Mozart: Piano Concertos Nos. 23 & 24

Mitsuko Uchida - Mozart: Piano Concertos Nos. 23 & 24

Mozart: Piano Concertos Nos. 23 & 24
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CD Details

Artist: Mitsuko Uchida
Brand: UCHIDA,MITSUKO
Conductor: Mitsuko Uchida
Composer: Mozart
Orchestra: Cleveland Orchestra
Edition: Music CD
Audio: English (Unknown)
CD Release Date: 2009-09-08
Music Label: Decca
Soundtracks:
  1. Piano Concerto No.24 In C Minor, K.491 - 1. (Allegro)
  2. Piano Concerto No.24 In C Minor, K.491 - 2. Larghetto
  3. Piano Concerto No.24 In C Minor, K.491 - 3. (Allegretto)
  4. Piano Concerto No.23 In A, K.488 - 1. Allegro
  5. Piano Concerto No.23 In A, K.488 - 2. Adagio
  6. Piano Concerto No.23 In A, K.488 - 3. Allegro Assai

Music reviews of Mozart: Piano Concertos Nos. 23 & 24

Music Review: Uchida's Playing Of Mozart Still Conveys Inner Wisdom And Breathtaking Focus!
Rating: 5 Stars

This newly released recording of Mitsuko Uchida revisiting Mozart's Piano Concertos No.23, K.488 in A; and No.24, K.491 in C minor; is a challenge for anyone to write a review about! The two reviews before my own only proves this point by highlighting the fact that trying to compare differences between Uchida's Phillips disc, and this recent Decca version is indeed a grim task in "splitting hairs!"

Mozart's concerto writing reaches a climax in the Piano Concerto in C minor, K.491 (1786).

Uchida, now somewhat older and all the wiser handles the virtuosic demands this kind of music-making imposes with exceptional stylistic command and supreme concentration throughout. In K.491 performed before K.488,is polished as one may expect it to be, but Uchida further renders an allure and spontaneity that are absolute joy. As well, details of scoring in the orchestral expositions of the first movements rarely receive such interest in voicing and characterised definition. In a Mozart concerto one feels that the pianist behaves like a character in an opera. This comes from a dramatization between soloist and orchestra. We wait for the entry of the soloist from the beginning of the orchestral Exposition.

Uchida does not let us down in this respect either. Simply judge her first entry in this concerto's solo theme: there is no other more difficult to manage. Uchida provides the range, the control and the rhetoric necessary to pull it off. Another difficult challenge is overcome by Uchida in this first movement by providing us with an impressive cadenza. Mozart is always demanding, not physically, but in concentrating to find the right character and atmosphere. It becomes an outstanding occurrence of this movement, to be returned to again and again. Uchida studied Mozart's operas which provides her with the ability to intensify the inner musical clues when interpreting his cadenzas.
("Twenty-one Mozart cadenzas quote one theme, twelve quote two themes, and two quote three themes.") A bit of trivia.

The slow movements are especially expressive. In the Larghetto of No.24,Uchida allows her opening to unfold at an ideal tempo giving us the impression of walking while she "speaks" to us from a possible scene of a tragic opera. This is immediately followed by the bubbling finale characterising pure opera buffa, and energized by Uchida's spirited finger work and forward impetus.

Uchida is equally responsive to the radiant, wistful, entry, and within the Adagio, elegiac lyricism of K.488 in A. Once more she illuminates, vividly, affectionately, yet with no hint of sentimentality, the music's changing moods and colours while maintaining a strong melodic flow. As the main theme of the Adagio returns, after the serenading type grace of the A major episode beautifully realised here by Uchida, she enhances its pathos with delicately expressive embellishments. After this, Uchida maintains an airborne finale keeping elegance and animal spirits in ideal balance.

The vast range of styles, emotions, and forms that these two concertos encompass are evocatively celebrated in Uchida's performances, and admirably captured in civilized collaboration with the Cleveland Orchestra.

What may well be the most important factor is that Mozart brings to life, specific characters from his operas. No other composer ever showed this type of relationship so clearly and Uchida exemplifies this characteristic with amazing expressive intensity.

Overall, Uchida constantly reminds us that the best interpreters do not impose but find a way of letting the music 'speak' through them.

Author: Raymond Vacchino M.Mus. Classical Music Critic
More Mozart: Piano Concertos Nos. 23 & 24 free music reviews:
1

Description of Mozart: Piano Concertos Nos. 23 & 24

Widely regarded as one of the foremost Mozart interpreters of our time: Mitsuko Uchida returns, conducting the orchestra herself from the piano, with live performances of two of Mozart's most popular concertos. Mozart entered the A major Concerto, K488 into his catalogue of works on March 2, 1786: A piano concerto. In the A major concerto, the meticulous accompaniment adds a softer, more intimate sound, which is also helped by the absences of festive trumpets and timpani. On March 24, 1786, Mozart entered the concerto in C minor, K491 in his catalogue. The piece calls for the largest orchestra that he ever used in a concerto: a flute, pairs of oboes, clarinets, bassoons, horns and trumpets; timpani and strings. The expressive opening movement is shaped with its dramatic leaps and its lamenting chromatic lines.

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