Renowned British pianist Paul Lewis has a no-nonsense approach to performance.
Dressed simply and informally in black, he came onto the stage, bowed, sat down and began to play (9 September). Despite his generally understated and restrained style, there were also moments of high drama. At times hunched over the piano, stroking the keys, at other times bolt upright and emphatic, Lewis’ performance reflected his absolute absorption in the music.
Beethoven’s late sonatas are among the most dramatic pieces ever written for piano. Much has been said about the unusual style of some of the Op. 111 Sonata’s first movement, with jazz and boogie-woogie often mentioned. But anyone even slightly familiar with a keyboard would probably agree that some parts of the first movement are just plain bonkers! Lewis' technique in these sections is exemplary, and he fully brings out the tortured genius underpinning the life and soul of the work. Later, the audience appeared to hold its collective breath, to further appreciate his flying fingers fluttering impossibly lightly over the higher keys of the second movement.
Sandwiched between Beethoven’s Sonatas No. 30 and 32 were examples from Brahms’ early and late career. Perhaps unusually for a musician, Lewis is preoccupied with the importance and nature of silence. In many ways the silences in his performance are as important as the sounds, and this is emphasized, albeit in different ways, in his interpretation of these Brahms pieces. The encore of Schubert’s Allegretto in C minor was a nice touch, which did not dispel the carefully crafted mood of the programme.The post-concert Q&A session afforded an intimate insight into the thoughts and emotions that inform Lewis’ interpretation of this music. Lewis, who we suspect is just a little shy, came across as accommodating and affable during this “meet the artist” event. He expanded on the brief comments he made during the performance itself, and shared with us what the music means to him, and the importance of live performance in imparting energy and life to his oeuvre. This depth of feeling was amply demonstrated in his fine performance at the Queensland Performing Arts Centre.
Photos from Paul Lewis' performance and Q&A.
Beethoven – Piano Sonata No. 30 in E major, Op. 109
Brahms – Four Ballades, Op. 10
Brahms – Three Intermezzi, Op. 117
Beethoven – Piano Sonata No. 32 in C minor, Op. 111
