A leader in Perth Concert Hall’s return is the resumption of their notable series of international artists in Perth Piano Sunday, and its auspicious start with the very great British pianist Paul Lewis.
Bookended by two major Beethoven Sonatas, Pathétique and Appassionata, Paul Lewis was playing to his strengths: the honesty and depth of his playing.
The sheer sonority of his start to the Pathétique impressed vividly, moving on to an Allegro of grandeur, lofty and dramatic.
Nobility of melody informed his Adagio and even more cantabile its answering gesture. Equally fine was the final, questioning Rondo.
Six small pieces, the Bagatelles op.97 by Sibelius, were an unusual item in a piano recital.
In miniature form they covered various moods – a light twirling waltz, a fairy-tale march, a reflective, but short, Impromptu. Debussy’s Children’s Corner followed.
Again small in scale but each with a world: the innocence of Jimbo (a toy elephant), the drifting snowflakes, the Little Shepherd, played with depth of feeling and the fun of Golliwogg’s Cakewalk, its chirps during the central Tristan episode an individual touch.
Visionary improvisation
Paul Lewis began Chopin’s epic Polonaise-fantaisie as a visionary improvisation, moving through the work’s contrasted section with imagination and drama, no Mrs. Chopin here with burnished strong tone and a powerful climax.
In the final Beethoven Appassionata Sonata Paul Lewis gave the clarity of truth: clear of structure, magnificent but not exaggerated.
He contrasted the storms of the first movement with the warmth of the Theme and Variations Andante, before the strength and superb piano tone of the Finale and its ferocious ending.
In response to the overwhelming applause Paul Lewis gave Mendelssohn’s graciously melodious Song Without Words Op.19 No.1. As he announced it: “A tiny bit calmer.”
