Beethoven, Paul Lewis - Beethoven: Piano Sonatas, vol. 3
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Artist: Beethoven, Paul LewisEdition: Music CD
Format: Import
CD Release Date: 2007-10-09
Music Label: Harmonia Mundi Fr.
Soundtracks:
Music CD 1
- No. 1 in F minor. 1. Allegro
- No. 1 in F minor. 2. Adagio
- No. 1 in F minor. 3. Menuetto. Allegretto
- No. 1 in F minor. 4. Prestissimo
- No. 2 in A major. 1. Allegro vivace
- No. 2 in A major. 2. Largo appassionato
- No. 2 in A major. 3. Scherzo. Allegretto
- No. 2 in A major. 4. Rondo. Grazioso
- No. 3 in C major. 1. Allegro con brio
- No. 3 in C major. 2. Adagio
- No. 3 in C major. 3. Scherzo
- No. 3 in C major. 4. Allegro assai
- 1. Allegro molto e con brio
- 2. Largo con gran espressione
- 3. Allegro
- 4. Rondo. Poco allegretto e grazioso
- 1. In tempo di menuetto
- 2. Allegretto
- 1. Allegro assai
- 2. Andante con moto
- 3. Allegro ma non troppo
- 1. Andante con variazioni
- 2. Scherzo. Allegro molto
- 3. Marcia funebre "sulla morte d'un Eroe"
- 4. Allegro
- 1. Andante
- 2. Allegro molto e vivace
- 3. Adagio con espressione
- 4. Finale. Allegro vivace
- 1. Adagio sostenuto
- 2. Allegretto
- 3. Presto agitato
Music reviews of Beethoven: Piano Sonatas, vol. 3
Music Review: The real thing, a natural Beethoven pianist
Rating: 5 Stars
For me, Paul Lewis comes with suspicious baggage -- he's a pupil of Alfred Brendel (if I don't like the master, will I like the disciple?), and he's been praised to the skies by The Gramophone. But the first movement of Op. 2 No. 1 made me feel better. Lewis does favor Brendel's clipped style, but he's not as chilly, and in the development section he plays as if this music matters emotionally -- nothing is prettified or detached. Reservations crop up with the slow movement, which feels pushed and overly objective. Back to a more positive note is the Minuet, which shows nuance and flexibility in phrasing. The finale begins forcefully and mounts to a true climax, not just for this movement but for the whole sonata.
In just one sonata I felt I had gotten a good sense of Lewis's artistic personality. Now on to more challenging things. The "Appassionata" immediately reveals whether a pianist belongs in the big leagues. Lewis surely does. He plays with strength and confidence; however, he dials the passion back more than Serkin ever would, and I'm not sure the first movement tells a story form beginning to end (as it does with Richter and Serkin). But there's tons of virtuosic excitement combined with serious intent. The second movement could be more poetic, and the finale more alive. So now I feel I know something else about Lewis: he's mature and solid, and he will probably always be closer to Brendel the classicist than Richter the adventurer/poet.
My reactions to the rest of this program followed suit. Lewis has strength in plenty, which is the best thing about him, and he's got Beethoven's idiom down (unlike, say, Andras Schiff). My own taste veers toward the Serkin-Richter pole of pianism, but I cna ecognize a major talent when I hear one. Lewis deserves all the extravagant notice he's been getting. I also love the Beethoven from another young virtuoso, the American Jonathan Biss -- at this point he, the veteran Mikhail Pletnev, and Paul Lewis ofer me the most excitement on the Beethoven front.
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