Beethoven: Piano Sonatas , vol. 2

Paul Lewis - Beethoven: Piano Sonatas , vol. 2

Beethoven: Piano Sonatas , vol. 2
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CD Details

Artist: Paul Lewis
Composer: Beethoven
Edition: Music CD
Format: Import
CD Release Date: 2007-01-16
Music Label: Harmonia Mundi Fr.
Soundtracks:
Music CD 1
  1. I Grave - Allegro di molto e con brio (Sonata no. 8 Pathetique in C minor)
  2. II Andante cantabile
  3. III Rondo. Allegro
  4. I Allegro con brio (Sonata no. 11 in B flat major)
  5. II Adagio con molto espressione
  6. III Tempo di Menuetto
  7. IV Rondo. Allegretto
  8. I Allegretto ma non troppo (Sonata no. 28 in A major)
  9. II Vivace alla marcia
  10. III Adagio ma non troppo con affetto
  11. IV Allegro ma no troppo
Music CD 2
  1. I Allegro (Sonata no. 9 in E major)
  2. II Allegretto
  3. III Rondo. Allegro commodo
  4. I Allegro (Sonata no. 10 in G major)
  5. II Andante
  6. III Scherzo. Allegro assai
  7. I Allegro ma non troppo(Sonata no. 24 in F sharp major)
  8. II Allegro vivace
  9. I Allegro con brio (Sonata no. 21 Waldstein in C major)
  10. II Introduzione. Adagio molto
  11. III Rondo. Allegretto moderato
Music CD 3
  1. I Allegro (Sonata no. 27 in E minor)
  2. II Rondo
  3. I Presto all tedesca(Sonata #25 Alla tedesca in G Major)
  4. II Andante
  5. III Vivace
  6. I Allegro (Sonata #29 Hammerklavier in B flat major)
  7. II Scherzo. Assai vivace
  8. III Adagio sostenuto Appassionato e con molto sentimento
  9. IV Largo - Allegro risoluto

Music reviews of Beethoven: Piano Sonatas , vol. 2

Music Review: *** 1/2 No greatness in any reading, only a series of solid, assured performances
Rating: 3 Stars

(Note: Instead of reviewing Paul Lewis's Beethoven cycle as a whole, I'll write separate reviews of each installment. As it happens, when Harmonia Mundia assembled the box set of the complete sonatas, they retained the layout of each installment, so it makes even more sense to approach them invidivudally.)


Except for Vol. 1, which was a single disc, the installments of Paul Lewis's Beethoven sonata cycle come in 3-CD sets, each featuring a mixed bag of early, middle, and late works. Here is Vol. 2, recorded in Berlin in 2005 and 2006. The sound is close up but not so close that we hear mechanical action. The instrument is average-sounding, neither beautiful nor unappealing, but there is a touch of uncomfortable hardness above forte if you are playing the recordings at anything close to real-life dynamics. Lewis's overall style is an updated blend of the classical restraint exemplified by Kempff and Brendel (Lewis could be considered a protege of the latter) and the warmer, more romantic, but still restrained style of Perahia. He is rarely bold or original, yet thanks to a natural gift for phrasing and excellent musical instincts, Lewis holds your attention; in this he isn't far from Richard Goode yet considerably distanced from "personality" pianists of the past like Richter and Horowitz (they wee sui generis, so this isn't a criticism).

Here are the sonatas included in this installment, although they are not played in chronological order:

Sonata No. 8 in C minor, Op. 13 'Pathétique'
No. 9 in E major, Op. 14 No. 1
No. 10 in G major, Op. 14 No. 2
No. 11 in B flat major, Op. 22
No. 21 in C major, Op. 53 'Waldstein'
No. 24 in F sharp major, Op. 78
No. 25 in G major, Op. 79
No. 27 in E minor, Op. 90
No. 28 in A major, Op. 101
No. 29 in B-flat major, Op. 106 'Hammerklavier'

CD 1: Lewis approaches the "Pathetique" sonata with moderate force in the first movement and moderate feeling in the famous Andante cantabile for which the sonata was named -- it is also among the handful of true melodies (as opposed to themes) by Beethoven's hand that turned into a popular favorite. Older, more distinctive pianists went out of their way to say something unique in the named sonatas, but Lewis's generation doesn't aim for that. In the next sonata, the relatively unplayed Op. 22, almost exactly the same expression and general approach is adopted, which brings up the question of whether one looks to complete cycles for highly individual readings. In the case of Schnabel, the answer is yes, and to some extent I'd say the same for Andras Schiff, in part because he has some novel, even odd ideas. Lewis, however, is a centrist, and each listener will have to decide on his own if a certain sameness doesn't settle in after a while. The disc ends with Op. 101, where I'd lodge a serious complaint against the blandness and caution of the opening movement in Lewis's hands -- he makes even Goode seem like a bit of a daredevil. Little is made of the clipped syncopation that is the most intriguing aspect of the second movement, but Lewis finds a lovely lyrical touch for the Adagio that follows. Such a reflective and restrained version of Op. 101 can't earn my admiration, even when the pianist is thoughtful and considered. Where's the excitement?

CD 2: The two Op. 14 sonatas, along with Op. 78, make this one of the quieter discs in the series, especially given Lewis's relative caution and correctness, but tings get more interesting at the end with the "Waldstein" sonata. In the three gentler works lewis isn't brittle or detached in his phrasing the way Brendel tends to be, but on the other hand he doesn't reach as far imaginatively as Brnedel or Kempff, if their "classical" style is what you want. What results is again quite centrist, the chief virtue being a warm lowing line in almost every movement. These aren't sonatas that make or break a cycle, so I chalk them up as good, representative examples of Lewis's style. The opening Allegro con brio of the "Waldstein" isn't very allegro or full of brio as done here; Lewis prefers tasteful moderation. He evokes a bit of mood in the short Adagio molto interlude before the grand finale, yet there is a lack of tension and suspense. The finale itself begins quite cautiously, by which point I must confess that I was beginning to feel had. The Gramophone led a parade of critical raves for Lewis's Beethoven cycle that simply isn't borne out in the readings when heard in detail, and this good-enough 'Waldstein' is a prime example. It works up to considerable strength and impact by the end, but it wasn't worth sitting through so much that was diluted and tame.

CD 3: Fearing the worst, I proceeded to the last disc, which combines Op. 90 and Op. 79 with the Himalayan challenge of the "Hammerklavier." It's become apparent that Lewis's Beethoven veers to close to Brendel, Kempff, and Good e for me to be very interested, and most of the time he's not as interesting as any of them. Happily, Op. 90 rouses him to more energy and involvement than in the previous disc. The same is true for Op. 79, although the finale Vivace reminded me that I have year to hear Lewis actually make any Vivace movement sounds joyous and vivacious. Arriving at the "Hammerklavier," it's not fair for me to expect the charisma of a Pollini or Richter. In his own style Lewis rises to the challenge with forceful, technically assured playing that is satisfying. He smooths out contrasts, as he's wont to do, but there's no attempt to tame the mighty opening movement. A solid, musical performance doesn't count as greatness, however, and the hype for this cycle led me to expect more.

In the end, this installment does justice to the Pathetique and Hammerklavier, with accomplished readings of several other sonatas of lesser fame. It will appeal most to listeners who consider moderation and sobriety greater virtues in a BeetHoven pianist than I do.



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