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Music CD - "Beethoven: Piano Sonatas Opp. 109, 110 & 111"
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Music CD: "Beethoven: Piano Sonatas Opp. 109, 110 & 111"
List Price: $16.98
Our Price: $10.14
Your Save: $ 6.84 ( 40% )
Availability: Usually ships in 24 hours
Manufacturer: Philips
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Average Customer Rating:  
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Tracks:
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1. I. Vivace, Ma Non Troppo-Adagio Espressivo - Tempo I
2. II. Prestissimo
3. III. Andante Molto Cantabile E Espressivo: Var. I: Molto Espressivo/Var. II: Leggiermente/Var. III: Allegro Vivace/Var. IV: Un Poco Meno Andante, Cio E Un Poco Piu Adagio Como Il Tema/Var. V: Allegro, Ma Non Troppo/Var. VI: Tempo I Del Tema
4. I. Moderato Cantabile, Molto Espressivo
5. II. Allegro Molto
6. III. Adagio Ma Non Troppo-Arioso Dolente
7. IV. Fuga: Allegro Ma Non Troppo-L'istesso Tempo Di Arioso-L'istesso Tempo Della Fuga-Meno Allegro
8. I. Maestoso-Allegro Con Brio Ed Appassionato
9. II. Arietta: Adagio Molto, Semplice E Cantabile-L'istesso Tempo
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Binding: Audio CD
EAN: 0028947569350
Label: Philips
Manufacturer: Philips
Number Of Discs: 1
Publisher: Philips
Release Date: 2006-04-25
Studio: Philips
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Spotlight customer reviews:
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Customer Rating: 
Summary: Articulate in Every Sense
Comment: I admire Mitsuko Uchida's scholarship, and her clearly planned trajectory in choice of repertory. My impression, which is solely based on my observation of her career, is that she wisely chose to begin with Mozart, as that simply was what she knew she could play with all her heart, bringing to the music intelligence, the perfect techinique (and as a pianist, believe me, that technique is maybe not even "teachable" but a karmic gift...)
There is good reason why we have had to wait awhile for Uchida to give us these recordings of Beethoven 109,110, 111. Articlate is the one word I find that best sums her playing of these works. Others reviews have expressed the beauty of the engineering of these recordings. I'm sure Uchida-san stayed through the process that gives these recordings much of their beauty. All her hard work to express all she felt it, the meaning of these Sonatas she would not allowed to be lost in the long work of the acoustics, the engineering; praise her for staying on the job to give us that.
I listen to her as she is: a singular artist, with a very hard-won understanding of this music, that she would not attempt to record until she felt she could give all the music was due. Her interpretations are undeniably beautiful, articulating every detail, but never lost in the details at the expense of the depth of the message of the whole, true to the score, to her in-depth musicological research. But most of all, personal, daring to play late Beethoven is just that, DARING. But she did not do these works until she was fully prepared.
Articulate, I say, in the many senses: the technique, the touch, the tone, the attention to this absolute music never falls out of her hands, and into the personal, above the written score. Yet, I must also say, when I listen to my all-time favorite Beethoven pianist, Annie Fischer, there is in Fischer's playing something, sometimes, more convincing, maybe not as beautiful, but that is Fischer's great gift. I have written long enough. Thank you, dear Uchida-san for these beautiful recordings that are in themselves, greatly enlightening performances of these treacherously difficult works. You have given us such a gift, at great expense to you in all the hard work that has gone into them. Yet, in listening, you magically make them sound as though they flow as easily and naturally as a mountain spring, as torrential as a tornado, as deep and profound as the tides that are affected by the moon. You have given us the great universe that is Beethoven. Brava! Brava, Uchida-san.
