Franz SCHUBERT (1797-1828)
Wandererfantasie, Op. 15, D760 in C major (1822) [20:24]
Four Impromptus, Op posth. 142, D935 (1827) [34:39]
Sonata No 16, Op. 43, D845 in A minor (1825) [35:34]
Six Moments Musicaux, Op 94, D780 [27:12]
Allegretto in C minor, D915 [4:52]
Paul Lewis (piano)
rec. December 2011 and March 2012, Teldec Studio, Berlin
HARMONIA MUNDI HMC 902136/37 [55:15 + 67:58]
The latest instalment in Paul Lewis’s Schubert series for Harmonia Mundi
is as richly rewarding as its predecessor, which I reviewed
earlier this year. It includes two works, the A minor Sonata and the Allegretto
in C minor, which I had the good fortune to hear Lewis play live in a splendid
recital just a few months ago (review).
His account of the sonata in this CD set is every bit as fine as I remember
his recital reading was.
The first movement of the sonata opens with a modest, almost tentative theme
and it’s quite remarkable how much Schubert makes out of this theme
over the next ten minutes or so. I admired especially the imaginative playing
to which Lewis treats us in the development section where Schubert seems to
go off into all sorts of keys during his exploration of the theme’s
possibilities. Lewis leads the listener along most persuasively. In the Andante
poco mosso, a theme and variations, Lewis is adept at playing with
the delicacy that Schubert requires. The vivacious scherzo has more than a
hint of the hunting fields and in the trio I love the rise and fall in the
music, which Lewis delivers in a thoroughly idiomatic fashion. There’s
an airborne feel to the way he plays the rondo finale. Here his lightness
of touch is superb. I’m delighted to have a memento of a performance
that I so much enjoyed last May in Chipping Campden.
Lewis is just as convincing in the Wandererfantasie. He launches into
the opening Allegro con fuoco with tremendous energy but as
the section unfolds he is completely successful at relaxing where necessary
and in bringing the requisite light and shade to the music. There’s
a fine sense of repose in the Adagio though towards the end Schubert
takes us into rather more choppy waters and Lewis is fully responsive to the
changed mood. The Presto bounds along on the back of some really dynamic
playing but for the trio Lewis’ playing is really delicate, bringing
out a dreamlike quality in the music. There’s great purpose and drive
in the fugal material of the finale. Lewis is splendid here, achieving a Beethovenian
sense of thrust and drama.
The Impromptus are very well done; the only thing about these pieces that
is small scale is their length, as Lewis appreciates. The first of the set,
in F minor, is beautifully judged and weighted. Lewis achieves a fine sense
of fantasy in the central lyrical episode (2:35 - 5:25) and at its reappearance
(8:25 - 10:02). He avoids the trap of taking the A flat major second piece
too slowly and plays the music gracefully. Here, as on many other occasions
throughout his programme, he shows himself to be a master of subtle rubato,
which is so crucial in Schubert’s piano writing. He takes great care
over detail in the innocent theme and variations that make up the third Impromptu,
in B flat, and in the fourth piece, where Schubert reverts to F minor, he
catches the playful spirit to perfection, not least through the ‘wrong’
accents.
The Moments Musicaux are less substantial pieces than the Impromtus
but Lewis is no less attentive in his performances of them. Once again his
sense of rubato is well to the fore in the second piece (Andantino)
while the third piece, an Allegretto moderato, trips along deliciously.
There’s strong rhythmic definition in the energetic delivery of the
fifth piece, Allegro vivace. The sixth and final piece, an Allegretto,
offers another opportunity to savour Lewis’ use of rubato. Every detail
is precisely placed but it’s the hallmark of a great pianist to make
all this sound perfectly natural: Lewis is a great pianist.
This is a set that is both enjoyable and satisfying. The playing is carefully
considered and technically flawless. More than that, however, this is the
work of an artist with a deep understanding of Schubertian style. Paul Lewis
has already established a reputation as one of the finest Beethoven players
currently before the public. This recital and the previous release in this
series indicates that he is no less distinguished a Schubertian. The recorded
sound is excellent.
John Quinn
Another richly rewarding Schubert recital from Paul Lewis.
Masterwork Index: Schubert piano sonatas