Calm pace, glasses in hand: Mitsuko Uchida came down the stage steps in silver shoes. There was a finished piano without a valve, placed in the middle of the orchestra. The pianist played and conducted from behind the keys. The program includes two piano concertos by Mozart, the composer whose music accompanied her throughout her life.
With Mahler Chamber Orchestra, Duty Orchestra, English Lady also history. Together they performed many performances. Uchida's Mozart - she played him at the Concertgebouw. Twenty fifth and Twenty-seventh Piano Concerto - magically transparent and straightforward. She sings, but in a somewhat impregnable way. It requires a well-defined sound from the orchestra.
From the room, you looked back at Uchida and saw her gesturing in body language, which is an extension of her swarthy look. Uchida spread the fingers of both hands, jogging over the piano to spur the orchestra on with almost more force than is necessary for this music that unfolds logically and playfully.
The backstage scene after the break was all the more exciting. Uchida's nod to the woodwind, his left hand hovering over the keys, inviting the first violins, were visible details that enriched what he heard: Mozart with a stern gaze as clear as glass.
Between the two Mozarts, it was the turn of about fifteen orchestra players for the Schoenbergs. First chamber symphony sound. Standing with their noses to the audience, the musicians performed these avant-garde notes with extreme passion. However, it was Mozart who ultimately took over. Would you ride a bike just for an encore: the slow part from Eighth Piano Sonata. Mobile, majestic, manageable: what a luxury.