The latest touring artist for Musica Viva during its 70th anniversary year is the pianist Paul Lewis. Lewis comes to us from his base in the UK to perform Beethoven and Brahms in the International Series concert series.
We are lucky to have an exponent of such pianism on our shores. The chosen programme shows considerable depth and demands focus from the listener. It traces the development of evocative piano music as written by Brahms and also a rebellious Beethoven at the end of his life.
Compositional techniques and forms are experienced being extended well past the Classical period models. Heightened expression presented with stylistic freedoms and changed choices of format are the new elements of musical communication on display.
What does this mean for the concert pianist? There is a broader range of keyboard textures to master and constant shifts of mood to seamlessly present. These challenges are formidably handled by Lewis as he beautifully presents intense soundscapes to the assembled.
As Lewis’ commentary at the commencement of the second half eloquently explains, his project highlights deep, introspective works where tonal richness is just as important as dramatic silence.
Drama, shifting mood and management of silence are exciting features of Lewis’ interpretations. This is especially the case during the two late-period Beethoven works which bookend this concert.
A highlight of this recital is the chance to hear not only the innovative final Piano Sonata Op.111 but also the similarly progressive Opus 109, the first sonata in Beethoven’s final published set.
To open the concert, Beethoven’s Sonata No. 30, Op 109 is delivered as a uniquely free-spirited event. Melodic lines are rendered with keen direction and resonance. Moments of facile filigree are never overpowering or jarringly out of place. The cantabile lyricism of the third movement is exquisitely graded.
Next in the programme are two sets of piano works by Brahms. Firstly the Op 10 Ballades written by the twenty year old composer are offered. They are firm examples of Romantic narrative in this pianist’s hands. After interval Lewis offered the even more inward looking Intermezzi Op 116 from the end of Brahms’ life.
The Brahms works gel nicely with the temperament and style of those of Beethoven. They do not showcase bravura and virtuosic keyboard work in the same way though, and the sustained intensities do make the listening effort not one for the feint hearted. Lewis impresses however with his excellent clarity of line and brilliantly balanced Brahmsian textures.
The highlight of this two-composer recital is definitely Lewis’ gift to us of Beethoven’s final piano sonata, the two-movement Opus 111. From a performer who has recorded the entire Beethoven piano sonatas for Harmonia Mundi, his playing is a celebration of the creative place this composer reached late in life.
This varied soundscape, a solace in sound and silence, is a true chameleon from its brusque, emphatic opening gestures to the breathtaking landscapes journeyed across in the Arietta second movement. As in the rest of the concert, clarity and steady forward momentum is key in this interpretation. Inspiring soft playing and intricacy of rhythmic and other nuances have a delighting effect on the mesmerised audience.
With his worthwhile introduction to or celebration of these works by Beethoven and Brahms, Paul Lewis can treat Sydney audiences one more time this month. A repeat concert will take place at the City Recital Hall, Angel Place on Sat September 12 at 2pm.