Paul Lewis plays more Beethoven

This'll go on my 2007 things-to-buy list, along with the second volume from Kun-Woo Paik and more Joyce Hatto. (I'm eager for Andras Schiff's Volume 3 soon.) The intent was, as far as I know, for Lewis to do a studio cycle, and given that this new volume has more variety, it will be interesting to hear how he fares. I wasn't very enthusiastic about the first volume, but who knows?

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Dear Todd,

Judging from the concert series, after starting with op.31s it only improved (though in concert I thought they were very fine, and I rather enjoyed the CD though it was less good). They were all broadcast on Radio 3 in June, if you're interested in hearing them we might exchange e-mail addresses.

Have you written anything about Hatto here? I must say, in my fairly limited experience (Radio 3 surveyed some of her recordings a while back), I have found her rather unremarkable.


regards, Tam

Lewis' Op.31 was a little timid in my view, almost overly refined. The more I listened, however, the more I liked it. Not my first choice in these sonatas by any means, but enjoyable nonethless. I also think the recorded sound was some of the best I have ever heard for the piano. Been listening to Pollini lately (Emperor with Bohm, late sonatas, and a recent compilation from DG on their Steinway Greats series). What a great player. Todd, what are your thoughts on the Pollini Diabelli Variations--I might pick that up too if it is left on the Tower close out sale (a complete bummer they are closing as I walk by their Seattle store every day on my way home from work).

Oldnslow

Well, what an extraordinary concert!

We were treated to the 3 op.2 sonatas and the appassionata. The latter was the particular highlight. I don't know if I have said before, but I dislike excessive thumping on the piano. As a result, I have slightly biased against loud playing in general and towards the likes of Kempff. However, what was so special about Lewis's playing was the force and volume he was able to conjure without the thumping so many employ. Not only that, but the way he contrasted the louder and softer passages, and the way he held his pauses was also something.

One could tell, to some extent, he was a pupil of Brendel (indeed, I think my next explorations of the cannon might be in his direction, so recommendations for his various cycles would be welcome), the prominent grunting/breathing in the loudest moments might have been off-putting for some, but to me it only amplified the incredible frenzied passion with which he played the op.57. It really was amazing.

I cannot recommend the rest of these concerts (the next in December, I think) to those in Edinburgh highly enough - those in London can also catch him, though it is possible the wigmore hall is by now sold out.

The other thing that struck me was how well the op.2 sonatas paired with the final work and a lot of the loud/quite fast/slow contrasts he displayed seemed to mirror well.

For Todd, I would add that, I think the op.31 CD is a pale reflection (though in its way satisfying) of what I have heard him capable of in the concert hall.

Lastly, I was able to pick up the new CD (can't wait to listen to that magical op.79 again).


regards, Tam


p.s. There was one more pleasant surprise - row b turned out to be the front of the stalls. And for under £12 a ticket that strikes me as an extraordinary bargain.

quote:

Originally posted by Tam:
Have you written anything about Hatto here?

A little.

quote:

Originally posted by Oldnslow:
Todd, what are your thoughts on the Pollini Diabelli Variations

Superbly played; nice broad dynamic range, though too stark in contrast sometimes; and ultimately too serious to be a top contender. More, well, variety is needed.


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Tam, try the Gilels recording of op 79 after you've heard the Lewis. They are very different, and I'd be interested to hear which you prefer.

As far as Pollini is concerned, I think that his early DG recordings up to and including the late Beethoven sonatas represent his playing at his greatest. I'd certainly choose his earlier Beethoven and Brahms concertos over the later remakes.

Graham

Thanks for the link Todd.


Will do Graham (but annoyingly I'm still waiting for them to turn up in the post).


regards, Tam

Tam,
Thanks Tam for your note about Paul Lewis, it is a while since I corresponded with you. I have yet to see anything remarkable about this performer. I have seen in recital twice; once was with Natalie Clein the cellist. There was little in the way of unanimity and they seemed to avoid looking at each other; I wonder what had gone on between them.

I have attended two recitals by the schoolboy pianist Benjamin Grosvenor who has a special magic to his playing. Should his progress continue I wonder what he will be like as he gains more experience.

