…appropriately enough this final volume ends with the last sonata triptych of Opp. 109-111. Lewis plays all three works with characteristic warmth and beauty of tone, and you're not likely to hear them more sensitively and intelligently done.

Only an extended essay could do justice to the fourth and final volume of Paul Lewis's Beethoven sonata cycle… You may well cherish your beloved sets by Schnabel, Kempff and Brendel (to name but three), but Lewis surely gives you the best of all possible worlds; one devoid of idiosyncrasy yet of a deeply personal musicianship.
Where else can you hear Op 10 No 2's madcap finale given with such unfaltering lucidity and precision? Try Op 28's finale for an ultimate pianistic and musical finesse or the opening Allegro where Lewis makes you conscious of how the music's gracious and mellifluous unfolding is momentarily clouded by mystery and energised by drama. In such hands the final pages of Op 111 do indeed become 'a drift towards the shores of Paradise' (Edward Sackville-West) and throughout all these performances you sense how 'the great effort of interpretation' (Michael Tippett) is resolved in playing of a haunting poetic commitment and devotion. Such playing is hardly for lovers of histrionics or inflated rhetoric, but rather for those in search of other deeper, more refreshing attributes, for Beethoven's inner light and spirit.
Somehow Lewis's quiet and distinctive voice can lift even the most familiar phrase on to another sphere and his playing throughout, shorn of accretion, makes all these sonatas shine with their first radiance and eloquence. Admirably recorded, this three-disc set is crowned with a scholarly and illuminating essay by Jean-Paul Montagnier.

Every one of Paul Lewis’s now-complete Beethoven Sonatas series has been
selected as an Editor’s Choice. Deservedly so. This final instalment boasts all the virtues of its predecessors – a pianist nimble of mind and fingers, penetrating interpretations delivered with just the right lightness of touch and
bold imaginative leaps that can leave the listener staggered.

Somehow, Lewis's quiet and distinctive voice can lift even the most familiar phrase on to another sphere.

Paul Lewis ends his Beethoven sonata cycle for Harmonia Mundi with another wide-ranging collection; like its predecessors, it contains some outstanding performances and some that do not quite reach the same exalted standard. The major disappointments here come in two of the best known sonatas. Op 81a, Les Adieux, seems far less crisp and precise than one would expect, while, after a suitably pellucid opening, the E major Op 109 becomes unexpectedly feisty and never quite regains its poise. To set against that are a beautifully paced and unfolded account of Op 28 in D, the so-called Pastorale, and impressively thoughtful performances of the two most challenging works here: the A flat Op 110 and C minor Op 111. In Op 110, Lewis creates a glowing soundworld out of which every element seems to take shape perfectly naturally, while in Op 111, he plays down the drama of the first movement to integrate it more completely with the transcendental variations that follow. The transition from one to the other is perfectly managed so that they become a seamless whole, and a perfect finale to the entire enterprise.

At times in the towering final sonatas Lewis perhaps holds too much in reserve. Greater firepower could only enhance Beethoven’s visionary thinking, even when the marking for No 30’s finale indicates “mezza voce”, a half-voice. But this reserve also leads to masterful moments. There’s No 15’s balm and calm, plus the fluent grace in the Op 49 duo – pedagogic trifles for which any overkill would be fatal...buy Lewis’s Beethoven with confidence, and listen and explore for many years to come.