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—Great Performers 2019

Paul Lewis

Melbourne Recital Centre Presents

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Photo: Mark Chow

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Tuesday 24 September, 7.30pm Elisabeth Murdoch Hall

6.45pm Free pre-concert talk with Leigh Harrold

Duration One hour & 45-minutes including a 20-minute interval

—Piano

Melbourne Recital Centre proudly stands on the land of the Kulin Nation and we pay our respects to Melbourne’s First People, to their Elders past and present, and to our shared future.

Paul Lewis U.K.

‘A master of the keys.’

— The Age

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JOSEPH HAYDN (b. 1732 Rohrau, Austria – d. 1809 Vienna, Austria)

Keyboard Sonata in E minor, Hob.XVI:34 I Presto II Adagio III Finale. Molto vivace

JOHANNES BRAHMS (b. 1833 Hamburg, Germany – d. 1897 Vienna, Austria)

3 Intermezzi, Op.117 I Andante moderato II Andante non troppo e con molto espressione III Andante con moto

INTERVAL 20 minutes

LUDWIG VAN BEETHOVEN (b. 1770 Bonn, Germany – d. 1827 Vienna, Austria)

33 Variations on a Waltz in C by Diabelli, Op.120

—Program

Theme. Vivace Variation 1. Alla marcia maestoso Variation 2. Poco allegroVariation 3. L’istesso tempo Variation 4. Un poco più vivace Variation 5. Allegro vivace Variation 6. Allegro ma non troppo

e serioso Variation 7. Un poco più allegro Variation 8. Poco vivace Variation 9. Allegro pesante e risoluto Variation 10. Presto Variation 11. Allegretto Variation 12. Un poco più moto Variation 13. Vivace Variation 14. Grave e maestoso Variation 15. Presto scherzando Variation 16. Allegro Variation 17. [Allegro]

Variation 18. Poco moderato Variation 19. Presto Variation 20. Andante Variation 21. Allegro con brio –

Meno allegro Variation 22. Allegro molto, alla ‘Notte e giorno faticar’ di Mozart Variation 23. Allegro assai Variation 24. Fughetta. Andante Variation 25. Allegro Variation 26. Piacevole Variation 27. Vivace Variation 28. Allegro Variation 29. Adagio ma non troppo Variation 30. Andante, sempre

cantabile Variation 31. Largo, molto espressivo Variation 32. Fugue. AllegroVariation 33. Tempo di Minuet

moderato

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With this concert, Paul Lewis brings a monumental three-year project at Melbourne Recital Centre to its close. He speaks about the project (pairing Haydn sonatas, Beethoven piano works and Brahms late piano pieces), the Diabelli Variations and Melbourne Recital Centre.

On the project I wanted to spend two years focusing on Haydn sonatas. This project came about because I thought it might be fun to find a context for them.

Brahms was diametrically opposed to Haydn. Haydn is mischievous; he wants to surprise you and make you laugh. Brahms sometimes smiles, I suppose, but his is the opposite way of music making: serious, earnest.

Beethoven was the glue – looking in both directions. A lot of Beethoven’s late bagatelles are funny, in a Haydnesque sense. There’s also a lot of Beethovenian humour! He builds up expectations and then chucks something completely different at you. He likes to shock you into laughing. And some of the Diabelli Variations look to the future, towards Brahms – a kind of premonition of that more inward-looking approach.

On Beethoven’s Diabelli Variations The Diabelli Variations is one of the great peaks of the repertoire. It poses all sorts of challenges: technically, it’s very taxing; musically, you have to make sure that 33 variations are very clearly characterised and yet you have to maintain clarity within clear sections and make clear where the line goes.

Beethoven takes you in all sorts of extreme directions on the way to the summit, but there has to be a feeling by the time you get to the last variation that there’s

—About the music

Ludwig van Beethoven

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a logic to the journey. When you get to that final variation you feel that you’ve climbed a mountain. It is like you can look in all directions at once.

The Diabelli Variations is the best part of an hour’s journey, with its challenges and ups and downs. But when I play that waltz theme, I have a sense of excitement. It’s a piece that I just love so much, and I love to perform it. I learnt it in my mid-twenties, so I’ve been playing it for 20-something years. There’s a sense of it being an old friend, in a way.

