Following this, http://www.colinscolumn.com/paul-lewis-plays-beethovens-bagatelles-harmonia-mundi/, and this, http://www.colinscolumn.com/paul-lewis-records-haydn-piano-sonatas-for-harmonia-mundi/, Paul Lewis now turns to Brahms, the twenty pieces that constitute his final music for the piano alone, each of them suggesting a story to be told, and certainly personal, intimate and confiding, if not exclusively, for there are outgoing numbers, too. Lewis has all the necessary bravura needed for the latter, confident writing/heroic performances; and he brings much sensitivity and searching to those creations that come from Brahms’s soul – 116/2 & 6, 117/1, and 118/2 & 5 are five prime solace-giving examples; and the delightful C-major ‘Intermezzo’ 119/3 is a match for Clifford Curzon’s usually match-less Decca version that has so often defeated other pianists’ efforts. With first-class sound (Teldex Studio Berlin, January 2018 & January 2019), Lewis’s accounts are heartily recommended and sit very nicely alongside such as Hough, Kovacevich and Ohlsson. Harmonia Mundi HMM 902365.