Paul Lewis : favours Strauss

by Gwen Herat

It is not often that conductors favour the Strauss clan opting for other composers of repute and especially Richard Strauss who trails behind the rest of Strauss trio; all resembling each other in harmony and waltz strain that the music world came to identify them with.

The waltzes such as the Viennese Waltz, Tales from Vienna Woods and Emperor Waltz still haunt me and remain as fresh as ever, tracing back to the days I studied.

When I watched Paul Lewis who is better classified as the leading pianist in Britain today, it amazed me to watch and hear how cleverly he handled the keyboard with the strings to produce such allure in sound, tantalising the audience.

To me it was a miracle because I always associated string music with a large orchestra that Strauss was seen in concert halls. But here he was as strong as ever imaging the ballroom floor with women in their spectacular gowns and men in tails waltzing away among arabesque dreams in the minds of the audience who were packed at the Southbank Centre, London.

Everyone who listened to his playing, visualised dreams filled with colour. Paul Lewis rose to that level.

Lewis elected to conduct two favourite scores of Richard Strauss, Prelude to Carpiccio, Op-86 and Sernedae in E Flat, Op.7.

Final opera

Written in 1942 Prelude to Capriccio Op, 86 is the lesser known score of the two scores just a few years before he died. It was his final opera on one of the central themes of Wagner's philosophy when it starts at a point which is more important to the question. Is it words or music that matter most.

One must remember that Strauss was greatly influenced not only by Wagner's music but also his philosophy of life. It contains less dramatic stage work which later Strauss titled as a conversation Piece of Music.

The quandary is that it manifests itself in the story of a Countess torn between two suitors; Oliver, a poet and Flamand, a composer. Set in pre-revolution Paris as such, it centres around a deep discussion as to how best the way to celebrate the birthday of the countess.

Birthday gift

When it was proposed an opera as the birthday gift, both men agreed to help. Oliver wrote the Libretto and Flamand composed the music which later would make the countess make up her mind which suitor to choose.

A chamber music rehearsal took place in an off-stage room as the opera opened and that moment Stauss made up his mind to do an unusual step to score the Prelude itself for a string sextet so that we all would imagine the music as a dramatic part of action. It developed and displayed a remarkable amalgam musical style. Elements of Brahmsian development mingled with complex Baroque counterpart. An amature will find it difficult to follow him up that led him to the traditional classical textures.Such diversity is typical of Strauss’ mature style. It makes long to understand him.

This fabulous masterpiece was when he was just 17 and written for 13 wind instruments.

Although sculpted as one single movement, the Serenade is really a series of distinct ideas which Strauss linked together to form one flowing set of melodies.

With its multi-melodies that open with a sombre but evocative introduction; more Chorale-like in its broad textures where the melody is passed between instruments, first from the flute to clarinet before the horns punctuate the texture and signal the onset of a new section.

Serenade in E Flat Op.7

The dramatic section which ebbs and flows with growing intensity increases with each passing phrase before a gentle Coda takes the work full circle and ends with a hush sedate sound.

Strauss handles his resources and demonstrates the confident composer he is.

Richard Strauss wrote a symphonic poem glorifying and celebrating the day-to-day trivialities. Many of his fellow musicians held him in contempt for his egotistical demeanour but there was no denying the immense impact his music influenced the world and silenced the critics.

Paul Lewis, piano/director is one of the most sought after artistes of his generation at World's major musical venues. His highly acclaimed Schubert piano sonata series presented at venues throughout the UK won him the Southbank Show Classical Music award and the Royal Philharmonic Society's Instrumentalist of the Year in 2006.

From hence, he has zoomed into the top spot as the most celebrated pianist of his generation.

He is still on the up and up.