On Melbourne Recital Centre I’ve had a great time [during this project]. These things just fly past. I was learning three of the four late Brahms sets for the first time. In fact, my performance of Op.116 last year at Melbourne Recital Centre was the first time I played that piece.

Melbourne Recital Centre is one of my favourite places to perform. It’s visually unique, for a start. The feeling of visual warmth matches the acoustic, which is warm and yet clear enough to get the detail you want to get across.

The audience in Melbourne I always find to be very concentrated, very attentive. It’s wonderful, because that gives the performer energy. It’s one of those places that you don’t have to think much about how to manage the situation, the acoustic, the setup. You can just play music and enjoy.

—About the music

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Haydn: Keyboard Sonata in E minor, Hob.XVI:34 Haydn spent his life at keyboards. Whether a harpsichord, clavichord, fortepiano or organ, he turned to keyboards for solace and to aid his creative work. We might not think of Haydn as a master of the keyboard sonata but he wrote intimate jewels like Hob. XVI/34 throughout his creative life.

Today we tend to divide Haydn’s music into three broad categories: serious, sentimental, humourous. All three walk the stage of this sonata, written sometime in the late 1870s.

The first movement: Haydn the serious man. Throughout his life, the mostly self-taught Haydn sought respect. We might imagine Haydn, brow furrowed, bringing his fists down on this impetuous music, trying to express utmost seriousness of intent.

The second movement: Haydn the sentimentalist. As a young man, Haydn was a gifted and passionate singer. He surely sang through the ‘vocal’ line of this solo movement, voice trembling to express the exaggerated emotions of the music’s empfindsamer Stil, a ‘sensitive style’ popular at the time.

The third movement: Haydn the entertainer. Its marking, innocente, was usually attached to music that doesn’t see to teach or move. And if this playful jaunt is not laugh-out-loud funny, it is – as always with Haydn – such good fun.

Joseph Haydn

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Brahms: Op.117 By 1893, Brahms felt surrounded by death. Friends were dying and Brahms, looking older than his 60 years, was terrified of his own mortality. He found some comfort in the familiar homeland of the piano, the instrument of his musical youth.

Brahms wrote enough piano pieces to collect into four sets, Op.116-119. The pieces carry arbitrary, interchangeable names: the three of Op.117 are called ‘intermezzos’ but there is no evidence that Brahms intended for them to function, like many intermezzos, as interludes between pieces.

The music of Op.117 is distilled, compressed. Each is a sounding nostalgia, counteracting pain with the warmth of home. The first is headed with a quote from a translation of a Scottish folk song:

Schlaf sanft mein Kind, schlaf sanft und Schön! Mich dauert’s sehr, dich weinen sehn.

Sleep gently my child, sleep gently and deep! I feel sadness when you weep.

The mood of this folk song turns dark, telling of a husband’s betrayal, of a family’s abandonment. The gently lilting rhythm of Brahms’s first intermezzo rocks the listener in its arms. But, like the poem, the central section fills the musical sky with threatening clouds.

—About the music

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Johannes Brahms

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Did Brahms intend the folk song quote to colour the atmosphere of all three intermezzos? It is unclear. In a letter, Brahms referred to Op.117 as the ‘cradle songs of my sorrows’ and the remaining pieces do seem to inhabit the folk song’s world of pain.

The second, to be played ‘with much expression,’ is unsettled: its melody shifts between hands, pushes ahead of the beats. The third opens with a bare, deep-voiced church chant that later turns pleading and finally turns doleful.

Beethoven: 33 Variations on a Waltz in C by Diabelli, Op.120

The publisher Anton Diabelli was an interesting character. A priest turned music teacher, his reputation was as something of a swindler. According to a friend of Beethoven’s, ‘for a ducat he would go back on his promised word 50 times over.’

Diabelli kept his finger on the pulse. In 1818 he began his own publishing house in Vienna and immediately cashed in on the nationalist sentiment that raged after Austria’s gains at the Congress of Vienna. He asked 50 musicians active in Austria to write variations on his own waltz theme for inclusion in a ‘patriotic anthology.’

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The waltz Beethoven was asked to contribute one variation to Diabelli’s anthology. But Beethoven had larger ambitious: to write a full set of his own variations on Diabelli’s theme. It might seem odd that the creator of world-conquering, storm-tossed works would stoop to variations on a jaunty melody that he called a Schusterfleck (‘shoe-mender’s patch’).

