Beethoven: Piano Sonata No. 18 in E flat major, Op. 31 No. 3 'The Hunt'

“A more auspicious start would be hard to imagine... Lewis's unalloyed musicianship and overall mastery are worth their weight in gold; every bar declares his calibre and generosity of spirit. Harmonia Mundi's sound is excellent and I can scarcely wait to hear the rest of this deeply serious and sensitive young pianist's epic undertaking.” The Gramophone, September 2005

“Paul Lewis launches his cycle of the 32 Beethoven sonatas with a triptych of richly varied middle-period masterpieces, the Op 31 set.
A more auspicious start would be hard to imagine.
True, others may characterise the first and third sonatas more playfully or show themselves more obviously attuned to Beethoven's scintillating wit and whimsy, but Lewis's unalloyed musicianship and overall mastery are worth their weight in gold; every bar declares his calibre and generosity of spirit.
Sometimes his warmth and flexibility suggest Beethoven seen, as it were, through Schubert's eyes (the finale to Op 31 No 1) and he often suggests a darker, more serious side to the composer's laughter and high jinks. But he plays Beethoven's humorous afterthought at the close of the Op 31 No 1's Allegro vivace as to the manner born and his presto coda to the finale becomes a joyous chase.
His way with the so-called Tempest Sonata is a reminder, too, of his outwardly relaxed mastery, quite without a sign of a skewed or telescoped phrase and with page after page given with a quiet but superbly focused intensity. His Adagio is gravely processional, his finale (that agitated, teasingly enigmatic moto perpetuo) acutely yet subtly and unobtrusively characterised. Again, while others may offer a swifter trajectory through No 3's finale, Lewis's wish to give substance to every note carries its own unswerving conviction. Harmonia Mundi's sound is excellent.” Gramophone Classical Music Guide, 2010

“A one-time pupil of Brendel, his former teacher's influence perhaps shows in such touches as the increased urgency at the point where the second subject of the opening work turns from major to minor; or the gentle and gracious account of the same Sonata's Allegretto finale, quite beautifully performed. Not that Lewis's interpretations are in any sense derivative: they are well-considered and personal accounts, and the so-called Tempest Sonata (Op. 31 No. 2) in particular is superbly done...” BBC Music Magazine, September 2005 ****

“…Lewis's unalloyed musicianship and overall mastery are worth their weight in gold; every bar declares his calibre and generosity of spirit.” Gramophone Magazine, Awards Issue 2005

“This German pianist doesn't court fame, but his playing has a rare truthfulness. The most interesting performances here are of the least well-known sonatas.” BBC Music Magazine, June 2012 ****

“If you're looking for vital, stylishly insightful middle Beethoven sonatas, Consider Canadian pianist Stewart Goodyear, as long as you can deal with dry engineering...Goodyear generally responds to the composer's meticulous linear trajectory, combative dynamics, instinct for drama and aching lyricism with a sense of freshness, rhythmic vivacity and organic sweep...an impressive release” Gramophone Magazine, July 2012