![]() "The silence that you have in a concert hall when you've got hundreds of people not breathing and really concentrating is really different to the silence of you just being alone in a room practising. "It's all to do with conveying that emotion and the colour that you need, and the timing, and playing with silence is really important. I felt that I could have played more with the space or with the silence in this passage'. "Every performance is like a lesson in that respect, you know, you go from it and you think, 'Yeah, that went maybe not quite as well as I expected. "You can turn every stone in your practice room, and you can prepare it as much as you like, but those things you really do learn when you're up there doing it. ![]() "I said, 'Where did you stay when you were in Liverpool?' He said, 'Oh at the sh***y Adelphi Hotel'." He seemed to have very fond memories of that time. He really kind of softened and wanted talk about it. Janowski was "known as quite a strict taskmaster, and someone who was quite dry and quite business-like", but his demeanour changed when Paul mentioned the conductor's concerts he went to as a child. I just wanted to be part of that world."Įight years ago Paul worked with Janowski in Berlin where the conductor was leading the Berlin Radio Symphony Orchestra from 2002 to 2016. "I was sort of reliving the concert all the time and then going to the library, getting recordings and just wearing the LPs out. 3', Rachmaninoff second piano concerto, and Schumann first symphony in the first half, and I was just on a complete high for about three weeks afterwards. Paul said: "The first concert I went to was when that Marek Janowski was the chief conductor of Liverpool Phil, and it was Beethoven 'Overture "Leonore" no. ![]() Pianist Paul Lewis playing cello in Knowsley Youth Orchestra when he was 12 (Image: Paul Lewis) ![]()
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