Louis Lortie in recital at Carnegie Hall.
by Paul Pelkonen
A few weeks ago, Carnegie Hall subscribers were informed that pianist Maurizio Pollini had cancelled his planned New York recitals for this season for "health reasons." This the second year in which the Italian virtuoso had declined to appear on this side of the Atlantic. On Sunday afternoon, those subscribers had the pleasure of hearing Louis Lortie, who offered a program of Beethoven and Chopin in the second of these scheduled concerts.
This Canadian pianist has built a reputation in recent years for clean, imaginative playing. He began the concert with two of the most popular Beethoven Sonatas, the Waldstein and Les Adieux. The first movement of the Waldstein was played with a pell-mell spirit that slowed with the application of rubato in the second theme. Mr. Lortie accelerated again, playing Beethoven's thematic building blocks with a sure touch. The glissando notes came as fast as it was possible to play them without slurring.
In his methodical way, Mr. Lortie brought equal weight to the Waldstein's short second movement, providing melodic expression and making this Adagio more than just a bridge between big ideas. The quick turn into the final Rondo happened almost invisibly, as Mr. Lortie siezed hold of the big, singing theme, playing the repettions of it with rhythmic drive and a warm sense of melody.
by Paul Pelkonen
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| The pianist Louis Lortie. Photo by Elias. |
This Canadian pianist has built a reputation in recent years for clean, imaginative playing. He began the concert with two of the most popular Beethoven Sonatas, the Waldstein and Les Adieux. The first movement of the Waldstein was played with a pell-mell spirit that slowed with the application of rubato in the second theme. Mr. Lortie accelerated again, playing Beethoven's thematic building blocks with a sure touch. The glissando notes came as fast as it was possible to play them without slurring.
In his methodical way, Mr. Lortie brought equal weight to the Waldstein's short second movement, providing melodic expression and making this Adagio more than just a bridge between big ideas. The quick turn into the final Rondo happened almost invisibly, as Mr. Lortie siezed hold of the big, singing theme, playing the repettions of it with rhythmic drive and a warm sense of melody.
