At this year's Ojai Festival, with pianist Michiko Uchida as music director, Mozart meets the modernism of legendary L.A. modernism of Schoenberg and Cage.
When Schoenberg wrote “Six Little Piano pieces,” his Opus 19, he was he was in his mid 30s, taking deep compositional breaths, smelling the roses scenting a new air that seemed to waft over Vienna in 1911. All around him, the world was exploding with new ideas for a new century — relativity, psychoanalysis, art bursting with color. The 19th century center didn’t hold, and in these tiny piano pieces there was no center at all.
On the spot, the Mahlers' devils became angels, as though overwhelmed by Uchida's generosity of spirit. Every note Uchida played sounded lovingly conjured. The ensemble’s instinct was a kind of worshipful response, but zen-master Uchida would not have that. She can be the most flowing of pianists, yet she can also be dramatic, theatrical and irreverent. You never know what she’ll do . If you meet the Buddha on the road, kill him, is one zen saying. That was her Mozart.
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