As part of this year’s International Piano Series at the Southbank Centre, Japanese pianist Mitsuko Uchida gave a highly absorbing and exquisitely presented performance of works by Bach, Schoenberg and Schumann. Dressed in simple black trousers and a shimmering turquoise top, whose gossamer-light flowing sleeves gave her the appearance of an exotic butterfly when she lifted her arms to play, she scurried onto the stage at the start of the concert, smiling broadly and, after a smartly-executed bow, launched straight into the opening bars of Bach’s Prelude and Fugue in C BWV870, almost before she had sat down at the piano.
In some ways, this was the “settling in” piece. The cavernous Royal Festival Hall was sold out for this popular performer, with a number of audience members being admitted after breaks in the programme. The audience was restless and eager for the concert to start, and it took the first Bach pieces for the excited anticipation to settle into concentrated attention.
The C major Prelude was a little too strident and upright, but the Fugue which followed it was a joyous stream of music, its playful counterpoint neatly highlighted by Uchida. The F sharp minor Prelude was a model of understated elegance, its aria-like melody executed with a refined cantabile which fully captured the attention and imagination of the audience.
After the mannered poise of Bach came Schoenberg, his Six Little Piano Pieces, Op. 19, tiny piano works which express so much in their fleeting measures (nos. 2 and 3 are only nine bars long), and which demonstrate Schoenberg’s desire to find a new means of musical expression. As Uchida played, the vast space of the Royal Festival Hall seemed to shrink to the size of a Viennese salon, such is her stage presence, as she brought to these miniatures intimacy and introspection, delicacy and precision. The sixth piece was poignant and tender: in its distant bell sounds the composer wove a valediction to his friend and mentor, Gustav Mahler.