PS Un “blogger” non è un oracolo e commette inevitabilmente errori (il minimo possibile..). Ricevo spesso “correzioni” non sempre fondamentali e non sempre precise. Così come io mi sottopongo al giudizio altrui con nome e cognome così chi vorrà avere la bontà di segnalarmi eventuali errori o imprecisioni dovrà farlo unicamente mandando un commento: a ognuno la propria responsabilità. In base alla nuova normativa chi si fosse iscritto e desidera de-iscriversi è sufficiente che mi invii un messaggio e-mail..

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An old glory that addressed one of Beethoven’s most classic programs: the last three piano sonatas. A lot of ink has been used for this triptych, which represents the “summa” of the Bonn composer in the piano sonata repertoire (other compositions for the instrument followed, including the moumental Diabelli variations, as well as other minor scores). A great deal of debate has always been raised about the absence of a final tempo of the 111 after the “adagetto con variazioni” that – according to a servant – Beethoven declared that he did not compose “because he had no time”. Uchida approaches the sonatas with an ultra-romantic stance, with ample concessions to tempo variations in favour of an interpretation that, however, is somewhat fragmentary in many points. While in the 109 and 110 the result is overall of excellent quality, more questionable is that of the 111 unfortunately also plagued by at least three big blunders, one even in the last two bars of the first half, naturally hidden from the less aware public with great mastery  but which did not escape a more attentive ear.  Age (75 if I’m not mistaken) is unforgiving and this also justifies the refusal of encores. We are certainly in the presence of a pianist who has given great performances and who is still able to warm up a very crowded audience even if the doubt remains whether it applauded the performance or the score. Certain choices were certainly questionable. For example, the fugue of the 110 was tackled with an excessive slowness, redeemed only in the overwhelming finale, while the beautiful “dolente” adagio was excellent in the same sonata.  In short, where the pieces require technical brilliance, Uchida has not always been up to the task. This applies to the second half of the 109 and 110. A “double-faced” concert in which the memories of a great past have resurfaced in the midst of great pianism. Great success of a very crowded audience.

PS I would kindly ask the readers of this blog to  register  (which implies nothing) which can be easily made  by “clicking” the black square above each post. By so doing they will receive an e-mail message whenever a new post is published.

PS A “blogger” is not an oracle and inevitably makes errors (the minimum possible..). I often receive “corrections” not always fundamental and not always accurate. Just as I submit myself to the judgement of others with the name and surname so those who want to have the goodness to report errors or inaccuracies will have to do so only by sending a comment: everyone has his own responsibility.

Per un elenco aggiornato di tutti i precedenti  posts di questo blog con i corrispondenti links

PS  Vorrei ringraziare tutti coloro che inseriscono commenti  ai posts utilizzando l’opzione “Lascia un commento”  (o “commenti” se ne sono già stati inseriti) prevista nella sezione sinistra (o prima del testo per schermi ridotti come i tablets) dei posts stessi affinchè tutti possano leggerli.  Il dibattito è sempre interessante per tutti…..grazie (è indispensabile lasciare nome e cognome – i commenti anonimi non saranno pubblicati)!!