But Beethoven takes Diabelli’s unformed rock and revealed the sculpture within. He takes every element of the theme and puts it under the microscope: analysing, processing, re-sculpting. With each variation he comes closer to the beauty hidden behind this simple melody.

The struggles Life at this time was difficult for Beethoven. He was set adrift by a combination of serious heartbreak, family stress, profound deafness and a damaging profusion of illnesses. ‘O God, God, look down on the unhappy B,’ he wrote, ‘do not let it continue like this any longer.’

Beethoven committed himself to work. ‘[T]here is no longer happiness except in thyself, in thy art,’ he wrote. But composition was slow and he produced very few original works between 1812 and 1818.

The Diabelli was among a group of works that brought him from the creative brink. These variations—along with the ‘Hammerklavier’ sonata, Missa Solemnis and Ninth Symphony—opened the gates for his last wild, heaven-facing experiments: the final string quartets.

—About the music

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The piano In 1817 Thomas Broadwood, a successful English piano maker, sent Beethoven one of his pianos as a gift. It was representative of English pianos of the time, with a large range and a strong, full sound.

‘I have never felt a greater pleasure,’ wrote Beethoven in response, ‘than your honour’s intimation of the arrival of this piano. I shall look upon it as an altar upon which I shall place the most beautiful offerings of my spirit to the divine Apollo.’

Beethoven, completely deaf, created Diabelli on this piano. He wreaked havoc on its keys to produce sounds and vibrations that he could sense. ‘The broken strings,’ wrote a friend, ‘were mixed up like a thorn bush in a storm.’

The composition Diabelli arrived in a torrent in summer 1819, ideas pouring faster than Beethoven could write them down. He sketched wisps of each variation: a bass line here, a melody there.

Caught up in other commissions, he put aside the Diabelli for several years, returning to complete the work in 1822. But the basic structure of Diabelli was clear from these opening sketches. Although he was building a large building from small bricks, Beethoven knew the plan, understood the whole.

In his final decade, Beethoven’s music drifts into the unknown. It plumbs deep emotional wells while pushing to extremes, both complex and simple, abrasive and radiant, epic and miniature. It breaks apart previously established structures, pushes instrumental virtuosity to its limits.

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Note: Although my decision to split Diabelli into three groups of variations is quite common, Beethoven never spoke of such a division. Also, using this guide during the performance might pose challenges, since breaks between variations can be unpredictable.

Group 1: Variations 1-10. Opening maneuvers lay the groundwork. Beethoven seems to say: There will be laughs and tears, parodies and seriousness, simplicity and complexity.

After the waltz theme, a pompous march (Variation 1) puffs its chest. A whispered transition (Variation 2) eases us into songfulness (Variation 3). Tension mounts: more urgency (Variation 4), stuttering upbeats (Variation 5), wild trills (Variation 6, ‘serioso’), serious virtuosity (Variation 7). Sweet respite (Variation 8) leads to a farcical, minor-key stumble (Variation 9). A tiny, brilliant ‘finale’ feels almost like proto-Chuck Berry (Variation 10).

Group 2: Variations 11-24. Diabelli’s door is blown wide open. Beethoven pushes his music towards extremes: dissonance, complexity, ethereal beauty, violence.

Tender simplicity (Variation 11) is intensified (Variation 12), then cut off with blunt force (Variation 13). Long—a sighing funeral song (Variation 14)—is followed by short—a fanfare of high-speed trumpets (Variation 15). A forceful, funky number (Variation 16) intensifies (Variation 17), switching gears once into a coy waltz (Variation 18) then into joyful virtuosity, hands falling over one another (Variation 19).

—Listening guide

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The still centre of Diabelli: bare sounds lead to chords of captivating strangeness (Variation 20). This atmosphere is shattered: a struggle between bustle and inwardness (Variation 21), a parody of Mozart’s Don Giovanni (Variation 22), the sound of cannon-fire (Variation 23). A long, old-fashioned fugue (Variation 25) nods to Diabelli’s musical grandfather: Bach’s Goldberg Variations.

Group 3: Variations 25-33. After expansion, a consolidation. Then, our breathing slows, the horizon opens…

Four fast variations remind us of where we have been: a simple German dance (Variation 25) and three variations, pushing forward (Variations 26-28). Then we slow: three minor-key variations cradle the whole of Diabelli in fragile hands: a lament looking to an older time (Variation 29), dark sinking gestures (Variation 30), an expansive aria (Variation 31).

