Mitsuko Uchida illuminates Beethoven's last three sonatas

[Ricordanza]

In his introduction to Mitsuko Uchida’s recital on Sunday evening, February 19th, Philadelphia Chamber Music Society Artistic Director Miles Cohen included his usual reminder to silence cell phones. But he was particularly insistent this time, noting that the works on this program--the last three sonatas of Beethoven--are considered “the Holy Grail” by pianists, so it would be particularly disturbing if a cell phone went off in the middle of one of these pieces. I’m happy to report that the audience complied; nary a ringtone was heard during Uchida’s recital.

These three sonatas, Opus Numbers 109, 110 and 111, are indeed revered by pianists, and anyone else who loves Beethoven. These three sonatas also rank very high in my own Beethoven liturgy, and I have heard them many times in recital by some of the finest pianists on the scene. But I have to admit to a heretical thought: Although each of these sonatas has striking and innovative passages throughout, what I really come to hear is the last movement of each of these sonatas.

The last movement of Opus 109 is in the form of a theme and variations. Beethoven was the acknowledged master of this form. He could take a trite theme (such as Diabelli’s waltz) and transform it into a work of great profundity. But in Opus 109, his starting point is a rich, lyrical theme which evolves into a set of ravishingly beautiful variations.

The third movement of Opus 110 features not one but two fugues, and in between, we hear something else that Beethoven specialized in: passages that sound like they are improvised but are actually carefully thought out to form a perfect bridge between the two fugal sections.

Opus 111 has only two movements, and in the second movement, Beethoven returns to the theme and variations model. It doesn’t have the sensual beauty of the Opus 109 variations, but it has something else that some listeners find even more inspiring—a feeling of transcendence. I’m not sure if this last sonata is Beethoven’s greatest, but it is certainly his most spiritual.

With all these meanderings about the music, I’ve neglected to say anything about Uchida. I have attended several of her recitals and she never fails to convey the essence of the composer. At age 74, we do hear an occasional missed note or tangled passage, but overall, her technical command (and, especially, her dynamic control) remains remarkable.

In performing these monuments of the piano repertoire, Uchida does more than interpret these works. She illuminates this music.

[Holden Fourth]

After hearing Uchida's Diabelli's I suppose they are a must listen when they are finally committed to CD

[Ricordanza]

After hearing Uchida's Diabelli's I suppose they are a must listen when they are finally committed to CD

You don't have to wait. The CD was recorded several years ago.

[Belle]

Ricordanza, I really appreciated your response to the Uchida recital of those 3 Beethoven musical cathedrals. My favourite remains Op. 109 - from start to finish. My response is ineffable, but I think you've come close to fashioning a reaction that people can identify with.

Somehow with music, translating that experience from a sound-world into words isn't easy.

[Ricordanza]

Thanks, Belle.