Paul Lewis Plays Beethoven, Volume 2
Posted by: Todd A on 18 March 2007
[Here's a link to volume 1]
It’s been just over a year since Volume 1. Harmonia Mundi has followed up Paul Lewis’ good though hardly ground-breaking cycle opener with a new three-disc set filled with ten sonatas from all three of Beethoven’s compositional periods. It was only right and proper that I should listen to it. I’ll just jump right in:
The set opens with one of the most disappointing recordings of the Pathetique I’ve heard. The chord that opens the Grave sounds controlled and only moderately strong, and it’s sustained for too long, and the extended pauses implemented prior to the Allegro don’t help matters. The playing doesn’t really set any mood at all. There’s no tension or emotion. The Allegro itself sounds too relaxed and lacks bite or appreciable drive. Lewis plays clearly and precisely, but to what end? The Adagio sounds cool yet tonally attractive, but it never really amounts to much. Same with the faster Rondo. There’s just not much to write. This is low-voltage, prim ‘n’ proper, white bread Beethoven. Scores of recordings offer more.
The Op 22 sonata sounds at least an order of magnitude better. The Allegro con brio has more, well, brio. It’s quick and clean and clear, with Lewis showing off some dandy fingerwork, and it stays suitably upbeat. Throw in a big sound, lyrical approach, and overall nicely fluid development, and this offers much of what Op 13 lacked. The Adagio opens in light and surprisingly swift and taut fashion and maintains that basic approach throughout. It’s a bit cool, but the unbending insistence of the playing and the undeniable energy keep it moving. The Tempo di Menuetto keeps the swift sound alive, which can make the middle of the piece sound monotonous at times. An incisive, strong, and unyielding, yet not rushed middle section makes for an attractive bridge to the concluding Rondo, which sounds a little bit softer, a little more fluid, and a little more graceful. A more biting middle section offers nice contrast to the opening and closing material, and the whole sonata works quite well.
When I wrote about the Op 31 sonatas in the first volume, I surmised that Lewis should do well in the Op 101 sonata, and he largely does. The opening Allegretto ma non troppo sounds warm and lyrical and Lewis creates an almost “floating” effect with his playing that really works well. The tempo is neither too slow nor too fast; it’s just about right. The Vivace all Marcia sounds grand and possesses a wide dynamic range, but at the same time it lacks much in the way of bite or march-like oomph. Perhaps it’s meant to be an ethereal march. The Adagio ma non troppo con affeto, by way of contrast, sounds small-scaled, slow to the point of being almost static, morose and contemplative. That’s good. Lewis then manages to almost imperceptibly and instantly switch gears completely with just one note – quite a feat – to make the concluding Allegro ma non troppo sound brighter and more joyful – though not joyous – while the fugue sounds eminently musical if a bit on the broad side speed-wise. Here’s where people may disagree, some saying it sounds poetic, other saying it sounds limp. Whatever the case, some nicely beefy bass and tightly controlled playing lend themselves to another successful reading.
Alas, the second disc doesn’t fare so well. The disc opens with the two Op 14 sonatas back-to-back, followed by the wonderful Op 78 sonata, but I must write that I’ve rarely if ever been so bored listening to these works. The first of the Op 14 sonatas opens with an Allegro that’s nicely light and warm and sunny and immaculately played, but I found myself losing interest quickly. Things improve slightly in the second and third movements, with the playing sounding a bit more engaging, but not a whole lot. A few heavily accented notes here are often off-set by drastically underplayed music there. Things get no better in the second sonata, with a nicely lyrical but also humdrum Allegro, a too laid back Andante, and a fussy and at times clunky Scherzo. What a bummer; these works should delight, not bore. Things pick up slightly with Op 78, which opens with a lovely, warm, and generally well done but not exactly gripping Allegro ma non troppo. Fortunately the Allegro vivace sounds more vigorous and buoyant, but even so it never engages the listener. Again, what a bummer.
But that’s far better than what happens with the Waldstein. It’s a chore to sit through. The opening Allegro con brio is awful, opening with soft, blurry, and wimpy playing of the most unappealing kind. This is exactly the effect Lewis went for, no doubt, but I don’t know why. I guessed the idea would be to offer up powerful, incredibly fast playing to off-set the mush, but no, the playing never shakes it’s wimpiness. Runs are quick but not blazing, forte passages loud but not thrilling. At roughly 11’22,” it just seems to go on and on. The Introduzione is slow, and I guess one could describe the playing as searching or melancholy, but I prefer to describe it as bland to the core. The Rondo sounds pretty but stays soft ‘n’ wimpy, and the great trill almost goes unnoticed. The swelling music sounds big ‘n’ wimpy, and stodgy. Some faster, more pointed playing shows up here and there, but to no good effect really. This work ends up sounding like The Neverending Sonata that one wants to end. Blech.
The third disc opens with Op 90, and I hoped that Lewis would do better here. He does. But not a whole lot better. The Allegro has some nicely punched out chords and some nicely biting upper register playing, with an extended run in the middle that’s none too shabby. The Rondo sounds as lyrical as it should – it’s Schubertian even – so I couldn’t pick too many nits. Except the big one. Why? (Or perhaps: What?) It doesn’t really engage the listener.
