Mitsuko Uchida teams up this time with Sir Simon Rattle and the Berlin Philharmonic for a splendid performance of Mozarts Piano Concerto # 18 in B flat major.
Oh, how I wish there were words to describe how much I love the slyness, wittiness and lyricism of the 3rd movement. Just thank you W.A.Mozart for such joy through music.
What is it about Mozart’s 2nd movements of his piano concertos. The end of the Andante rivals the magical 2nd movement of the 23rd. Subtle melancholy with beautiful haunting themes begun by the orchestra and echoed by the piano- so delicate, so steeped in pathos that tears are unavoidable. Thank you Mozart for such incredible music ❤
Actually, there only two great female Mozart pianist in our day and one is sadly gone!!! We can only cherish every Mozart performance you can still share with us Madam Uchida!!!
There's practically nothing I can add here to the superlative (and well-deserved) praises that others have already written. I do, however, want to praise Mozart the Great Shape Shifter. In this concerto he especially used, it seems to me, the Tempi to enhance the Mood, a theatrical device, indeed. The first and third movements are Jaunty and Rapturous, respectively, while the middle movement --one of the most beautiful movements among hundreds by Mozart- is so wistful & melancholy as to produce involuntary tears in the listener. BTW, the first and third are designated "Allegro Vivace," while the second is designated as "Andante con Poco Sostenuto," which does not reveal its mood until one hears it. A Genius! Thank you all, and kudos to the videographer and to the film editor. A gorgeous delight to hear and watch.
Mitsuko Uchida, a luminous artist whose fingers dance upon the ivory keys, weaves a spellbinding tapestry of sound in her performance of Mozart’s Piano Concerto No. 18 in B-flat major, K. 456. As the concert hall hushes, anticipation hangs in the air like a delicate mist, and Uchida steps onto the stage, her presence both commanding and vulnerable. The first movement bursts forth with exuberance, a cascade of notes that leap and pirouette. Uchida’s touch is deft, each phrase alive with urgency. The orchestra, led by the maestro Sir Simon Rattle, responds in kind, their instruments conversing-a spirited dialogue between piano and strings. It is as if the very essence of joy has been distilled into music, and we, the fortunate listeners, are swept along on this jubilant current. But it is in the second movement that the heart of this concerto reveals itself. Marked “Andante un poco sostenuto,” it is a sanctuary of introspection. Uchida’s fingers linger, tracing delicate arcs of melody. The piano becomes a vessel for longing, a mirror reflecting the soul’s quiet yearnings. As she navigates the phrases, we glimpse the inner landscape of Mozart’s genius-the ache, the tenderness, the bittersweet beauty. The Berlin Philharmonic, under Rattle’s baton, cradles Uchida’s playing with sensitivity. The strings breathe, the woodwinds sigh, and the piano responds-a communion of artists bound by shared purpose. The music swells and recedes, like waves lapping at the shore of memory. We are transported to a realm where time stands still, where emotion transcends mere notes. And then, the finale-a spirited rondo that dances with infectious energy. Uchida’s fingers fly, the piano keys a blur. The orchestra rallies, their bows slicing through the air. It is a celebration, a triumphant affirmation of life’s vitality. As the last chord reverberates, we are left suspended-a collective breath held, reluctant to break the spell. In this luminous performance, Mitsuko Uchida invites us to journey beyond the mundane, to touch the sublime. Her artistry is a testament to the human spirit’s capacity for expression, for connection. As the applause erupts, we rise to our feet, hearts brimming with gratitude-for music, for moments that transcend time, and for Mitsuko Uchida, who, through her fingers, has woven magic into our souls.
Mozart's piano concerto #18 is particularly pulchritudinous! Dame Uchida has such nimble fingers that would make Mozart delight in her interpretation of this sweet concerto.
Thank you so much I really really enjoyed watching you playing with such passion and sensitivity too, and I really really love ❤️ your rendition of Mozarts music. Bravo 👏 Bravo 👏 Bravo 👏.
Hopely Some we relize we realize what we missing, It take many years to play Piano with these Group❤❤❤❤❤❤❤❤❤❤❤❤💛💛💛💛💛💛💛💛 Bravo, your are the true Artist, Please spend a time to these Master Peace
@@RaineriHakkarainen no acuerdo con su listado y en ningun momento digo que Uchida sea "the best" sino Una de las mejores interpretes de Mozart. Y lo es.
Orchestra size can depend on the repetoire: larger size for romantic pieces. Orchestras in the 18th century were smaller, as you see in this performance.
They are saying Beethoven was the greatest composer of all time, I don’t agree his music was never coherent, nothing compares to the beauty of Mozart’s art❤
WHEN THE HELL ARE YOU GOING TO RECORD THE WHOLE OF MOZART'S 21ST PIANO CONCERTO?!?!?!?!!!!!!!!! PLEEEEEEEEEEEEEEEEEEEEEEEEEEEAAAAAAAAAAAAAAAAAAAASSSSSSSSSSSSSSEEEEEEEEEEEEEEEEEEEEEEE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! You also need to do his 20th and his 14th. I tell you what, let's just cut to the chase, you MUST record all 27 of them, starting with the 21st, followed by the 20th and the 14th. Julie Gill, Glasgow, Scotland.
Your wish to hear this as Mozart would have heard it is unattainable. All art is of its own time, and a 21st century performance of Mozart remains a 21st century performance - period instruments etc notwithstanding.
@@franckfranciszek Because it’s based on the ridiculous, absurd notion that there is something romantic and mysterious about the past that is completely different to the present and that the way we do things in the present are not nearly as special as they were before, even though there is no way to ever experience the past or to ever have an accurate idea of what the past was like, and, for all we know, the past was shit. A disgusting kind of nostalgia that is rooted in ignorance and fiction. Not to mention it’s exactly the kind of thing that some people like to say and do to feel intellectual and interesting when they’re not. Imagine being so fucking stupid you’re watching a high definition video of one of the most magnificent pianists of all time performing a masterpiece on a top-notch, finely tuned jewel of musical engineering and wishing you could be hearing something else. For fuck’s sake…
I think the camera would do better to concentrate on Mitsuko’s fingering interpretation rather than her agonising facial contortions, which are more appropriate in keeping with the more modern misusage of the word “CLASSICAL”, please spare us as I would be louth to imagine the applause of Mozart for making his music appear so painful.
The facial expressions “classical” musicians make are grotesque and off-putting perhaps because they are pseudo-emotions, just as music is an attempt to put human feelings into a non-verbal language. Nevertheless, Zeus finds it amusing people prefer this to nature or falling in love.
Rattle n'est vraiment pas un mozartien, c'est peu de le dire. Quelle déception, sa direction, on frise la grossièreté. Uchida ne peut pas sauver le concerto à elle toute seule. C'est mauvais.
