Decca Music Group - Mitsuko Uchida The Schubert Cycle. pianist mitsuko uchida in an exclusive video interview speaks about composer Franz Schubert http://www.deccaclassics.com/artists/uchida/biog.html
Extractions: Mitsuko Uchida's interpretations of a wide range of repertoire have gained her a formidable reputation as a pianist who brings intellectual acuity and musical insight to her performances. She is particularly noted for her interpretations of Mozart, Beethoven and Schubert but is also a dedicated performer of the music of Berg, Webern, Schoenberg, Debussy and Messiaen Last season Mitsuko Uchida focused on two of the most important strands in her career: Mozart and Schoenberg. Despite a sabbatical during the first half of 2002 she gave performances of Mozart concertos with Sir Colin Davis and the Dresden Staatskapelle, and with Kurt Sanderling in Berlin as a part of his farewell concert. Her Mozart Violin Sonatas project with Mark Steinberg continued with the complete cycle at the Wigmore Hall in London and selected programmes in Bath, Antwerp, Dublin and Paris. Schoenberg featured strongly in a three-week chamber music project in Japan involving artists such as Yo Yo Ma, Mark Steinberg and Maria Picinini and including performances of
Mitsuko Uchida At Carnegie Hall By Samuel Lipman stateincluding stage seatsof the recital the Japanese pianist mitsuko uchida gave at Carnegie Hall in the middle http://www.newcriterion.com/archive/11/feb93/uchida.htm
Extractions: by Samuel Lipman O ne hears a great deal these days about the decline of the solo recital. To judge by newspaper coverage alone, not just in The New York Times but in other American newspapers, and not just by the American press but by the English as well, recitals come a distant third behind orchestra concerts and, especially, behind opera. Why this should be so is in at least two senses not clear: the monumental solo literature written for the piano and for the violin, and the Lieder and chanson literature written for the voice, lie at the heart of the repertory of the greatest music in the Western tradition. Furthermore, solo recitals, involving as they do just one artist, or an artist and an accompanist, are vastly cheaper to put onstage than large orchestras and opera companies. But in the case of the recital, clearly more is involved than art and money; in the postmodern entertainment world, even in the area of what once was enthusiastically hailed as high culture, hordes of performers and glittering spectacles are what the public seems to want. Dictionary of Pianists Carnaval , the Webern Variations, opus 27, and the Schubert Sonata in G major, opus 78 (D.894).
Marco21.com: 内田光子 (Mitsuko Uchida) top 60 CDs of 1998. mitsuko uchida seems to be today's greatest classical pianist, and each of her alltoo-rare http://www.marco21.com/music/m/uchida
BRAAVO! Mitsuko Uchida 1999 kell 9.05. BRAAVO! mitsuko uchida. uchida on publikud hämmastanud erakordselt rafineeritud mängumaneeri ja sügava tunnetusega pianist. Tema mängus imetletakse http://www.er.ee/klassik/braavo/uchida.html
Extractions: Ta on erakordselt rafineeritud mängumaneeri ja sügava tunnetusega pianist. Tema mängus imetletakse tasakaalu tugeva intellekti ja rikkaliku emotsionaalse maailma vahel. Uchida armastab süveneda korraga ühe helilooja loomingusse pikalt ja täielikult. Sellele vihjab ka tema repertuaar aastate lõikes: 80-ndatel esitas ta palju Mozarti loomingut, sealhulgas kõik helilooja sonaadid ja klaverikontserdid. 90-ndatel aastatel on Uchida pühendunud Beethoveni ja Schuberti loomingule. Laiemalt tuntaksegi teda eelkõige tänu Mozarti ja Schuberti esitustele. Tänaseks on ta publikut hämmastanud ka eriliste Chopini, Schumanni ja mitmete 20. sajandi heliloojate tõlgitsustega. Saate autor on Margit Peil
Press Release tempo och betoning) undviks i stort av mitsuko uchida i hennes pågående inspelningscykel med Schuberts pianomusik. tanke i perfekt balans. En pianist som kanske i än högre grad http://www.wpas.org/pr-nov10.html
Extractions: Go to: Guardian Unlimited home UK news World news Archive search Arts Books Business EducationGuardian.co.uk Film Football Jobs MediaGuardian.co.uk Money The Observer Online Politics Shopping SocietyGuardian.co.uk Sport Talk Travel Audio Email services Special reports The Guardian The weblog The informer The northerner The wrap Advertising guide Crossword Dating Headline service Syndication services Events / offers Help / contacts Information Newsroom Style guide Travel offers TV listings Weather Web guides Guardian Weekly Money Observer Home News Friday Review Regulars ... Help Pianist Mitsuko Uchida has strong opinions about tea. "I drink only Darjeeling, and I am very particular about where it comes from," she says. This is no ordinary stuff: it is harvested from the first flush of tea leaves in a particular field in the Himalayas, you can only buy it in Paris and you have to drink it black. "And if you don't like it, you accept it anyway," she beams. As it is with tea, so it is with music: she has fantastically high standards. Though born in Japan, 52-year-old Uchida grew up and trained in Vienna; and, after an initial reaction against the city's stuffiness and traditionalism, she has made its music, especially Mozart and Schubert, the core of her repertoire. But the Mozart concertos she will be performing next week on London's South Bank - K413, 414 and 415 - won't look, at first, like concertos. She is playing them not with an orchestra, but a string quartet.