I must add, a specific editorial note; that is, in the last variation in 109, Uchida displays something fantastic. After all the permutations of the theme Beethoven has delivered upon the performer to make into a part of the whole of the work, there is this final variation, penultimate. As Uchida plays it, I feel she has grasped everything form the previous variations, and from those that are so deeply grounded in the Earth, she finds the fragments, the material, to create a veritable constellation of stars; the final variation, in her hands, is as though she is flinging, the melody, like so many stars, into the skies, where each note shines brilliantly, yet in perfect movement, stars or planets, who cares, they all are flung through the power of her magnificent technique and hard-won mastery, into, for us, even the blind, can witness through this playing, the experience of witnessing, on a cloudless night, the stars at play, through her playing. Again, grazia, brava, Uchida-san. and many thanks for all the hard work that you undertook to give us nothing less than your very best.
I would like to take time to explain my personal history of experiencing Uchida over her career.
Of course, we were first given her great recordings of Mozart. While many of Mozart's piano Sonatas are among his least works, Uchida makes every one of them worthy of listening and study. While I find certain other interpretors of Mozart more convincing in certain of these works, overall, her Mozart set is indisprensible and a superb guide for young pianists.
The concertos are in a word, ravishing.
The remainder of this review is purely personal, and may be of no interest to most readers, but I feel compelled to share the following.
When Uchida moved to Schubert, that occured at a time in my life that brought me into a relationship with this great pianist that was something, again, the word, "karmic" must be used. I was dying, very likely, lying for weeks, into months, with almost constant, 104 degree fevers, and the only thing I could tolerate was listening on my portable CD player to her Schubert B-flat, mostly, and other Schubert. I can't explain why, but as a lover of so much music, none could I follow, none made sense, none could reach me, I couldn't concentrate, I couldn't bear the sound, except for these works. Something profoundly personal was happening. I was beginning what has become a wonderful relationship with this glorious musician, and even more profoundly, the rich and mysterious, marvelous personality that is my dear Mitsuko Uchida.
Let it be noted, I have had never the privilege of knowing Uchida in person, but as a musician, her heart is much with me, I feel I can claim a personal relationship, because she gives that through music, and, as a musician, the language of the heart for me is music, and so, I feel, I know her in that sense. Her playing does not stop with the sound of her touch, but moves on, into my heart, soul, and has literally inspired me to continue living. Let it sound fanatical to those who don't know this kind of relationship with music and musicians.
I am a pianist. I did my undergraduate studies with Edward Kilenyi, and continued to work with various teachers over the years. I have played a range of repertory from most of the WTC, many Beethoven Sonatas (Kilenyi was one of the greatest Beethoven pianists of our age... that is not well-known, because he stopped performing and devoted his time to teaching and the quieter life as husband to a marvelous lady and father to his children.) But I had the privilege of sitting with Kilenyi, the protege of Ernst von Dohnanyi and having some of the most ascerbic, witty, and profoundly brilliant teaching on Bach, Beethoven, Chopin, Brahms, Debussy, that I could possibly imagine. His insights were astonishing, his playing was incomparable, personal and universal at once.
Then, I moved on and lived in NYC and LA for 25 years, and heard all the greatest musicians. As I prefer to call her, "Uchida-san" with the honorific, came into my musical world. I heard her in recital, I heard her play 4 of the 5 Beethoven concertos with my beloved Esa-Pekka Salonen. Every performance was revelatory, incandescent, marvelous. Perhaps the most stunning moment was when she played the 4 short pieces of (pardon, I have some memory loss due to illness, it was Webern, I think, maybe Berg, after which she programmed the rarely played b minor Rondo of Mozart). The audience was spell bound by the 4 short pieces, and did not applaud at the end, and she seemlessly went into the Mozart. Her playing of that strange and marvelous work was as modern as the music preceeding it. Her inpretation was just astounding.
Preceeding this was the Chopin b-flat minor Sonata. It was my first hearing of Uchida-san playing Chopin. I couldnt' quite imagine it. Until she bounded onto the stage like a sprite, and landed on that octave that opens the Sonata with all the power of a mad Romantic. Kilenyi had played it in recital; I'd heard many others, but Uchida made it her own. The last movement, strange and timeless, was the perfect preparation for the aforementioned music of Berg/Webern?/Mozart. She is a genius for programming, an art in itself.