Diabelli ends with one of Beethoven’s most ambitious constructions: a triple fugue (three melodies played off against one another) gathering speed and complexity (Variation 32). An odd twist of harmony winds towards the final dance (Variation 33).

© Tim Munro 2019

Tim Munro is a Chicago-based, triple-Grammy-winning flautist, speaker, writer and teacher.

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—About the artist

Paul Lewis Paul Lewis is internationally regarded as one of the leading musicians of his generation. His cycles of core piano works by Beethoven and Schubert have received unanimous critical and public acclaim worldwide, and consolidated his reputation as one of the world’s foremost interpreters of the central European classical repertoire. His numerous awards have included the Royal Philharmonic Society’s Instrumentalist of the Year, two Edison awards, three Gramophone awards, the Diapason d’Or de l’Année, the Preis Der Deutschen Schallplattenkritik, the Premio Internazionale Accademia Musicale Chigiana and the South Bank Show Classical Music award.

He holds honorary degrees from Liverpool, Edge Hill and Southampton Universities, and was appointed Commander of the Order of the British Empire (CBE) in the 2016 Queen’s Birthday Honours.

He appears regularly as a soloist with the world’s great orchestras, including the Boston Symphony, Chicago Symphony, London Symphony, London Philharmonic, Bavarian Radio Symphony, NHK Symphony, New York Philharmonic, LA Philharmonic, and the Royal Concertgebouw, Cleveland, Tonhalle Zürich, Leipzig Gewandhaus, Philharmonia and Mahler Chamber Orchestras.

The 2017-18 season saw the start of a two-year recital series, exploring connections between the sonatas of Haydn, the late piano works of Brahms, and Beethoven’s bagatelles and Diabelli Variations, as well as appearances with the WDR Sinfonieorchester, Orchestra Mozart di Bologna, Boston Symphony, San Francisco Symphony and Montreal Symphony Orchestras.

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Paul Lewis’s recital career takes him to venues such as London’s Royal Festival Hall, Alice Tully and Carnegie Hall in New York, the Musikverein and Konzerthaus in Vienna, the Théâtre des Champs-Élysées in Paris, the Concertgebouw in Amsterdam and the Berlin Philharmonie and Konzerthaus. He is also a frequent guest at the some of the world’s most prestigious festivals, including Tanglewood, Ravinia, Schubertiade, Edinburgh, Salzburg, Lucerne and the BBC Proms, where – in 2010 – he became the first person to play a complete Beethoven piano concerto cycle in a single season.

His multi-award-winning discography for Harmonia Mundi includes the complete Beethoven piano sonatas, concertos, and the Diabelli Variations, Liszt’s Piano Sonata in B minor and other late works, all of Schubert’s major piano works from the last six years of his life including the three song cycles with tenor Mark Padmore, solo works by Schumann and Mussorgsky, and Brahms’s Piano Concerto in D minor with the Swedish Radio Symphony Orchestra and Daniel Harding. Future recording plans include a multi-CD series of Haydn’s sonatas, Beethoven’s bagatelles, and works by Bach.

Paul Lewis studied with Joan Havill at the Guildhall School of Music and Drama in London before going on to study privately with Alfred Brendel. He is co-Artistic Director of Midsummer Music, an annual chamber music festival held in Buckinghamshire, U.K., and the Leeds International Piano Competition.

‘There are many prized recordings of the Beethoven sonatas from past masters and current artists. But if I had to recommend a single complete set, I would suggest Mr. Lewis’s distinguished recordings.’

— Anthony Tommasini, The New York Times

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—Inspired Giving

10TH ANNIVERSARY GIFTS10th Anniversary BenefactorLady Primrose Potter AC10th Anniversary Public Activation Program($50,000)Peter & Ruth McMullin10th Anniversary CommissionsThe Aranday FoundationUlrike Klein AO

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MUSIC CIRCLE — A VIBRANT AND DIVERSE MUSICAL PROGRAMDonors who support the depth and vibrancy of the Centre’s musical program play a crucial role in ensuring that we can continue to present a rich diversity of the greatest musicians and ensembles from Australia and around the globe.($30,000+)Yvonne von Hartel AM, Robert Peck AM, Rachel Peck & Marten Peck of peckvonhartel architects (Signature Events Benefactors)

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—Thank you

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