mitsuko Uchida piano & director
José Maria Blumenschein concertmaster & leader
Mahler Chamber Orchestra

MCO NOTE
Our tour with Artistic Partner Mitsuko Uchida brings us to the USA for the fifth time. For this edition, Mozart’s Piano Concerto No. 18 and No. 21 frame Leoš Janáček’s wind sextet, Mládí (Youth).

Often overshadowed by his more famous B-flat concerto (Piano Concerto No. 27), No. 18 leans towards the entertaining rather than the profoundly expressive, offering glimpses of the deeper poignance that would characterize Mozart’s later works. Uchida’s interpretation brings out the concerto’s intricate elegance, highlighting its playful yet sophisticated nature.

Janáček’s Mládí adds contrast to the program. Composed during a reflective period in Janáček’s life, this wind sextet is a recollection of his youth, infused with astute humor and classical form. Written during a stay in his birthplace of Hukvaldy, Janáček uses fresh expressions and a quote from his earlier work, March of the Blue Boys, to evoke the spirit of his younger days. The addition of a bass clarinet to the traditional wind quintet lends the piece a unique, rich texture.

The concert concludes with Mozart’s Piano Concerto No. 21, K. 467, a work of depth and beauty. Known for its large melodic leaps and underlying restlessness, this concerto’s middle movement is particularly renowned for its expressive poignancy.

PROGRAMME
BEETHOVEN Piano Concerto No. 4

Programme also includes SHOSTAKOVICH Symphony No. 15

PERFORMING WITH
Boston Symphony Orchestra
Andris Nelsons, conductor

Mitsuko Uchida has, from an early age, been considered a standout interpreter of Beethoven. The Fourth is considered the first of Beethoven’s piano concertos to depart from the format prescribed by Mozart (an orchestral introduction with a dramatic solo entrance). The concerto’s opening lets the instrument speak for itself — intimately and delicately so—to lead the way for the rest of the ensemble. Shostakovich’s Fifteenth Symphony is his last symphony and is full of quotations, codes, clues, and ambiguity. This is an experience defying description that invites the listener to create their own personal interpretation.

PROGRAMME
BEETHOVEN Piano Concerto No. 4

Programme also includes SHOSTAKOVICH Symphony No. 15

PERFORMING WITH
Boston Symphony Orchestra
Andris Nelsons, conductor

Mitsuko Uchida has, from an early age, been considered a standout interpreter of Beethoven. The Fourth is considered the first of Beethoven’s piano concertos to depart from the format prescribed by Mozart (an orchestral introduction with a dramatic solo entrance). The concerto’s opening lets the instrument speak for itself — intimately and delicately so—to lead the way for the rest of the ensemble. Shostakovich’s Fifteenth Symphony is his last symphony and is full of quotations, codes, clues, and ambiguity. This is an experience defying description that invites the listener to create their own personal interpretation.

PROGRAMME
BEETHOVEN Piano Concerto No. 4

Programme also includes SHOSTAKOVICH Symphony No. 15

PERFORMING WITH
Boston Symphony Orchestra
Andris Nelsons, conductor

Mitsuko Uchida has, from an early age, been considered a standout interpreter of Beethoven. The Fourth is considered the first of Beethoven’s piano concertos to depart from the format prescribed by Mozart (an orchestral introduction with a dramatic solo entrance). The concerto’s opening lets the instrument speak for itself — intimately and delicately so—to lead the way for the rest of the ensemble. Shostakovich’s Fifteenth Symphony is his last symphony and is full of quotations, codes, clues, and ambiguity. This is an experience defying description that invites the listener to create their own personal interpretation.

PROGRAMME TO INCLUDE
Beethoven: Sonata in E minor, Op. 90
Schubert: Sonata in B-flat, D. 960

VENUE NOTE:

After dedicating herself to the demanding Diabelli Variations, pushing her interpretation of one of Beethoven’s most fascinating creations to the limit – along with Schubert and Mozart, the centrepiece of her career – the accomplished pianist Mitsuko Uchida asked herself what the next challenge should be. She found an answer in the last piano sonatas by the German composer, whose genius she says lies in “his absolutely grandiose vision of the universe”. At Gulbenkian Music, Uchida will perform Beethoven’s Sonatas No. 27, combining it with one of Schubert’s final three masterpieces in the genre.

PROGRAMME TO INCLUDE
Beethoven: Sonata in E minor, Op. 90
Schubert: Sonata in B-flat, D. 960

VENUE NOTE:

Mitsuko Uchida is the grande dame of the piano – and one of the Berliner Philharmoniker’s  close artistic companions. Her elegant, gripping and sensitive playing makes her an ideal interpreter of the piano works of Ludwig van Beethoven and Franz Schubert. In the final concert of our piano series, we will hear her perform Beethoven’s Piano Sonata in E minor, which journeys between contemplative calm and passionate forward momentum, as well as Schubert’s last sonata – a work full of intense emotions: sometimes rapturous and reflective, sometimes comforting; and at times, offering a terrifying glimpse into a psychological abyss.

PROGRAMME TO INCLUDE
Beethoven: Sonata in E minor, Op. 90
Schubert: Sonata in B-flat, D. 960

VENUE NOTE:

Als Kind verließ sie ihre japanische Heimat und kam nach Österreich – und damit in eine neue Welt. In Wien ausgebildet, entwickelte sich Mitsuko Uchida zu einer Pianistin von Weltrang. Ihre Begeisterung für die Wiener Musik begleitet sie bis heute.

Wie tief kann man in manche Ozeane eintauchen? »Unendlich«, sagt Mitsuko Uchida und meint damit vor allem die Sonaten von Franz Schubert und Ludwig van Beethoven. »Es sind allerdings völlig verschiedene Klangwelten.« Trotz ihrer reichen Bühnenerfahrung begegnet Uchida den großen Werken der Klavierliteratur so sensibel wie am ersten Tag. »Ich bin heute vielleicht mutiger, aber in einem anderen Sinne als in meinen ersten Jahren.« Mit ihrem ›Wiener Blut‹ kommt sie den Geheimnissen dieser Musik ganz sicher auf die Spur …

Gefördert vom Kuratorium KölnMusik e.V.