Those who like string quartets I was bowled over by the performance of the Pavel Haas Quartet when I saw them last month. Away from thier music making they are easy on the eye too, their leader is like a Greek Goddess; she should have been called Aphrodite. With the new generation peformers such as the Belcea Quartet; Henschel Quartet; Skampa Quartet; Gould Piano Trio; Pavel Haas Quartet and the Quatuor Ebène chamber music in Europe is in good hands.

quote:

Originally posted by Parry Stanford:
I have attended two recitals by the schoolboy pianist Benjamin Grosvenor who has a special magic to his playing. Should his progress continue I wonder what he will be like as he gains more experience.

We can at least agree on this. I felt he was robbed of the young musician award two years ago. I think he exhibits a lightness of touch and spontanaity that is quite special.

It's interesting about what you say about Lewis in concert with someone else - I do find it odd sometimes when combinations of performers choose to play together and one cannot for the life of one's self discern quite why that might be.

regards, Tam

p.s. nice to hear from you again.

Dear Tam

At last I got Lewis´ opus 31 recording.´

Well, this is really soft and smooth Beethoven. Very poetical. I think he is much more inspired by Kempff than by his teacher Brendel.

In no 16 he starts a bit nervous and doesn´t get the incisive rhytms quite right, and the second movement is a bit uneven too. But the third movement is irresistibly beautiful and singing.

I would like the first movement of no 17 to be a bit more fluent and played with greater contrasts, but he manages the noble pathos of the second movement and the subdued tension of the third movement in a most convincing way.

Again the first movement of no. 18 is a little uneven, and the second movement should be played with a tad more wit. The third movement is on the other hand almost perfect, while the fourth movement should be more abandoned (presto con fuoco).

The interpretations make the impression, that he during the recording sessions allows for some spontanity, but also that he is too nervous to use this to full advantage. I would be very interested to hear his live performances.

Recently I ordered vol. II containing three more CDs. I suppose you have ordered them too.

Regards, Poul

Dear Poul,

I'll post a full reply tomorrow but your post is fascinating (re the influence of Kempff/Brendel). And it comes back again to the live/studio issue. It will be interesting to hear what you think when you are able to make the comparison (just as soon as I get round to replacing my computer's main hard disk - which with any luck I might do next weekend).

regards, Tam

p.s. I bought the second Lewis set at the most recent concert but don't seem to have posted my comments here - I think perhaps I made them on the Gilels thread. The Hammerklavier, Waldstein and op.79 were my highlights.

Dear Poul,

I think your post rather neatly sums up what disappoints me most about these discs - namely that he seems rather cautious, something that doesn't appear to be present in his live performances. I wonder also if there is a degree of perfectionism creeping in which has led to lots of takes and corresponding loss of spontanaity.

After a check of the Gilels thread I find I did not post my thoughts on Lewis's second set there. In a lot of regards the Kempff qualities you mention are even more present here (though it hadn't really occured to me before - especially in works such as the pathetique).

However, there are three highlights to the set for me. The Waldstein has long been a favourite of mine (from my first encounter in the Kempff mono cycle). This reading does strike me as fairly similar to that of the Brendel digital cycle (and not a million miles from Kempff either). There is a wonderful sparkle to the opening, though he holds back the tempo slightly in a way which I don't think I can describe terribly well, but the effect of which is quite remarkable. It too lacks quite the spontanaity of his live readings but is one of those that comes closest - certainly the way he balances the louder and softer moments in the finale is reminiscent of this.


The op.79 is, I think a rather neglected, and unfairly. When I heard Lewis play it in the spring, I was annoyed to discover that none of my CD recordings (sadly Solomon missed it) captured anything like the same magic. In honesty the studio issue feels just a little more restrained. But the way he changes his tempi and volume is really something (to these ears, at any rate).

Lastly the Hammerklavier. This is a work with which I am very often out of sympathy (most likely because pianists tend to hammer too much). Indeed, I wasn't all that wowed by Lewis's live performance (though I enjoyed very much the later radio broadcast), but this was largely due to where I was seated and my rather sensitive ears (where it was actually a little painful at times). On the CD this is not an issue and he brings plenty of granduer. He also brings the magical quality I have heard in more recent performances of being able to play very loudly without any loss of clarity or without resorting to thumping. I'd have to return again to Kempff and Solomon to be sure, but it is certainly on any shortlist of my favourites.


However, the more I hear of his studio bound poformances, the less I understand why he has not simply taped the live broadcasts for release. Another possibility is a producter who is anxious to exorcise any grunting, certainly there is a lot less here than in the concert hall. But that was directly proportional to the passion of his playing, so perhaps the retaking to remove one has cost some of the other.


regards, Tam