W. A. MOZART Piano Concerto No. 23, K. 488
A. WEBERN Five Movements, Op. 5
A. WEBERN Variations, Op. 27
W. A. MOZART Piano Concerto No. 24, K. 491
Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
ABOUT THIS CONCERT
Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost three years since our last appearances in the USA, we end the tour by heading west to return to Berkeley, sharing our celebrated approach to Mozart's piano concertos.
The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart's creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart's recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musicial situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special.
Another Viennese composer provides contrast for the remainder of the programme. Anton Webern is part of what is now known as the Second Viennese School, and his works are immaculately constructed and immensely concentrated distillations of classical form, romantic expression, and modernist rigour. Mitsuko Uchida herself is a passionate devotee of this music. She connects the centuries that separate Webern from Mozart by seamlessly transitioning from the formers Variations for solo piano, Op. 27, into the latter's C-minor concerto, after the MCO are left to lead themselves alone through Webern's sparse atonal soundscape in Five Movements, Op. 5.