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Klassiek - Verschenen op 16 september 2013 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica - Hi-Res Audio
Japanese-British pianist Mitsuko Uchida continues to impress with recordings that are not so much intellectual as simply well thought out, making a challenging yet extremely satisfying overall impression. Consider the three works by Robert Schumann recorded here. Only the Waldszenen, Op. 82 (Forest Scenes), are well known. The Piano Sonata No. 2 in G minor, Op. 22, is an early but not immature work, composed in 1830 and supplied with a new finale in 1838 at the suggestion of Clara Schumann, who pointed out that while she could play the original version, few others would be able to. There is already plenty to chew on here, for Schumann incorporates motivic links to the first movement in the new finale. Clara was lukewarm about the work (calling it "not too incomprehensible"), but Schumann himself thought highly of it. The genesis of the work is fascinating; it began with a song Schumann composed in his student days, and Schumann incorporated it into an inner voice of the slow movement. Rather like Beethoven's theater music, it does have the feel of an innovative composer's ideas being forced into an older mold. But Uchida, with her precise yet explosive style, is the perfect interpreter of the work, which seems to spill over the boundaries of sonata form with quasi-improvisatory ideas. Her performance connects the work to the rest of the output of the young Schumann in an ideal way. Also interesting are the Gesänge der Frühe, Op. 133 (Dawn Songs), one of the last things Schumann finished before going insane: they are strangely serene little miniatures. The Waldszenen themselves are full of fresh, even daring interpretations. Decca's engineering staff outdoes itself with its capture of an ideal sound environment for the work: not the usual concert hall or studio but the well-known audiophile venue the Reitstadel in the German city of Neumarkt. An essential Schumann release. © TiVo
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Klassiek - Verschenen op 14 oktober 2002 | Decca Music Group Ltd.

Hi-Res Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 1 januari 2010 | Decca Music Group Ltd.

Onderscheidingen 4F de Télérama
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Klassiek - Verschenen op 3 september 2012 | Decca Music Group Ltd.

Booklet Onderscheidingen 4F de Télérama
For her third album of Mozart's piano concertos on Decca, performed live with the Cleveland Orchestra, Mitsuko Uchida conducts from the keyboard and delivers her characteristic style of playing that is both compelling and revelatory. Eschewing the surface patina of period performance, Uchida plays a modern Steinway, and the orchestra plays with a fully modern sound. Yet the issue of authentic Classical style falls by the wayside when Uchida gives the music its voice through her subtle interpretations and refined execution. Whether one prefers historic or modern methods, Uchida's musicality transcends such technical matters, and her Mozart springs from her deeply personal interaction with the scores. This CD is part of Uchida's second Mozart concerto cycle, revisiting music she had recorded with Jeffrey Tate and the English Chamber Orchestra in the 1980s and 1990s on Philips. While that studio set is judged by many as one of the finest available, Uchida's fans will still be interested to have her live recordings for their spontaneity and presence. The Piano Concerto No. 9 in E flat major, "Jeunehomme," and the Piano Concerto No. 21 in C major (nicknamed "Elvira Madigan" after the Swedish film) are among Mozart's most popular piano concertos, so newcomers to his music would do well to give this disc a try, while connoisseurs will acquire it as a matter of course. © TiVo
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Klassiek - Verschenen op 1 januari 2010 | Decca Music Group Ltd.

Booklet Onderscheidingen Choc de Classica
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Klassiek - Verschenen op 1 januari 2008 | Decca Music Group Ltd.

Onderscheidingen Choc du Monde de la Musique
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Klassiek - Verschenen op 1 januari 2001 | Decca Music Group Ltd.

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Klassiek - Verschenen op 6 december 2019 | Berlin Philharmonic Orchestra

Hi-Res Booklet
Recorded over the course of four concerts in Berlin in 2010, Sir Simon Rattle and “his” Berlin Philharmoniker successfully punctuate their complete collection of symphonies with these five concertos. While these were recorded before the symphonies, you can identify a distinct chamber music-like tonality, with an orchestra whose dimensions have been clearly reduced compared to the traditional size of the renowned Berlin ensemble. This integral work is first and foremost an orchestral delight thanks to the lyricism of the wind section and the silky characteristics of the strings. Far from being simply a support act to the soloist, the Japanese pianist Mitsuko Uchida, the orchestra instead seems to lead the operation with a speedy rhythm and an inimitable sense of musical rhetoric. Mitsuko Uchida almost appears to play modestly, never wanting to hog the spotlight, in a constant dialogue with the conductor. From the bonhomie of the first two concertos through to the Fifth (wrongly named the Emperor) which paved the way for the more romantic concertos, via the Fourth with its sublime Andante con moto which raises some metaphysical questions, this intimate performance cements this Beethovenian collection in its rightful era, lest we forget that these concertos were written in the first decade of the nineteenth century, in the midst of a triumphant Viennese classicism at a time when Joseph Haydn was writing his final few masterpieces and Napoleon’s Grande Armée was bombarding Vienna. With such a sonic perspective and a sound recording which never lets the piano become intrusive, these concertos which are often performed like works written fifty years afterwards, strike an instrumental balance and recover their true musical essence, which had slowly been beginning to disappear. © François Hudry/Qobuz
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Klassiek - Verschenen op 1 januari 2006 | Decca Music Group Ltd.

