#Mitsuko Uchida

[dk-thrive]

"Every day of my life that I am allowed to play Mozart, Beethoven, Schubert and the music of our own time too……this, to me, is a gift from somewhere. If heaven existed, it’s heaven."

– Mitsuko Uchida (@interludeHK, May 19 2024)

[senfonikankara]

Mozart | 8. Piyano Sonatı, Allegro maestoso

[brusiocostante]

Guarda "Sylvie Guillem e Massimo Murru - Petite Mort" su YouTube

[gouldblogger]

Fig. 2. A "Mozart performance alphabet" (cluster prototypes) computed by segmentation, mean and variance normalization, and clustering, from performances of MOZART piano sonatas by six pianists (Daniel Barenboim, Roland Batik, Vladimir Horowitz, Maria João Pires, András Schiff, Mitsuko Uchida). To indicate directionality, dots mark the end points of segments. Shaded regions indicate the variance within a cluster.

from Computational Models of Expressive Music Performance: The State of the Art, article by GERHARD WIDMER and WERNER GOEBL

[published in 2004 Journal of New Music Research, Vol.33, No.3, page 203 - 216]

[dialoogid]

Claude Debussy - 12 Etudes by Mitsuko Uchida (1990)

[ronnydeschepper]

Mitsuko Uchida wordt 75...

Ik heb het al eerder gezegd: ik gebruik verjaardagen als kapstok om artikeltjes op mijn blog aan op te hangen, onafgezien van het feit of ik de persoon in kwestie nu leuk vind of niet. Meestal schrijf ik zo’n inleiding als het politiek “foute” figuren betreft, maar in het geval van de klassieke pianiste Mitsuko Uchida gaat het over iets helemaal anders. Ik hou namelijk helemaal niet van haar…

[onenakedfarmer]

Currently Playing

Franz Schubert PIANO SONATAS

Mitsuko Uchida

Piano Sonata in A minor, D 845 Piano Sonata in B major, D 575

[harrison-abbott]

this piece was originally written for the harpsichord. it sho wyks well on the piano too. and she ^ always plays with such passion; you can just see it in her. glorious

[cmbwnt]

内田光子、自分の考えを語る

このスターピアニストは、創造性、パンデミック、ベートーヴェンを指揮しない理由などについて、率直で、時に緊張をはらんだインタビューに応じた。

内田光子は世界屈指のピアニストであり、そのクリスタルのようなタッチとモーツァルトとシューベルトの解釈で有名である。一流のコンサートホールや音楽祭で引っ張りだこだが、若手演奏家の指導者としても名高い。そのため、彼女はしばしば1,064ポンドのスタインウェイ・モデルDコンサート・グランド・ピアノと、そのための専属テクニシャンを連れて旅に出る。

彼女は日本で生まれ、12歳で父親が日本大使となったオーストリアに移住した。内田は日本で生まれ、12歳のときに父親が日本の大使となったオーストリアに渡った。この時点で（彼女のレコーディングの多くはスタンダードとされている）、彼女はほとんど宣伝の必要がない。しかし、ある日の午後、カリフォルニアのオハイ音楽祭について話すことに同意した。

マンハッタンのアッパー・イーストサイドにあるホテルのロビーで会ったとき、内田は特に忙しいコンサートの真っ最中だった。彼女の人生や音楽についての私の質問に、彼女は明らかに腹を立てていた。

キャリアのこの段階をどう見ているのかと尋ねると、彼女は単刀直入にこう答えた： 「自己分析はしない」。

しかし、彼女は75分間座り続け、世界についての率直な見解を述べ、創造性、新しい音楽、パンデミック、そしてなぜキーボードからベートーヴェンを指揮しないのかについて話し合った。(ベートーヴェンには "対立と衝突 "があることを指摘し、「演奏中に他者から私への対立を誘発したり煽ったりするのは難しい」と語った）。オーハイではソロ作品を演奏し、マーラー室内管弦楽団とモーツァルトのピアノ協奏曲を指揮する（「モーツァルトは会話的で、オペラです」）。

学者肌の内田は、私の音楽知識を試すのに余念がなく、何度もインタビューを中断して、ドイツ・ルネサンス、音楽著作権の発明、バッハの「マタイ受難曲」、シューベルトとウェーベルンの死についてクイズを出した。感心しない彼女は、私に1年間仕事を離れてフルタイムで音楽を勉強することを勧めた。