I wish I could write the same about Op 79, but it contains elements that repel at least this listener. The Presto alla tedesca sounds comparatively bright, but it’s too broad in tempo, and the cuckoo motif is crushed by being taken too seriously and being too distended. The Andante sound more substantive, as it should, but again it lacks much to hold the listener. The concluding Vivace is an unqualified success, sounding lively and fun, but one movement does not make a successful Op 79. It makes a dud.
It should come as no surprise that I hesitantly approached the mighty Hammerklavier. But Lewis blew me away. This is easily the best recording in the four discs of LvB he’s made, and it stands up well to all comers. Lewis takes the Allegro at a nice pace, plays quickly and clearly and in totally controlled fashion, and makes the work sound big. More important, Lewis takes the long view; this is no of-the-moment take, this is an architectural take. That sense is reinforced in the Scherzo, which boasts all the same strengths as before. Then comes the heart of the work, and Lewis again delivers. It opens in solemn, cool, yet nicely taut fashion, all without sounding pressed. Darkness and sadness reign. Good. The second theme takes on a sense of personal desperation, and if Lewis begins to drag the music on in some places, the despondency and tension he creates keeps it on course. The Largo is slow, restrained, and anticipatory to open, then builds in tension, with some staggering bass notes thrown in for good measure, until the fugue arrives. The fugue is then played with decent clarity buy unyielding forward drive and thrilling energy and oodles of power, manifesting itself in room energizing bass on several occasions. The crashing climax before the slow, baroque sounding section thrills, and the slow music itself is eerily serene and captivating, though it doesn’t exactly make me want to hear Bach by this pianist. Any reservations are minor though; this is a magnificent recording of the work.
How to sum up such an uneven set? The Op 13 and 53 sonatas are quite poor reading to my ears. I don’t know if I want to sit through them again, though I probably should to hear if there’s anything else in there. Most of the rest of the set is bland and uninteresting, but a solid Op 101, excellent Op 22, and incredible Op 106 make me want to hold on to the set. I’m not sure I’ll rush out and buy the next two sets, though. I must disagree with the several quotes and reviews I’ve read touting this as a great cycle in the making. I find it anything but. I certainly hope Lewis delivers knock-out recordings of the remaining 19 sonatas – he certainly has the ability to do so – but I doubt he will. So this set is one for intrepid LvB fans only.
SOTA sound complete with lotsa vocalizing.
--
It’s been just over a year since Volume 1. Harmonia Mundi has followed up Paul Lewis’ good though hardly ground-breaking cycle opener with a new three-disc set filled with ten sonatas from all three of Beethoven’s compositional periods. It was only right and proper that I should listen to it. I’ll just jump right in:
The set opens with one of the most disappointing recordings of the Pathetique I’ve heard. The chord that opens the Grave sounds controlled and only moderately strong, and it’s sustained for too long, and the extended pauses implemented prior to the Allegro don’t help matters. The playing doesn’t really set any mood at all. There’s no tension or emotion. The Allegro itself sounds too relaxed and lacks bite or appreciable drive. Lewis plays clearly and precisely, but to what end? The Adagio sounds cool yet tonally attractive, but it never really amounts to much. Same with the faster Rondo. There’s just not much to write. This is low-voltage, prim ‘n’ proper, white bread Beethoven. Scores of recordings offer more.
The Op 22 sonata sounds at least an order of magnitude better. The Allegro con brio has more, well, brio. It’s quick and clean and clear, with Lewis showing off some dandy fingerwork, and it stays suitably upbeat. Throw in a big sound, lyrical approach, and overall nicely fluid development, and this offers much of what Op 13 lacked. The Adagio opens in light and surprisingly swift and taut fashion and maintains that basic approach throughout. It’s a bit cool, but the unbending insistence of the playing and the undeniable energy keep it moving. The Tempo di Menuetto keeps the swift sound alive, which can make the middle of the piece sound monotonous at times. An incisive, strong, and unyielding, yet not rushed middle section makes for an attractive bridge to the concluding Rondo, which sounds a little bit softer, a little more fluid, and a little more graceful. A more biting middle section offers nice contrast to the opening and closing material, and the whole sonata works quite well.
When I wrote about the Op 31 sonatas in the first volume, I surmised that Lewis should do well in the Op 101 sonata, and he largely does. The opening Allegretto ma non troppo sounds warm and lyrical and Lewis creates an almost “floating” effect with his playing that really works well. The tempo is neither too slow nor too fast; it’s just about right. The Vivace all Marcia sounds grand and possesses a wide dynamic range, but at the same time it lacks much in the way of bite or march-like oomph. Perhaps it’s meant to be an ethereal march. The Adagio ma non troppo con affeto, by way of contrast, sounds small-scaled, slow to the point of being almost static, morose and contemplative. That’s good. Lewis then manages to almost imperceptibly and instantly switch gears completely with just one note – quite a feat – to make the concluding Allegro ma non troppo sound brighter and more joyful – though not joyous – while the fugue sounds eminently musical if a bit on the broad side speed-wise. Here’s where people may disagree, some saying it sounds poetic, other saying it sounds limp. Whatever the case, some nicely beefy bass and tightly controlled playing lend themselves to another successful reading.