Guardian Unlimited | Arts Reviews | Mitsuko Uchida Erica Jeal Wednesday March 19, 2003 The Guardian This was a recital that broughtout the best in the pianist mitsuko uchida but then that's nothing unusual. http://www.guardian.co.uk/arts/reviews/story/0,11712,916999,00.html
Extractions: Go to: Guardian Unlimited home UK news World news Archive search Arts Books Business EducationGuardian.co.uk Film Football Jobs MediaGuardian.co.uk Money The Observer Online Politics Shopping SocietyGuardian.co.uk Sport Talk Travel Audio Email services Special reports The Guardian The weblog The informer The northerner The wrap Advertising guide Crossword Dating Headline service Syndication services Events / offers Help / contacts Information Newsroom Style guide Travel offers TV listings Weather Web guides Guardian Weekly Money Observer Home News Friday Review Regulars ... Help
Extractions: In her hands, the second of Schoenberg's Three Pieces, Opus 11, took on a singing grace that felt positively Schubertian. While the Schubert Sonata in G Major (D.894) and Schumann's Fantasy in C Major, Opus 17, have unusually expansive designs, both works achieved an organic unity from whose example Schoenberg surely profited.
Metromix | A Chicago Entertainment And Restaurant Guide - Critics' Reviews Sunday, February 9, 2003 Reviews. Music review, pianist mitsuko uchida in recitalat Symphony Center. Theater review, 'Cell Block Sirens' at Athenaeum Theatre. http://metromix.com/top/1,1419,M-Metromix-CriticsReviews-X!Front,00.html
Decca Classical Music Videos - Classical Music Videos Online Watch free classical and friends music videos, interviews, documentaries and concert footage on demand Category Arts Music Music Videos Streaming pianist mitsuko uchida speaks about her beginnings as a musician,a defining musical moment and more Videoclip 1. http://www.deccaclassics.com/features/videos/videos.html
Pianist Uchida Interprets Alliterative Trio Of Composers Let me also dare say that mitsuko uchida's Schubert was quite unlike anything I'veheard works, is lovely and beautiful, yes, yet with many a pianist can sound http://www.chicagomaroon.com/news/370434.html
The Debussy Etudes (1991): Mitsuko Uchida BOULEZ AND uchida by Bruce Duffie This week's concerts of the Chicago Symphony Orchestra bring the return of Principal Guest Conductor Pierre Boulez for another of his eclectic programs. Concerto in G major by Maurice Ravel, featuring pianist mitsuko uchida; and a ballet of Bartok, "The Miraculous Mandarin." http://www.rottentomatoes.com/movie-1038125
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Mitsuko Uchida: Piano's Mysterious Magician mitsuko uchida, the 50year-old pianist the critics nicknamed the high priestessof Mozart, the leading Schubertian of our time, and the greatest classical http://www.scena.org/lsm/sm4-10/Uchida-eng.html
