Franz Schubert: Impromptus D.899 - D.935

Mitsuko Uchida, piano

1997. Philips Classics 456 245-2

There are quite a few alternatives, too many perhaps, to consider when one is about to chose a recording of Schubert's two sets of impromptus. I have my self only heard five or six, and among these Mitsuko Uchida's monumental addition to the catalouge is by far the finest. Not even the accounts of great Schubertians like Clifford Curzon or Wilhelm Kempff can, in my opinon, compete with Uchida's 1997 recording on Philips.

In the opening bars of the c-minor impromptu (D.899 no.1) , Uchida raises ones expectations to the almost unreasonable, but nevertheless, not one note is left without the most careful and nuanced attention. This particular piece has been among my favorites in Schubert's pianouniverse since I first came across it, and I have never heard it better served either in the concerthall or on record. The second impromptu in E-flat must be among the most frustrating for a pianist to encounter, as it so often becomes monotonous and paradoxically enough static in its long wanderings. Although I feel that Uchida is more on familiar ground in the other impromptus, the E-flat is never stripped of its dynamic and elegant flow. However I think , in this particular case I might want to go with Curzon.

The wonderful B-flat impromptu (D.935 no.3) is another highlight on this disc. The variations over a theme are on one hand given attention on their individual characteristics, but never at the cost of the piece as a whole. There are more than certain traces of Richter's influence here, but nevertheless this is Schubert by way of Mitsuko Uchida.

Another Scubert release to look out for is Mitsuko Uchida's account of the D.840 (Reliquie) and D.894 (Fantasia) sonatas. I regretably haven't heard it my self yet, but if one is to judge by the reviews it has drawn, it should be well worth its money.
Mitsuko Uchida's reputation as a Mozart interpreter is well established. The overwhelming reviews for her recording of  Beethoven's third and fourth pianoconcerto with Kurt Sanderling and The Royal Concertgebouw, has showed her prowess for the great master, and she has by her recent Schubert recordings claimed a position among the great conteporary Schubertians together with pianists like Stephen Kovacevich, Andras Schiff, Murray Perahia and Maria-Joaõ Pires.

© 1998 Arne.Mork@hum.uit.no