In a true meeting of musical minds, the two superb pianists team up once again for a delectable programme of miniatures by Fauré, Poulenc, Stravinsky, Debussy and Ravel. A bewitching programme of music often associated with childhood, including favourites by Fauré, Ravel and Debussy; works which amply reward the care lavished on them by Paul Lewis and Steven Osborne in these exquisite accounts.

In 2018, Paul Lewis embarked on an exploration of one of the richest bodies of work of the Classical era: the keyboard sonatas of Haydn. For his second volume, the British pianist tackles some of the most remarkable pieces in this vast oeuvre: the exceptionally concise Sonata in D major Hob. XVI:51, for example, which is surprisingly pre-Romantic (Schubert is not far off), or the celebrated Sonata in E flat major Hob. XVI:52, with which Haydn conferred well-nigh symphonic dimensions on the keyboard sonata for the very first time.

Even if both of them were destined to die tragically of illness at a very early age (Weber at 39, Schubert just 31!), the two composers on this disc were healthy enough when they wrote these works, and were even beginning to taste success. Except that it was not to the piano sonata that they owed their fame: not without a twinkle in his eye, Paul Lewis has coupled their works in this genre in order to paint a different and highly elegant portrait of two musical dramatists who were emblematic figures of Austro-German Romanticism.

Paul Lewis’s first recording for harmonia mundi.
With this debut disc, recorded in London in July 2001, the young British pianist scored an immediate success, unanimously acclaimed by the international press. Seven years and twelve CDs later, Paul Lewis has established his reputation among the great names of the piano, with a complete Beethoven cycle already regarded as a benchmark version.

The English pianist Paul Lewis has been known for detailed, intelligent readings of Beethoven in which he follows his own creative dictates rather than established patterns laid down by others. Now he brings his approach to Haydn, who might seem less suited to it: Haydn's keyboard sonatas, though often delightful, generally haven't been thought of as manifesting the broad public ambitions of his symphonies and string quartets. Yet Lewis, as usual, brings considerable insight to these pieces, and his fans should lap this up. Sample the first movement of the Piano Sonata in C major, Hob. 16/50, for a representative slice: Whatever may be lost in the light humor of many readings is counterbalanced by Lewis' intricate tracings of the unusual second-degree-to-tonic resolution in the main theme and its ramifications throughout the movement.