Extractions: Mitsuko Uchida, the 50-year-old pianist the critics nicknamed the high priestess of Mozart," "the leading Schubertian of our time," and "the greatest classical pianist of the present day" will be performing an all-Schubert recital (3 impromptus and 2 sonatas) at the Festival International de Lanaudière on July 23, 1999. Mitsuko Uchida started her piano studies in Tokyo. Her family was not particularly interested in classical music, but they thought it appropriate for a young girl to study an instrument. In 1961, Mitsuko Uchida's father was appointed ambassador in Austria and the whole family moved to Vienna. Mitsuko Uchida continued her studies with Richard Hauser at the Vienna Academy of Music. When her father went back to Japan four years later, she decided to stay behind in Vienna. In 1969, at age 20, she received the first prize at the Beethoven Competition. The following year, she won second place at the Chopin Competition in Warsaw. In 1973, Mitsuko Uchida took an important step towards the pursuit of her musical career. She decided to stop taking lessons and moved to London (where she resides to this day). In 1975, she won second place at the Leeds' competition. Despite all those prizes, fame was slow to come. In 1982, she performed all of Mozart's nineteen
Carnegie Hall: Brendel, Uchida, Hampson, And Company Japanese pianist mitsuko uchida pleased her fans on April 27 with a program of Debussy's Images (Set I), Chopins http://www.classicalmusicnews.org/columns/anson/010407-PA-gurrelieder.html
Extractions: May 7, 2001 The star-studded Carnegie Hall season is cooling off as early summer weather heats up New York. On April 4 the Orchestra of St. Lukes contributed to a city-wide Czech music festival, with Dvoraks Violin Concerto played by the estimable Japanese violinist Kyoko Takezawa. This slim young lady plays like Maxim Vengerov, with an aggressive attack that can lead to dicey phrasing and errors. Takezawa has chops, good doublestopping, and produces richly resonant overtones. No doubt she hopes that her muscular elan will carry the day, but there were oddities of intonation that threatened to undermine her spirited conception. Her "Hammer" Strad (1707) is a fine fiddle, sweetly loud even at the high end, never dry or sour, and with a nice sizzle. The rest of the program was devoted to a solid reading of Dvoraks Symphony No. 7 and an orchestral transcription of Janaceks String Quartet No. 1, an unconvincing dilution of the highly-focused original.
Carnegie Hall: Brendel, Uchida, Hampson, And Company Japanese pianist mitsuko uchida pleased her fans on April 27 with a programof Debussy's Images (Set I), Chopins Polonaise in C minor, Op. 40, No. http://www.scena.org/columns/anson/010407-PA-gurrelieder.html
Extractions: May 7, 2001 The star-studded Carnegie Hall season is cooling off as early summer weather heats up New York. On April 4 the Orchestra of St. Lukes contributed to a city-wide Czech music festival, with Dvoraks Violin Concerto played by the estimable Japanese violinist Kyoko Takezawa. This slim young lady plays like Maxim Vengerov, with an aggressive attack that can lead to dicey phrasing and errors. Takezawa has chops, good doublestopping, and produces richly resonant overtones. No doubt she hopes that her muscular elan will carry the day, but there were oddities of intonation that threatened to undermine her spirited conception. Her "Hammer" Strad (1707) is a fine fiddle, sweetly loud even at the high end, never dry or sour, and with a nice sizzle. The rest of the program was devoted to a solid reading of Dvoraks Symphony No. 7 and an orchestral transcription of Janaceks String Quartet No. 1, an unconvincing dilution of the highly-focused original.