The second half of the recital was the huge, easily boring Schubert G major. Not one moment was anyting less than riveting. And she dared take all repeats, as one should, but it is a daring effort. Captivating, consistently throughout the recital. Daring, magnificent, lyrical, tragic, everything Schubert had written, she played out in full understanding. And the audience went mad.
I was among the mad, and remain so for this dear, devoted musician who I sincerely believe saved my life.
Customer Rating:
Summary: Music for the soul.
Comment: I bought this music for my dear hubby who is mad about classical music. Uchida plays the piano beautifully, with intensity, passion, and such desperation, you can hear her heart echo through the symphonies of Beethoven. I have never been much of a classical music fan but such beautiful music is changing my original assumptions. Highly recommend it.
Customer Rating:
Summary: Great recording
Comment: If this is a sample of her Beethoven, I'll be first in line when she records the lot. Just beautiful.
Customer Rating:
Summary: Filled With Concentration, Imagination And Clarity!
Comment: Mitsuiko Uchida continues to amaze with her unique ingenuity, creativity and musical imagination. Her depth of understanding in Beethoven's E major sonata, Op. 109 stands true, proven by her incredible accuracy revealing that Beethoven has never expressed himself more directly and intimately. She magnificently blends the lyrical aspects and ingenuity of the sonata's first movement allowing it to take on an improvisatory character. In the Prestissimo, Uchida doesn't rush ahead, but takes time to pace and define its character. In the third movement Uchida performs the variations beautifully, using the natural flow of voice-leading to its full advantage. Her personal approach to the Op. 110 is interesting and offers formidable musical ideas. Uchida leads us into the Op. 111's Arietta without compromising the tempo indications nor allowing the playing to ever become rigid. Uchida's virtuosity and innate use of expression remarkably come together in the opening movement. Throughout these three later sonatas, Uchida conveys the various pianistic textures and attention to detail, such as contrasting moods and dynamic scope. Uchida's eloquence and shaping of line become poetically arresting in the slow movements, and makes use of layering textures and understated cohesion. Uchida's concentration and clarity throughout these performances is possessing and magical.
("May I suggest reading "Beethoven's Letters" especially if you are planning on studying and performing his sonatas! Knowledge and insight are "keys" to understanding the 'Man And His Music'.")
Author: Raymond Vacchino M.Mus. A.Mus. L.R.S.M. Licentiate (honorary)
Customer Rating:
Summary: NOT ALL IT'S CRACKED UP TO BE
Comment: I've heard Uchida many times, just last month for example. She is terrific in live perfomances, but on record, for some reason she is a little lame. This is, how should I say it, BOHHHRRRINNNNNGGGG!
And as sacrilgious as it may sound, opus 109, and 110 are not 'transcendental', but just ordinary pieces of music. If they were not Beethoven's they would not be given much shrift.
Not to get on another subject, but a lot of writing about Beethoven is 'The White Man's Burden' type nonsense.
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Editorial Reviews:
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Beethoven's last three piano sonatas have long been regarded as the Mt. Everest of the form, heights that can be scaled only by pianists who possess the keyboard technique to realize the depth of the composer's vision. By those standards, if Uchida isn't the equal of such giants as Arrau, Kempff, and Schnabel, she certainly comes close enough to make this an outstanding release. Her pianissimos are feathery-light; her fortes are as powerful as one might wish, and her trills are analogues of Beethoven's spiritual ideas. She renders Beethoven's full dynamic palette with nuances that make every shading register. Uchida never makes an ugly sound. Her tone remains warm, colorful, and full-bodied. More important, her interpretation encompasses the inward, contemplative slow sections as well as the energetic ones, and she plays Beethoven's contrapuntal passages with a clarity that makes every musical strand count. She's helped by outstanding engineering, too. Not all of the transcendental Beethoven is captured here, but Uchida comes a lot closer than most pianists can aspire to. That alone makes this disc a must-have. -- Dan Davis
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