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Mahler Chamber Orchestra
Mitsuko Uchida, Piano and Director

Friday, March 29, 2019 8 PM Stern Auditorium / Perelman Stage
Mitsuko Uchida by Decca / Justin Pumfrey
Mitsuko Uchida’s "remarkable approach to the piano—with her ability to shift the weight and meaning of any line of music in the most brilliant and seamless ways—is a given,” wrote the Chicago Sun-Times of the legendary pianist. Uchida returns to Carnegie Hall to play and lead works by Mozart from the keyboard. From the virtuosic Piano Concerto No. 19 to the dramatic Piano Concerto No. 20—a work much admired by Beethoven—Uchida will leave you spellbound.

Part of: Carnegie Hall Live on WQXR

Mitsuko Uchida is also performing June 18 and May 4.


Mahler Chamber Orchestra
Mitsuko Uchida, Piano and Director
Matthew Truscott, Concertmaster and Leader


MOZART Piano Concerto No. 19 in F Major, K. 459

BERG Three Pieces from the Lyric Suite (arr. for string orchestra)

MOZART Piano Concerto No. 20 in D Minor, K. 466


MOZART Andante cantabile from Piano Sonata in C Major, K. 330

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.
National Endowment for the Arts: arts.gov

Public support for Carnegie Hall Live on WQXR is provided by the National Endowment for the Arts.

At a Glance

This evening’s program presents two Mozart piano concertos with greatly contrasting moods and sensibilities. No. 19 is one of his most charming concertos, but its amiability masks enormous sophistication, especially in the intricate counterpoint and sparkling woodwind writing. No. 20 is one of Mozart’s stormiest works, the soulmate of Don Giovanni and the C-Minor Piano Concerto. Beethoven and other Romantics like E. T. A. Hoffmann championed No. 20, despite its moments of gentleness and 18th-century decorum. Hearing the two together conveys some sense of Mozart’s range, even in pieces from the same period and genre. In its tumultuous emotionality, Berg’s string orchestra arrangement of his Lyric Suite is also a Romantic work—at least in temperament—though it was written after the Romantic period rather than before it. His first 12-tone piece, it is a sensual love letter full of secret musical codes that reference Hanna Fuchs-Robettin, with whom Berg was having an affair.

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