Small Encomia By Jay Nordlinger At Carnegie Hall recently, three of them appeared within two weeks mitsuko uchida,a Japanese pianist, long resident in Europe, who is known particularly for http://www.newcriterion.com/archive/18/jan00/nordling.htm
Extractions: by Jay Nordlinger O Impoverished as we are in pianists, there are some interesting and creditable ones on the scene. At Carnegie Hall recently, three of them appeared within two weeks: Mitsuko Uchida, a Japanese pianist, long resident in Europe, who is known particularly for her Mozart; Emanuel Ax, an American, born in Poland, who is admired for his Chopin and chamber playing; and Evgeny Kissin, a former child prodigy, now twenty-nine, from Russia, who is the object of rapture and delirium everywhere. Mitsuko Uchida, decidedly, is not of this tradition; she is a clean, careful, and modest pianist. Uchida offered an unusual program in New York, or rather, she presented it in an unusual order: a Chopin sonata, Webern, Mozart, and, to conclude, a late Schubert sonata. Her Chopin was the B Uchida, however, has a severely limited technique, meaning that she can barely handle much of the mainstream repertory. The Chopin sonata was all but beyond her. She is exceptionally tight in the arms, which restricts her movement and deprives her of fluidity. She appears to sit too close to the keyboard, and her shoulders are hunched. Her entire piano-playing apparatus seems cramped. To be sure, she usually manages to get through difficult passages, but not without awkwardness and strain. H er main problem in the first movement of the Chopin lay in the octaves: she could not coax a singing line out of them. It is easier, of course, to produce such a line with single notes, but Chopin demands that it be done with octaves as well. Uchida did not play those octaves
VWM Daily Telegraph 'Much the same qualities that make mitsuko uchida one of our Returningto the Philharmonics subscription concerts, pianist uchida gave as http://www.vanwalsum.co.uk/amd/artists/mu.htm
Beacon Journal | 02/03/2003 | Practice Makes Perfect At Carnegie Hall Practice makes perfect at Carnegie Hall pianistconductor mitsuko uchida preparesCleveland Orchestra for all-Mozart program Elaine Guregian Beacon Journal. . http://www.ohio.com/mld/ohio/entertainment/music/5092897.htm
Extractions: NEW YORK Mitsuko Uchida stood at the keyboard, hands outstretched to the orchestra she was conducting, eyes partly closed, mouth open in an expression of Mozart-induced rapture. It was vintage Uchida, and it's an expression Severance Hall audiences will get to know pretty well by the time the pianist completes a five-year project, begun last fall, of playing and conducting all of Mozart's piano concertos with the Cleveland Orchestra. Rehearsing the Cleveland Orchestra at Carnegie Hall on Saturday for tonight's concert there, Uchida's first item of business was to have the stagehands move her piano deeper into the orchestra and to urge the players to move their chairs and stands closer around her.
Ohio.com - Northeast Ohio's Home Page Practice makes perfect at Carnegie Hall pianistconductor mitsuko uchida preparesCleveland Orchestra for all-Mozart program mitsuko uchida stood at the http://www.ohio.com/mld/ohio/entertainment/columnists/elaine_guregian/
Extractions: For a dozen years, ending in 1999, the dance company of innovative choreographer Twyla Tharp was on hiatus. A national tour brought the regrouped company to Playhouse Square's State Theatre on Sunday night, and these dancers left their mark on the place with the psychological force of their amazing dancing in Tharp's Surfer at the River Styx.
Mitsuko Uchida: The Schubert Impromptus D899 - D935 in Eflat must be among the most frustrating for a pianist to encounter of Richter'sinfluence here, but nevertheless this is Schubert by way of mitsuko uchida. http://www.geocities.com/Vienna/5901/cdjune98.html
Extractions: Franz Schubert: Impromptus D.899 - D.935 Mitsuko Uchida, piano 1997. Philips Classics 456 245-2 T here are quite a few alternatives, too many perhaps, to consider when one is about to chose a recording of Schubert's two sets of impromptus. I have my self only heard five or six, and among these Mitsuko Uchida's monumental addition to the catalouge is by far the finest. Not even the accounts of great Schubertians like Clifford Curzon or Wilhelm Kempff can, in my opinon, compete with Uchida's 1997 recording on Philips. I n the opening bars of the c-minor impromptu (D.899 no.1) , Uchida raises ones expectations to the almost unreasonable, but nevertheless, not one note is left without the most careful and nuanced attention. This particular piece has been among my favorites in Schubert's pianouniverse since I first came across it, and I have never heard it better served either in the concerthall or on record. The second impromptu in E-flat must be among the most frustrating for a pianist to encounter, as it so often becomes monotonous and paradoxically enough static in its long wanderings. Although I feel that Uchida is more on familiar ground in the other impromptus, the E-flat is never stripped of its dynamic and elegant flow. However I think , in this particular case I might want to go with Curzon. T he wonderful B-flat impromptu (D.935 no.3) is another highlight on this disc. The variations over a theme are on one hand given attention on their individual characteristics, but never at the cost of the piece as a whole. There are more than certain traces of Richter's influence here, but nevertheless this is Schubert by way of Mitsuko Uchida.
