Beethoven - Piano sonatas Vol.2
Paul Lewis
HM HMC901903-05

Release date October 2006

Ever since Paul Lewis’s spectacular first volume of Beethoven piano sonatas was issued last year, the second volume of his cycle has been eagerly anticipated. Happily, the wait has been worth it, and to make up for the long gap between volumes, Harmonia Mundi has issued the second volume as a 3-disc set, covering ten of the thirty-two sonatas. Lewis has chosen not to group the sonatas in chronological order so in fact this second volume spans the cycle from Op.13 to Op.106. This, encompassing a period similar to the string quartets, gives a valuable representation of Beethoven’s developing style and the deepening of mood and texture that is found in later Beethoven works. The accompanying sleeve-notes describe these sonatas as a “new path” that evolved as Beethoven discovered he was losing his hearing. They explain in depth how each sonata fits into Beethoven’s life and musical career. Paul Lewis’s performances seem very personal and there is something quite intimate about listening to him. He sounds engulfed by the music, allowing himself room to nurture each moment. Rather than sounding slow, these performances come across as spacious and musical. The Hammerklavier sonata in particular benefits from this approach. This sonata, at around 45 minutes, is gigantic in every possible way. Apparently undaunted by this, Lewis seems to see it as a luxury, revelling in the sumptuousness and variety that the sonata offers him as pianist. There is richness to his tone in all the sonatas and one can’t help but be consumed by the music. Despite all of this, the performances still have a sense of control and measure – there is no feeling of over-indulgence for either the listener or the performer. The finale of the Hammerklavier is breath-taking. The fugal passage is clear, even as the texture becomes thicker and increasingly complex throughout. The fugue reaches a level of chaotic intensity and emerging from this are scale-like passages which are triumphant, virtuosic and reminis-cent of peals of bells. By the end of the sonata, one can’t help but feel utterly blown away by the strength and passion of what has just been played.

Ruth Squire