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BBC Proms 2008
www.bbc.co.uk/proms
Live at The Proms - Tickets from only £5.
Track Listings
| 1. Andante - Mitsuko Uchida, The Cleveland Orchestra, Pierre Boulez |
| 2. Molto allegro - Mitsuko Uchida, The Cleveland Orchestra, Pierre Boulez |
| 3. Adagio - Mitsuko Uchida, The Cleveland Orchestra, Pierre Boulez |
| 4. Giocoso (moderato) - Mitsuko Uchida, The Cleveland Orchestra, Pierre Boulez |
| 5. 1. Sehr mässig |
| 6. 2. Sehr schnell |
| 7. 3. Ruhig, fliessend |
| 8. 1. Mässige Viertel |
| 9. 2. Mässige Achtel |
| 10. 3. Bewegte Achtel |
| 11. No.1 - Leicht, zart |
| 12. No.2 - Langsam |
| 13. No.3 - Sehr langsame Viertal |
| 14. No.4 - Rasch, aber leicht |
| 15. No.5 - Etwas rasch |
| 16. No.6 - Sehr langsam |
| 17. Piano Sonata, Op.1 |
Product Description
Amazon.co.uk Review
Anyone who thinks 12-note serialism is hard on the brain and painful to the ears should listen to the outstanding Schoenberg: Piano Concerto from Mitsuko Uchida. Here are its three great exponents--Schoenberg, the original master, and his two first pupils, Webern and Berg--and you couldn't wish for a more sustained feast of beauty. For this quality, of course, we have the pianist herself to thank: Uchida's trademark fastidiousness was never better employed. When you think her playing is at its softest possible level, she takes it even softer, so that the gentle thudding of the hammers falling back into their beds becomes part of the experience. Schoenberg's early pieces are intimate gems, and his concerto is a majestic comment on wartime realities. Webern's variations reveal him in his visionary guise. Berg's sonata--which still half-dwells in the realm of 19th-century tonalism--is marked by a mellow lyricism. And despite their manifest individualities, all three composers here speak the same pianistic language: in Uchida it has its best conceivable interpreter. --Michael Church
Anyone who thinks 12-note serialism is hard on the brain and painful to the ears should listen to the outstanding Schoenberg: Piano Concerto from Mitsuko Uchida. Here are its three great exponents--Schoenberg, the original master, and his two first pupils, Webern and Berg--and you couldn't wish for a more sustained feast of beauty. For this quality, of course, we have the pianist herself to thank: Uchida's trademark fastidiousness was never better employed. When you think her playing is at its softest possible level, she takes it even softer, so that the gentle thudding of the hammers falling back into their beds becomes part of the experience. Schoenberg's early pieces are intimate gems, and his concerto is a majestic comment on wartime realities. Webern's variations reveal him in his visionary guise. Berg's sonata--which still half-dwells in the realm of 19th-century tonalism--is marked by a mellow lyricism. And despite their manifest individualities, all three composers here speak the same pianistic language: in Uchida it has its best conceivable interpreter. --Michael Church
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