インタビューが終わろうとしたとき、ホテルの火災報知器が鳴り、内田は他に質問はないかと聞いてきた。私は時間を割いてくれたことに感謝し、彼女は、私が何を求めているのかわからないこともあったが、話し合いは楽しかったと言った。私は内田に、インタビューは常に予測できるものではないと言った。彼女は、パフォーマンスもそう変わらないと言った。

「私はそれを秋の紅葉と呼んでいます。「私たちは来ては去っていく。死んでしまえば、それで終わり。残るのは書かれたものだけ。

ネタが足りないかもしれないと心配した私は、後日、内田がラヴェルの練習をしているロンドンの自宅に電話をした。彼女はさらに45分間話してくれることになった。以下は、両者の会話からの抜粋である。

Q：キャリアのこの段階での���分の芸術性をどう見ていますか？

A：私の芸術性？何ですって？私は一日一日を大切に生きています。

Q：どういう意味ですか？

A：私が毎日へそ曲がりだとでも？失礼ですが、私はミュージシャンです。私はそんなに重要な人間でも何でもありません。ただ音楽を理解したい。それだけです。

Q: オーハイ・フェスティバルのどんなところに興奮していますか？

A: 興奮するからオハイに行くのだと思いますか？いや、マーラー室内管弦楽団を含む関係者のために、自分がやりたいと思う音楽があり、関連性があるから行くんだ。マーラー室内管弦楽団と私はつながっていると感じている。

初めてオハイに行ったときは、ピエール・ブーレーズと一緒に行った。オハイの起源、つまりアメリカの片田舎で誰かが新しい音楽祭を始めるという考え方は、エキサイティングなアイデアだと思う。でも、それ以外に何が私を興奮させるのか、私にはわかりません。

Q：あなたは当初、2021年にオーハイに出演する予定でしたが、パンデミック中にスケジュールが変更になりました。パンデミックは文化界をどのように変えたと思いますか？

A：「私の人生はこんなに素晴らしいはずだ」という利己的な願望が、パンデミックの間に当たり前になりました。だから人々は簡単に諦めてしまう。私は多くの分野でそれを目の当たりにしている。

日本の一流ホテルの多くは、私に言わせれば、迷走している。私が大好きだったレストランも、パンデミック中にシェフを解雇したため、味が変わってしまった。新しく雇われた人たちは、"気に入れば残る、気に入らなければ他に行く "と言うだろう。しかし、人生はそんなに単純ではない。努力しなければならない。

Q:パンデミック中に何か変化はありましたか？

A: 変わったと思うよ。でも自己分析はしていない。

Q：日常生活に変化はありましたか？

A：家にいることがとても幸せだった。旅に出ないのが好きなんだ。今回ばかりは時間を無駄にする余裕があった。素晴らしかったよ。

Q: 自由な時間は何をしていますか？

A：暇なときは家にいて、勉強したり音楽を演奏したりしています。考える時間が欲しいんだ。そして、呼吸をしたり、夢を見たりする必要がある。

Q: 夢を見る時間があるとき、人生や音楽について啓示を受けることはありますか？

A:人生で啓示を受けることはない。もしあったとしても、君には言わないよ。

Q: マーラー室内管弦楽団と仕事をする機会があったことも、オーハイに惹かれた理由のひとつだとおっしゃっていましたね。

A: チャンス、いいえ。チャンスはたくさんある。でも、彼らにとってはチャンスなんだ。彼らはオハイに行きたがっていた。私は彼らのために行くんだ。

オーハイには特別な雰囲気がある。コンサートが行われる公園の一角には古木がある。箱でもホールでもない、音楽が飛んでいくような開放的な空間で演奏するのが好きなんだ。それを嫌う人もいる。でも私は、ただ空気の中に消えていくような音を聴くのが好きなんだ。

Q: オーハイでは、モーツァルトの3つの協奏曲と幻想曲ニ短調、そしてシェーンベルクの「6つのピアノ小品」を演奏する予定ですね。

A: 理想的な世界では、シェーンベルクのピアノ協奏曲をマーラー室内管弦楽団と指揮者なしで演奏することも考えたかもしれません。でも、それには膨大なリハーサル時間が必要なんだ。人生がどのように機能しているのか教えてあげようか？多くのリハーサル時間が必要だから、誰もそんな余裕はない。この40人がリハーサルのためだけに1週間も10日間もホテルに泊まる費用を誰が払うのか？誰もいない。

