SEEN AND HEARD INTERNATIONAL

What better fayre to serve up as a final course to a Sunday lunch than a piano recital from one of the world’s finest performers? A packed Symphony Hall thought so and Mitsuko Uchida had attracted a generous helping of Japanese fans for this afternoon slot in the 2010/11 Birmingham International Concert Season. With Beethoven, Schumann and Chopin on the menu it was an appetising prospect, full of Eastern promise and the lady delivered.

 

The unassuming Uchida took to the platform in a modest but classy attire – stylish aubergine top with dazzling gold sash and plain trousers. The naturalised British Dame began with Beethoven, his Piano Sonata No. 27 in E minor, Op 90. And what a start! As the lights dimmed and silence descended upon the auditorium her opening chord was explosive, so much so that it seemed to prompt a terrible wailing cry from one infant in the stalls, one of the worst disruptions I’ve ever heard at a concert. He/she was removed. Uchida’s concentration was disrupted and the section in question was given an inscrutable stare. I wondered if she would restart, but no she carried on. Known for her unique interpretations, the first movement of No 27 is marked Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck. The contrast between verve and expressivity (compared to my Brendel recording) seemed over-emphasised; the result however was compelling. Uchida went on to weave some magic with the melodies of the second and final movement. The ‘Moonlight’ Sonata followed; Uchida had clearly thought through how she wanted it to come across. She did not let the Adagio sostenuto first movement drag, a failing I find with some artists. The balance between the melody and the right hand triplets was as alluring as ever. The Allegretto middle movement skipped along; the surety and lightness of her touch here was scant preparation for the assault on the keys during the final Presto agitato.

 

The second half was devoted to two of this year’s anniversaries, the 1810 births of both Schumann and Chopin. Uchida began with Schumann’s Gesänge der Frühe Op 133, giving each of the short five sections a distinct characteristic feel, reflecting in turn perhaps the composer’s despairing mood of 1854: contemplative, disturbed, stumbling, volatile, resigned.

 

Chopin’s Piano Sonata No 3 in B Minor Op 58, completed the advertised programme. After a striking introduction to the opening Allegro, Uchida demonstrated her touch for one of those exquisite Chopin melodies, one of those that make you want to sway gently from side to side and wallow in its beauty. Uchida simply let the music do the talking; she was not one for exaggerated movements or gestures, her sincerity infiltrating the auditorium. The mercurial fingers of Uchida made the Scherzo seem shorter than usual, but Chopin’s practice of placing it second rather the Classical norm of third, seemed to fit naturally enough. The Largo, another Chopin marvel akin to a stretched nocturne, was poignant and had the audience hanging on every note. The Finale was exciting throughout, Uchida’s virtuosity in full flow.

 

Since being placed second behind one Dimitri Alexeev (but ahead of András Schiff) at Leeds in 1975, Uchida has been at the top and this performance proved she is still there. She acknowledged the generous Birmingham applause with some very deep oriental-style bows, responding with a delightful little Bach encore. The citizens of Cologne and Warsaw are in for a treat when she tours this programme in the next seven days.

Geoff Read