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Originele soundtracks - Verschenen op 1 januari 2004 | Decca Music Group Ltd.

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Klassiek - Verschenen op 28 oktober 2016 | Decca Music Group Ltd.

Hi-Res Booklet
For her fifth live recording of Wolfgang Amadeus Mozart's piano concertos with the Cleveland Orchestra, Mitsuko Uchida presents the Piano Concerto No. 17 in G major, K 453, and the Piano Concerto No. 25 in C major, K 503, a delightful pairing that reflects her previous albums in this critically acclaimed series on Decca. Conducting from the keyboard, Uchida plays a modern Steinway in a conventional manner without any nods to period practices, though her refinement and elegance go a long way to make up for the lack of historically informed details. Instead, Uchida has developed her own approach to Mozart, which allows for personal interaction with the music and a degree of spontaneity with the orchestra that involves playfulness and expansive lyricism. Uchida's cycle with Jeffrey Tate and the English Chamber Orchestra on Philips established her as a leading interpreter of the concertos in the 1980s and 1990s, but these later offerings have the feeling of revisiting old favorites, rather than reassessing the music in any dramatic way. A good track to sample would be the Andante of K 453, to which Uchida gives full expression of the music's beauty, in a performance that is both Classical in its lucidity and Romantic in its yearning. © TiVo
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Klassiek - Verschenen op 1 januari 1989 | Decca Music Group Ltd.

Hi-Res Booklet
Pianist Mitsuko Uchida has long been one of the world's great Mozart specialists, and she has already recorded a complete cycle of the composer's piano concertos. Now she returns to them, with herself as conductor of the Cleveland Orchestra. This group's characteristically dry, agile string work was forged by the great George Szell and has survived down to the present day, and it fits Uchida's aims very nicely. Her world of grace, subtle phrasing, and uncannily precise trills and ornaments is not so different from what her established fans will be used to, but the intricate, lively dialogue she forges with the orchestra is something new. The Piano Concerto No. 18 in B flat major, K. 456, with all the little humorous fillips in the orchestra that seem to be forgotten only to sneak back into the piano part later, is magical. The Piano Concerto No. 19 in F major, K. 459, with its structure built up out of open fifths, is a bit less well suited to Uchida's treatment, which doesn't fully exploit the Beethovenian qualities of the opening movement. But there are many good details, and the madcap fun of the finale comes through. A must for Uchida fans, and a strong pair of Mozart concertos for everyone else. © TiVo
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Klassiek - Verschenen op 1 januari 1995 | Decca Music Group Ltd.

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Klassiek - Verschenen op 1 januari 2006 | Decca Music Group Ltd.

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Klassiek - Verschenen op 1 januari 2005 | Decca Music Group Ltd.

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Klassiek - Verschenen op 1 januari 2007 | Decca Music Group Ltd.

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Klassiek - Verschenen op 1 januari 2005 | Decca Music Group Ltd.

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Klassiek - Verschenen op 8 maart 2005 | Decca Music Group Ltd.

Hi-Res
In perusing CDs of Mozart's sonatas for piano and violin, a lot can be guessed in advance by noticing which performer is featured prominently, and who is relegated to second place. In these sonatas the violin is minimized to an obbligato accompaniment. Legendary pianist Mitsuko Uchida is clearly the dominant partner, and rising violinist Mark Steinberg is only her deferential sidekick. The usual problems of balance between the piano and violin are exacerbated by such a lopsided pairing, and it is inevitable that Uchida's interesting interpretations, refined expression, and impeccable execution will outshine Steinberg's efforts; no matter how desperately he tries to get on an equal footing with her, he must fail. As it happens, his playing eventually becomes an annoyance, little more than a doubling or elaboration of the melodic line, with little independence of thought, expression, attack, or color. Strangely, one wishes to hear Uchida's playing unadorned, without the chattering fiddling going on beside her, but this is just further evidence that this duo is mismatched. The sound quality is decent, except that the highly resonant acoustics emphasize the piano to the violin's further detriment. © TiVo
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Klassiek - Verschenen op 1 januari 1984 | Decca Music Group Ltd.

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Klassiek - Verschenen op 14 oktober 2002 | Decca Music Group Ltd.

Hi-Res