Oh, how I wish there were words to describe how much I love the slyness, wittiness and lyricism of the 3rd movement. Just thank you W.A.Mozart for such joy through music.

Mozart would be proud of this.

What is it about Mozart’s 2nd movements of his piano concertos. The end of the Andante rivals the magical 2nd movement of the 23rd. Subtle melancholy with beautiful haunting themes begun by the orchestra and echoed by the piano- so delicate, so steeped in pathos that tears are unavoidable. Thank you Mozart for such incredible music ❤

Открыл для себя Мицуко Утиду (Mitsuko Uchida) недавно. Слушаю концерт за концертом. Согласен со многими, что она лучшая исполнительница Моцарта.

Actually, there only two great female Mozart pianist in our day and one is sadly gone!!! We can only cherish every Mozart performance you can still share with us Madam Uchida!!!

00:48 I. Allegro vivace 11:22 Mozart’s cadenza (one of two he wrote for this movement) 13:48 II. Andante un poco sostenuto 24:40 III. Allegro vivace

i LOVE cLASSIC MUSIC, IT GETS TO MY BONES, YOU HAVE TO KNOW THE STORY BEHIND EACH SONG, THEY ARE LOVELY🧡🧡🧡🧡❤❤❤❤❤❤❤❤💛💛💛💛❤❤❤

Thank you so much I really really enjoyed watching you playing with such passion and sensitivity too, and I really really love ❤️ your rendition of Mozarts music. Bravo 👏 Bravo 👏 Bravo 👏.

There's practically nothing I can add here to the superlative (and well-deserved) praises that others have already written. I do, however, want to praise Mozart the Great Shape Shifter. In this concerto he especially used, it seems to me, the Tempi to enhance the Mood, a theatrical device, indeed. The first and third movements are Jaunty and Rapturous, respectively, while the middle movement --one of the most beautiful movements among hundreds by Mozart- is so wistful & melancholy as to produce involuntary tears in the listener. BTW, the first and third are designated "Allegro Vivace," while the second is designated as "Andante con Poco Sostenuto," which does not reveal its mood until one hears it. A Genius! Thank you all, and kudos to the videographer and to the film editor. A gorgeous delight to hear and watch.

Heavenly. I discovered this work on the radio only yesterday. I am intrigued. Her interpretation is sublime, in my opinion. ✨ Danke schön!

Mozart's piano concerto #18 is particularly pulchritudinous! Dame Uchida has such nimble fingers that would make Mozart delight in her interpretation of this sweet concerto.

Beautiful music….thank you for posting

Muito bom ! Essa pianista compreende e executa Mozart com a perfeiçáo que nos toca a alma...

So Beautiful!

Absolutely beautiful.

Hats off for her splendid and graceful performance

Hopely Some we relize we realize what we missing, It take many years to play Piano with these Group❤❤❤❤❤❤❤❤❤❤❤❤💛💛💛💛💛💛💛💛 Bravo, your are the true Artist, Please spend a time to these Master Peace

好棒棒.......謝謝 !!

Perfection in the universality of musical expression!

Grande mitsuko!!!

Meraviglioso

Energy from Beauty or Beauty from Energy? This is the Mozart fascinating dilemma.

miracoloso

Lovely Orchestra🛡️🎼🧈🍿🌐🦄

Uchida es una de las más grandes interpretes de Mozart del siglo XX y del XXI. Une a una técnica depurada una sensibilidad exquisita. Puro Mozart.

They are saying Beethoven was the greatest composer of all time, I don’t agree his music was never coherent, nothing compares to the beauty of Mozart’s art❤

It’s so original how she plays the same series of notes the exact same way 6 times.

miss you Abbado. ADIOS.

E grande rattle!!!

Do they normally use a smaller portion of the orchestra for Mozart? I only see about 30-40 members, but isn't the BPO 80-100 members?

Also, what is the date of this performance?

24:40 fate motif rhythm

Is that Immanuel Pahud on flute?

🤦🏼🤦🏼🤦🏼🥱

the audio and video are out of sync - I thought the conductor was awful until I figured this out.

Mitsuko Uchida, a luminous artist whose fingers dance upon the ivory keys, weaves a spellbinding tapestry of sound in her performance of Mozart’s Piano Concerto No. 18 in B-flat major, K. 456. As the concert hall hushes, anticipation hangs in the air like a delicate mist, and Uchida steps onto the stage, her presence both commanding and vulnerable. The first movement bursts forth with exuberance, a cascade of notes that leap and pirouette. Uchida’s touch is deft, each phrase alive with urgency. The orchestra, led by the maestro Sir Simon Rattle, responds in kind, their instruments conversing-a spirited dialogue between piano and strings. It is as if the very essence of joy has been distilled into music, and we, the fortunate listeners, are swept along on this jubilant current. But it is in the second movement that the heart of this concerto reveals itself. Marked “Andante un poco sostenuto,” it is a sanctuary of introspection. Uchida’s fingers linger, tracing delicate arcs of melody. The piano becomes a vessel for longing, a mirror reflecting the soul’s quiet yearnings. As she navigates the phrases, we glimpse the inner landscape of Mozart’s genius-the ache, the tenderness, the bittersweet beauty. The Berlin Philharmonic, under Rattle’s baton, cradles Uchida’s playing with sensitivity. The strings breathe, the woodwinds sigh, and the piano responds-a communion of artists bound by shared purpose. The music swells and recedes, like waves lapping at the shore of memory. We are transported to a realm where time stands still, where emotion transcends mere notes. And then, the finale-a spirited rondo that dances with infectious energy. Uchida’s fingers fly, the piano keys a blur. The orchestra rallies, their bows slicing through the air. It is a celebration, a triumphant affirmation of life’s vitality. As the last chord reverberates, we are left suspended-a collective breath held, reluctant to break the spell. In this luminous performance, Mitsuko Uchida invites us to journey beyond the mundane, to touch the sublime. Her artistry is a testament to the human spirit’s capacity for expression, for connection. As the applause erupts, we rise to our feet, hearts brimming with gratitude-for music, for moments that transcend time, and for Mitsuko Uchida, who, through her fingers, has woven magic into our souls.

WHEN THE HELL ARE YOU GOING TO RECORD THE WHOLE OF MOZART'S 21ST PIANO CONCERTO?!?!?!?!!!!!!!!! PLEEEEEEEEEEEEEEEEEEEEEEEEEEEAAAAAAAAAAAAAAAAAAAASSSSSSSSSSSSSSEEEEEEEEEEEEEEEEEEEEEEE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! You also need to do his 20th and his 14th. I tell you what, let's just cut to the chase, you MUST record all 27 of them, starting with the 21st, followed by the 20th and the 14th. Julie Gill, Glasgow, Scotland.

This is a great performance but I prefer it performed on a fortepiano with a period orchestra so I can hear how Mozart would have heard it.

I think the camera would do better to concentrate on Mitsuko’s fingering interpretation rather than her agonising facial contortions, which are more appropriate in keeping with the more modern misusage of the word “CLASSICAL”, please spare us as I would be louth to imagine the applause of Mozart for making his music appear so painful.

Rattle n'est vraiment pas un mozartien, c'est peu de le dire. Quelle déception, sa direction, on frise la grossièreté. Uchida ne peut pas sauver le concerto à elle toute seule. C'est mauvais.

The facial expressions “classical” musicians make are grotesque and off-putting perhaps because they are pseudo-emotions, just as music is an attempt to put human feelings into a non-verbal language. Nevertheless, Zeus finds it amusing people prefer this to nature or falling in love.