Beethoven
Piano Sonata No. 29 in E major, Op.109
Piano Sonata No. 30 in A flat major, Op.110
Piano Sonata No. 31 in C minor, Op.111
Mitsuko Uchida (piano)
Recorded at Suntory Hall, Tokyo, 28 & 30 October 2025
Reviewed by: Rob Pennock
Reviewed: August 2026
CD No: Decca: CD, download and stream: 4872064
Duration: Running time: 74 minutes
Mitsuko Uchida isn’t much associated with Beethoven, but she recorded these Sonatas for Philips in 2006 and in all bar one movement she is slower than before. However, a great Beethoven pianist, Solomon (testament and Pearl in Op.111), has been used for comparison.
The brief opening movement of Op.109 has alternating Vivace and Adagio sections, where Uchida, unlike Solomon, makes little use of the sustaining pedal and her phrasing is slightly stiffer. She ignores the second movement Prestissimo marking and concentrates on attack, whereas Solomon is faster, lighter and more elfin. There is little between them in the Andante molto cantabile ed espressivo theme and its first variation, but Solomon conveys a greater sense of spiritualty. In the faster variations there are rhythmic and tempo differences, but at 5.56 and the move to Andante and Adagio, Uchida cannot equal Solomon’s beautiful, liquid phrasing. As the music becomes fugal Solomon’s rigour and power are greater and when the theme returns the way he makes the bass lilt is unique.
Both players effortlessly integrate the tempo changes in the first movement of Op.110, but Uchida is too slow in the Allegro molto scherzo and despite being slightly faster it is Solomon who truly sings and makes time stand still in the Adagio ma non troppo. Unfortunately, the fugue is too slow and laboured in Uchida’s hands.
There is no such problem in the first movement of Op.111, which is measured but very powerful, with the poco rit and Adagio markings given their full due. In the sublime Arietta Uchida is faster than Solomon and lacks spirituality. From then on, she doesn’t do anything particularly wrong, it’s just that unlike Solomon she can’t quite combine forward movement with a sense of timelessness, rapt concentration and profound introspection.
Unlike some Decca downloads and streams you get a booklet, with excellent programme notes by Micha Donat. Back in the golden age of analogue sound Decca produced some magnificent piano recordings, but those days are long gone. Here the 24/192 download lacks the fullness that a label like Hyperion produce, the balance is forward and there is little sense of the hall acoustic.
Nice to read a serious review for once, most “reviews” of this just spew twaddle about her peerless mastery etc.