"It is precisely 100 years since Arnold Schoenberg embraced atonality," says Mitsuko Uchida. "And I for one am celebrating." So should we, with pianists such as Uchida around to demonstrate how listenable this notionally difficult music really is.
The Second Viennese School made up only a small proportion of this programme, in the form of a Schoenberg encore (from Op 19) and the Op 27 Variations by Webern. In both, Uchida was in her element; the Webern sounded almost melodic, and in the third variation she layered jabbing chords against a soft, sustained background with flawless control.
However, the rest of the concert had a classical heart. Part of Uchida's greatness as an interpreter must lie in the care with which she approaches passages other pianists might overlook, and the opening moments of her recital epitomised this, as the simple little theme of Mozart's A minor Rondo K511 became pensive, meaningful and almost unsettling.
Beethoven's Op 101 Sonata found Uchida in more expansive mood. But even in the thunderous march of the second movement, she never let this tip into triumphalism.
The greatest passion was saved for Schumann's Op 17 Fantasie in C. Part homage to Beethoven, part love letter to Clara Wieck, it was played by Uchida with absolute belief in its youthful conviction, with orchestral sweep and, in the final movement, a rapt sense of wonder.
