9.2分（15人评分）

289人收藏

7条评论

共7首歌曲

在网易云音乐打开

艺人

内田光子

语种

其他

厂牌

Philips Classics

发行时间

2007年08月06日

专辑类别

录音室专辑

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专辑介绍

日本钢琴大师内田光子演奏的贝多芬钢琴奏鸣曲第二十八号，二十九号。

Artistic Quality: 8

Sound Quality: 10

You might imagine how well the textural transparency and carefully gauged inner voices in the first movement of Beethoven’s Op. 101 sonata would sound via string quartet. However, Mitsuko Uchida’s massive, deliberate treatment suggests the heft and resonance of a chamber orchestra. The second-movement march’s unwieldy trills and skips don’t faze Uchida’s marksmanship at all. But her inconsistent rhythmic spring in the dotted rhythms plays down the music’s obsessive stride, and she pulls the Trio’s tempo back to slightly arch effect. Aside from moments when Uchida lapses into her “my short, soft detached chords are shorter and softer than yours” bag, the pianist triumphs in the knotty finale, shaping the conversational, fast moving counterpoint with breathtaking clarity and ease.

Like Arrau and Serkin, Uchida takes Beethoven’s overly optimistic metronome marking for the Hammerklavier’s first movement with a grain of salt, while serving up comparable intensity and polyphonic acumen, helped by one of the most potent left hands in the business. Uchida’s emphasis of the repeated notes and multi-hued voicings make the Scherzo’s enigmatic trio sound more three-dimensional than we usually hear, although she underplays this section’s climactic scales and laughing tremolo chords.

At nearly 20 minutes, the Adagio Sostenuto counts among this movement’s most expansive and cohesive readings on disc. Uchida’s judiciously proportioned rubatos never bog down, the elaborately lyrical phrases peak and ebb naturally, and the stark, exposed sections are meticulously calibrated and timed for maximum eloquence. In the last movement Uchida doesn’t allow the trills leading out of the Largo into the Fugue their transitional due (they sound tacked on, rather than emerging from the previous music), and her slowing down the basic tempo for the fugue’s lyrical D major theme in quarter notes belabors the obvious mood change. I also contend that Uchida’s ritard on the second-to-last pair of chords pulls focus from the final cadence’s decisive last word. Quibbles aside, you cannot help but respect this pianist’s insight, concentration, and sheer finger power. Fine annotations, superb sonics.

-- Jed Distler

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最新简评（共7条）

• @兔皮猪(舍不得虾米音乐)：106
• @瓯江月(若文明消失,惟有音乐值得...)：好专辑
• @团奏曲(暂无签名~)：内田光子是真正的音乐家
• @到里斯本看海(听啥都觉得好听)：大补啊！
• @到里斯本看海(听啥都觉得好听)：啊呀，真好，滋润元宵节孤单的人啊
• @哎哟哇啦小米酱(麻里麻里哄~)：@mark #嗷呜=-=~加班进行时#
• @天黑黑(祖峰)：有故事的人！