Q: 世間はあなたと新しい音楽を結びつけることはあまりありません。

A: 昔、ある人に言われたんです。"内田さん、そんなに新しい曲を委嘱しないでしょう "って。私は、"あのバカが何をするのか、私に何がわかるというのだ "と言っただけです。一体どんな作品になるのかわからないというのは、とても危険なことです。だから、それを最初にやる人間でなくても全然構わない。でも、私はギオルギー・クルターグのような作曲家を尊敬している。彼ほど正直な人はいない。

Q: モーツァルトとのつながりをどのように表現しますか？

A: モーツァルトでは、たとえ悲しい瞬間があったとしても、彼は上を向いている。彼の世界は、走り回る人間の世界だ。そして極端なことを言えば、モーツァルトではすべての音符が子供であり、すべての音符が違う方向に進もうとしているのだと思う。それがモーツァルトの音楽の並外れた自由さだ： すべての音符がまるで小さな子供のように振る舞っているのです。

Q: シューベルトでは、対照的に、孤独感を表現していますね。

A: シューベルトは孤独な人物で、彼の音楽もまったく孤独です。彼の音楽は夢です。彼の人生には悲しみがあり、絶望的な状況です。絶望的な状況だ。彼はその憧れを決して失わなかった。それがシューベルトの絶対的な美しさなんだ。

Q: 人工知能が音楽に与える影響を心配していますか？

A: 創造性は人間の脳と魂で起こります。モーツァルトのような人の脳を知ることは衝撃的だったに違いない。そしてヨハン・セバスティアン・バッハは、すごい能力を持っていた！それは機械には不可能です。

[the-tenth-arcanum]

mozart's piano sonatas save me...

[sgiandubh]

Hi there. I enjoyed your post about Sam’s brand and it got me thinking. I feel like he’s stuck between trying to do what other people tell him he should to “make it” and trying to do it himself. Other people: you’re hot, show it off, do action movies, date blonde floozies. Himself: I want to be a good person and a decent actor, but what if I’m not? Guess I should work a lot, build a non-acting brand just in case I get fired, but try not to pay too many people to market it, I can do that myself; the liquor has the added benefit of getting his name out there and hopefully giving him another income stream if acting goes to shit. Where this all becomes problematic is that he’s not the person others tell him to be, so he comes off as fake, inconsistent, disingenuous, contradictory. I worry though that he can’t break away from these “advisors” because of whatever hole he and caitriona have themselves in with Starz and their bosses. We may not all agree on what happened in 2016 or why, but it’s obvious something did. The difference between them both since then is stark. The light has dimmed. They’ve aged exponentially. They’re guarded. They’re not the effervescent dynamos they started out as. She looks pissed all the time, like she’ll trot Tony out if necessary, but she won’t look like she enjoys it. She’ll go to awards ceremonies, but she won’t look as gorgeous as she easily could. She won’t be their ingenue. I don’t know, I think they’re stuck and are limited in what they can actually do for themselves, as much as they might like to. I can only hope there is an end in sight for them and they can persevere until then!

PS, I watched She Said last night. Highly recommend for anyone who doesn’t think a network executive could or would force their tent pole stars to deny a relationship.

Dear She Said Anon,

I liked your submission so much, I have read it three times in a row (and damn the late hour!). I have very few things to add to your excellent assessment of what I think is a very complicated situation. The proverbial Scottish parsimony could explain the choice of a minimally budgeted, all hands on deck sales and advertising approach. But we are quickly passing this stage and he should seriously think of hiring true professionals, if he really wants to make a financial lifebelt out of SS.

Yes. There's a price to be paid for all the games they are being served to play (and yes, something terrible happened in January 2016, of which we will probably never have the full details). Both of them are now striving to show us they can (scantily, painfully) exist without the magical Other. She, with that colorless, wrist-grabbing, fist-clenching literally dumb person (strictly meaning that we never hear him). He, with that (forgive me, Father, for I am about to sin) questionable, loud and tacky Oriental consigliere (it is high time I should write that paper on the Persia I know and love, lest you or other Anon think I am racist, or something). You can't figure out more opposite add-ons to Those Two, both serving, I believe, the same purpose: to deflect, at all costs, any attention given to the real state of play.

I haven't watched She Said yet and I welcome and thank you for the suggestion. On a lighter note, I trade for it Call My Agent (I have already mentioned this very, very witty French series, dealing with the life in a Parisian talent agency) - it shouldn't be a problem to find it on Netflix.

