Mitsuko Uchida, piano

Schubert – C Major Sonata, D. 840

Schubert – G Major Sonata, D. 894


Like almost every other festival this year, Petworth’s annual summer music festival, which normally takes place in July, fell victim to the restrictions imposed in response the coronavirus pandemic, but rather than cancel this year’s festival altogether, its organisers sensibly moved the music festival to the autumn and combined it with the literary festival. The events are all online, though some are live, with audience, to create “a real ‘Petworth’ feel about them” (Stewart Collins, Artistic Director) and, as always, there’s a fantastic line up of performers and guests, including Sheku and Isata Kanneh Mason, The London Mozart Players with Howard Shelley, and Mitsuko Uchida. Petworth Festival always attracts an impressive roster of performers and amply confirms that there is very high quality music-making to be found outside of the capital.

We’re all pretty used to watching concerts via livestream and videocasts now; superior technology allows such broadcasts to be presented with high-quality sound and visuals, which undoubtedly enhances the experience. It’s impossible to entirely recreate being in a concert hall, but one of the advantages of livestream is that you can choose when the view the concert: watch it live or at your own convenience, perhaps in the middle of the afternoon, as I did with this particular concert. With my laptop connected to the tv in the living room and a cup of tea in hand, I settled down to enjoy Mitsuko Uchida playing two sonatas by Franz Schubert.

I’ve only ever seen Uchida performing in the vast space of the Royal Festival Hall, yet every time she has managed to shrink the space, drawing us into her personal, musical world to create the atmosphere of a salon concert. This is particularly true when she plays Schubert, a composer who despite writing large-scale works, is a master of the introspective, and, as I have written on this blog, a composer for these corona times.

Uchida is very alert to Schubert’s idiosyncrasies, his chiaruscuro and elusive, shifting moods, and I always feel that she is very at home with this music. She creates the most remarkably sense of intimacy through hushed pianissimos, tapered sonorities and a sensitivity to Schubert’s “psychological dynamics” – where a fortissimo, for example, is tempered by a certain restraint and emotion is implied rather than made explicit in sound. She highlights details or moments of significance with a touch of rubato here, a little more pressing forward there, and these feel spontaneous, of the moment, never contrived (of course the ability to do this so effortlessly comes from a long association with the music and a deep knowledge of it).

Uchida also seems to subscribe to Andras Schiff’s assertion that one must “follow” Schubert, allowing the expansiveness of this music to unfold gradually. Her melodies have a warm cantabile, her dynamics subtly shaded, often revealing dark, mysterious layers beneath.

In the D894, described by Robert Schumann as “most perfect in form and conception”, she created a timeless serenity in the opening movement, opting for a relaxed moderato (rather than Richter’s famously ‘meditative’ slowness) to allow the narrative to flow naturally into the dramatic grandeur of the development. What followed was a second movement with a contrasting rhythmic vigour in the more passionate passages, a tender, folksy lullaby in the third movement, and an elegant, supple finale replete with pastoral charm.

122117455_4474452515958519_7672388628339138679_oSchubert isn’t a showy composer, and nor is Uchida a showy performer. For this concert, she was dressed soberly in a dark fluid trouser suit, but there was a glint of showiness in her footwear – the most elegant silver shoes which lent a roccoco flair. Of course, the superb camera work allowed one to enjoy such details: to get up close and personal with the performer as the camera lighted on her  hands and face, revealing myriad expressions, often unconscious, and which perhaps offered a glimpse to the personality beyond the notes.


Petworth Festival continues until 1 November – more information

Photo credits

Decca/Justin Pumfrey

Petworth Festival

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Stewart Collins, Artistic Director of Petworth Festival, writes:
Writing as I do just a few days away from a festival that genuinely looks as though it will happen, I have to express a degree of astonishment mixed with an enormous dose of gratitude to everyone involved, gratitude not least to a group of festival sponsors who have stuck with us and enabled us to press ahead with plans that, only recently, seemed so forlorn. But having also kept a group of performers on-side since the loss of their original dates in July, the fact that Sheku and Isata Kanneh-Mason, MILOŠ, Mitsuko Uchida and Tasmin Little are about to grace the Petworth stage in person, I can only say that we have a long overdue and much needed feast of music making just around the corner. Beethoven will be celebrated as was always intended, the personally selected Steinway will resound to Mitsuko’s impeccable readings of Schubert, and Tasmin Little will at last complete a date she set aside for one of her special ‘retirement’ series of concerts. And of course that’s barely the start of it!
 
The journey in ensuring that we can indeed go online and do so with quality and in style is another story altogether, but all in all it’s remarkable and it’s about to happen.

Petworth Festival begins on 16 October with a concert by the London Mozart Players with Howard Shelley.

Full programme details & booking