Alas, the second disc doesn’t fare so well. The disc opens with the two Op 14 sonatas back-to-back, followed by the wonderful Op 78 sonata, but I must write that I’ve rarely if ever been so bored listening to these works. The first of the Op 14 sonatas opens with an Allegro that’s nicely light and warm and sunny and immaculately played, but I found myself losing interest quickly. Things improve slightly in the second and third movements, with the playing sounding a bit more engaging, but not a whole lot. A few heavily accented notes here are often off-set by drastically underplayed music there. Things get no better in the second sonata, with a nicely lyrical but also humdrum Allegro, a too laid back Andante, and a fussy and at times clunky Scherzo. What a bummer; these works should delight, not bore. Things pick up slightly with Op 78, which opens with a lovely, warm, and generally well done but not exactly gripping Allegro ma non troppo. Fortunately the Allegro vivace sounds more vigorous and buoyant, but even so it never engages the listener. Again, what a bummer.
But that’s far better than what happens with the Waldstein. It’s a chore to sit through. The opening Allegro con brio is awful, opening with soft, blurry, and wimpy playing of the most unappealing kind. This is exactly the effect Lewis went for, no doubt, but I don’t know why. I guessed the idea would be to offer up powerful, incredibly fast playing to off-set the mush, but no, the playing never shakes it’s wimpiness. Runs are quick but not blazing, forte passages loud but not thrilling. At roughly 11’22,” it just seems to go on and on. The Introduzione is slow, and I guess one could describe the playing as searching or melancholy, but I prefer to describe it as bland to the core. The Rondo sounds pretty but stays soft ‘n’ wimpy, and the great trill almost goes unnoticed. The swelling music sounds big ‘n’ wimpy, and stodgy. Some faster, more pointed playing shows up here and there, but to no good effect really. This work ends up sounding like The Neverending Sonata that one wants to end. Blech.
The third disc opens with Op 90, and I hoped that Lewis would do better here. He does. But not a whole lot better. The Allegro has some nicely punched out chords and some nicely biting upper register playing, with an extended run in the middle that’s none too shabby. The Rondo sounds as lyrical as it should – it’s Schubertian even – so I couldn’t pick too many nits. Except the big one. Why? (Or perhaps: What?) It doesn’t really engage the listener.
I wish I could write the same about Op 79, but it contains elements that repel at least this listener. The Presto alla tedesca sounds comparatively bright, but it’s too broad in tempo, and the cuckoo motif is crushed by being taken too seriously and being too distended. The Andante sound more substantive, as it should, but again it lacks much to hold the listener. The concluding Vivace is an unqualified success, sounding lively and fun, but one movement does not make a successful Op 79. It makes a dud.
It should come as no surprise that I hesitantly approached the mighty Hammerklavier. But Lewis blew me away. This is easily the best recording in the four discs of LvB he’s made, and it stands up well to all comers. Lewis takes the Allegro at a nice pace, plays quickly and clearly and in totally controlled fashion, and makes the work sound big. More important, Lewis takes the long view; this is no of-the-moment take, this is an architectural take. That sense is reinforced in the Scherzo, which boasts all the same strengths as before. Then comes the heart of the work, and Lewis again delivers. It opens in solemn, cool, yet nicely taut fashion, all without sounding pressed. Darkness and sadness reign. Good. The second theme takes on a sense of personal desperation, and if Lewis begins to drag the music on in some places, the despondency and tension he creates keeps it on course. The Largo is slow, restrained, and anticipatory to open, then builds in tension, with some staggering bass notes thrown in for good measure, until the fugue arrives. The fugue is then played with decent clarity buy unyielding forward drive and thrilling energy and oodles of power, manifesting itself in room energizing bass on several occasions. The crashing climax before the slow, baroque sounding section thrills, and the slow music itself is eerily serene and captivating, though it doesn’t exactly make me want to hear Bach by this pianist. Any reservations are minor though; this is a magnificent recording of the work.
How to sum up such an uneven set? The Op 13 and 53 sonatas are quite poor reading to my ears. I don’t know if I want to sit through them again, though I probably should to hear if there’s anything else in there. Most of the rest of the set is bland and uninteresting, but a solid Op 101, excellent Op 22, and incredible Op 106 make me want to hold on to the set. I’m not sure I’ll rush out and buy the next two sets, though. I must disagree with the several quotes and reviews I’ve read touting this as a great cycle in the making. I find it anything but. I certainly hope Lewis delivers knock-out recordings of the remaining 19 sonatas – he certainly has the ability to do so – but I doubt he will. So this set is one for intrepid LvB fans only.
SOTA sound complete with lotsa vocalizing.
--