Good night, Anon. This one below is me thanking you for your trouble and time writing this wonderful post. Just look at Mitsuko Uchida's genuine Joy while playing Beethoven - same energy as Two People We Know, back in 2014, right?

[firstlightinthemorning]

Mozart: Piano Sonata No. 12 in F Major, K. 332 - II. Adagio · Mitsuko Uchida

[farshootingstar]

This one was kind of a doozy for me.

Here's the Vincent playlist for all the playtesters of culture out there! He's going to get some longer songs than usual in here as a treat (classical music can be like that, so yeah). I'll also admit right now that I'm not especially knowledgeable in the classical music scene, so I may not always pick out what's considered the best interpretations of the pieces at large. I feel like I should have something to say on why I chose some of these so, like the Kadsey playlist notes, this is long.

We're starting off strong with Chopin's 12 Études, Op. 10: No. 12 in C Minor as performed by Murray Parahia. Op. 10: No. 12 is the piece that Vincent performed in his route, which is the most obvious choice yet when it comes to these playlists. The reason I chose Murray Parahia's interpretation specifically is because of the way I chose a piece later on.

Next song is a swing into the macabre with The Séance by Blackbriar. I felt like referencing Vincent's interests in the supernatural early on. Seeing a ghost was definitely a formative experience for this guy.

Cut for spoilers below, just in case.

I don't want all of the classical selections to be "oops, all piano" even if that's Vincent's instrument of choice, so I'm also sprinkling in some other stuff. This one is Ernst's The Last Rose of Summer "Étude No. 6" as performed by Midori on violin, the same instrument as Vincent's father. I'm no expert, but the bow work sounds insane in this. I also like to think Vincent is a character that has a fondness for roses, since he tends to wear a purple rose boutonierre on his jacket.

I know someone that's a big fan of the v-kei group Versailles, so I slipped a little of their music in, since I think it's symphonic metal-adjacent. First up from them is Sympathia. I think it fits well with the fact that Vincent has some complicated relationships to deal with in his life (especially with how he views his deceased parents). That theme somewhat continues with La Maritza by Therion, with the singer reminiscing about her father.

I'm not really sure if Vincent's really into Impressionism when it comes to classical music, but I like to think he has some fondness for more emotionally-driven pieces, to contrast Ashino's soulless approach to art if nothing else. So, we're going to have some Debussy. 12 Études, L. 136: 2. Pour les Tierces (I'm so sorry for these titles; I sure don't pick for classical music to be organized this way) as performed by Mitsuko Uchida caught my attention. Apparently, Debussy said in his time that his études are "a warning to pianists not to take up the musical profession unless they have remarkable hands", so yeah. This piece and the set it's from are supposed to be major skill checks and I respect that.

Dark Venus Persephone is something I chose to somewhat reference the Glory version of Vincent's mother, Lily (I specify the Glory version, since there will also be references to the Bureau version that's pulling the strings on the whole AI project). Basically, she's a beautiful and tragic figure that was gone before her time, fitting with this sort of song. METAL KINGDOM is next to amp up the energy a bit more, along with giving us some power of friendship vibes, since Vincent could really use that kind of positivity. I, Don Quixote as covered by Chrisopher Lee (yes, the actor that played Saruman in LotR, among other iconic roles; he was also a metal enthusiast and occasional opera singer) is next because no one can tell me that Vincent wouldn't have had some admiration for Sir Christopher Lee as a fascinating gentleman.

A Villain's Monologue and The Rapture (but it's Pink) are songs that I think could fit for either the true Lily in the Bureau or Ashton, since both of them have plans for Vincent and aren't interested in giving him any say in the matters (and some bits of each song kind of fit each character more). Hell, Ashino can count in this chaos, too, since he thinks Vincent's rigged to be chosen by us and plans to circumvent that himself (albeit without killing Vincent, which is a bit of a step up from Ashton's attitude).

This next one is very basic of me, but come on. Mozart's Requiem in D Minor, K. 626: Sequence: VI. Lacrimosa dies illa is such an iconic piece. If someone asks me what a requiem mass sounds like, I'd point to this. Death is Not the End comes next because death is practically a slap on the wrist for the AI characters in this story (as well as the player's avatar within the game, for that matter, since getting killed boots us back to the date selection screen with no lost progress). There also seems to be some reanimation stuff in there, so we could link that to Lily and the Bureau's plans.

