The Viennese Sound

Uchida received her education mainly in Austria, where her diplomat father was posted. The Austrians rightfully claim her as one of their own.

In an interview with 'The Guardian', Uchida tells of her take on Schubert's solo piano music. Unsurprisingly, she detects a highly individual melancholy in his music and finds it consoling for the lonely souls. As usual her intelligence matches the execution of the pieces. In the Moments Musicaux and the Impromptus, she draws out the lyricism with utmost patience and care.

Her interpretations of the late sonatas are equally convincing. The only caveats one may level against her playing would be the 'hesitation' she deliberately adopts. Some might argue that this kind of conceit hinders the natural flow of the music, while others will find it refreshing. I, for one, belong to the latter group. Unlike Brendel's reticence & Perahia's self-effacing understatement, Uchida's 'hesitation' spins out the expansive melodies effortlessly, and with a twist. It constitutes an extra dimension to the already spacious phrasing without eclipsing the intended playfulness. In D894 (with arguably the most exhausting 1st movement), her patience pays off abundantly. The clarity of vision and purity of sound intrigue the listner from beginning to end. In D959 & D960, her clear tones drive the already heavenly pieces to new heights.

If the listener is familiar with her Mozart recordings (concertos & sonatas), s/he isn't in for a surprise. Every note is carefully thought out and Uchida is totally at home with the classical Viennese idiom. She is also given first rate recording. Recommended without any reservation.