Ghost is probably the weirdest song in this playlist, from a genre perspective, but it still feels on theme with the possibly supernatural aspect (especially if you take the music video into account, but this isn't about music videos) and the pessimistic doubt to it. Let's face it: Vincent's not exactly in the best situation in REBOOT, the game where we can finally get to know him. He's reluctant to reach out to his friends for help and his attempts to ask what's wrong with John and Kadsey lately have been brushed off in turn.

Next up is Chopin's 12 Études, Op. 25: No. 12 in C Minor as performed by Murray Parahia and I had decided to play a bit of a game in choosing that pianist. Usually, I look up a recommended artist for the solo pieces and pick something. For this one, I chose the piece and listened to several interpretations, picking out the one that spoke to me. This piece tends to also be called the Ocean étude and I assume it's from all of the arpeggios evoking rolling waves. Something about this specific interpretation sounds like an outpouring of grief to me, though I'm not sure if that was the intention from either Chopin's composition or Parahia's playing. Whatever the case is, this is the only version that nearly made me cry, so I knew this was the one. This was a fun little experiment and I'd recommend trying it, since interpretation in performance is very important to classical pieces. Also, this one ended up making me feel slightly more confident in my tastes, since I decided to look up info on Parahia and apparently his interpretations are extremely well-regarded in general.

Our Truth by Lacuna Coil us a song that gives me the vibe of "I reject your reality and I replace it with my own.", though I think we can hope for something more positive than what characters that have tried to change things have done so far.

Next is Beethoven's Sonata No. 14 "Moonlight" on C-Sharp Minor, Op. 27 No. 2: I. Adagio sostenuto as performed by Paul Lewis. Moonlight Sonata is the other piece that Vincent plays in his route, but that one is if you reject his date. Of course, trying to reject him only ends up bringing us closer to him by some strange events and we get some delicious lore on top of that.

The Rabbit of the Moon by Moonlight Haze is next and I'll admit I chose that for Vincent's fondness for rabbits. It's about the Chinese fairytale of the jade rabbit, which I admit I only originally knew about since someone gave me a book about the Chinese zodiac that included that story. Not going to tell the whole thing here, but basically the rabbit is rewarded for the kindness of their attempted self-sacrifice to help a stranger.

This next one's actually pretty scandalous and would probably embarrass Vincent to no end: Debussy's Prelude to the Afternoon of a Faun. Yes, I know the title of the version I put on the playlist is in French, but I thought putting the translation would be convenient here. This feels like it could be a decent nod to the yandere end, since I haven't even really mentioned the REBOOT yandere ends in any playlists. They all play out pretty similarly (something I have speculations about), so I thought I'd just slip in something extra spicy for that. I imagine some of you may be confused by me saying that about this song, since it mostly sounds dreamlike, sweeping, and a bit romantic, but you'll know what I mean if you know either the poem it's based on or the ballet made later on to accompany the song (especially the ballet, honestly; that ending is bold, is how I choose to put it, and I'm not at all surprised that reactions to it had been mixed, since that was the same sort of audience that literally rioted at the premiere of Rites of Spring). This piece is something called a symphonic poem, which basically means it was made to evoke the feeling from some other piece of art- stuff like poems or paintings.

The other Versailles song I slipped into this is DRY ICE SCREAM!! [Remove Silence] and I like the energy in this one. This one comes off to me as a bit of a tragic love song and it's hard not to see everyone stuck in Glory as a bit tragic with what they're all going through, even if Vincent and John are less aware of the details.

The final song is Shared Hearts by Snow White Blood and Lilly Seth. It's a fairytale-themed song about an inseparable bond between sisters, but I chose it because of Vincent's found family: his friends and the player. Considering that in his true end, even if that's not the truest ending of the game, he finally reaches out for help and has renewed direction in his life, I really wanted something to reflect the bonds that support him. I hope that his ending stays happy.

Next time will be John. I thought his list would be the most difficult, but it really wasn't.

[gouldblogger]

MITSUKO UCHIDA on the cover of the documentary MOZART IN JAPAN, 1987.

[gouts-d-un-buveur-de-the]

Le goût de la musique : les sublimes, délicates et déchirantes sonates pour piano et violon de W.A. Mozart par Mitsuko Uchida été Mark Steinberg au sommet de leur art...

"le mouvement lent [de la sonate K. 526] réalise un tel équilibre de l'âme et de l'art qu'on dirait que Dieu le Père a fait cesser tout mouvement pour une minute d'éternité, afin de permettre à tous les Justes de goûter l'âpre douceur de l'existence." Alfred Einstein — mozart — p. 330 édition gallimard