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. (1989). (1995). (1995). Franco Abbiati Prize (2006).
Premio Internazionale Arturo Benedetti Michelangeli (2006). (CBE) in the for services to music (2016)Musical careerGenresInstrumentsLabelsRadu Lupu (born 30 November 1945) is a pianist. He is widely recognized as one of the greatest living pianists. Born in, Romania, Lupu began studying piano at the age of six.
Two of his major piano teachers were, who was also the teacher of, and, who was also the teacher of. From 1966 to 1969, he won first prizes of three of the world's most prestigious piano competitions: the (1966), the (1967), and the (1969). These victories launched Lupu's international career and he has appeared with all of the major orchestras and at all of the major festivals and music capitals of the world.From 1970 to 1993, Lupu made over 20 recordings for. His solo recordings, which have received considerable acclaim, include works by, and, including all of Beethoven's piano concertos as well as five piano sonatas and other solo works; the Grieg and Schumann piano concertos, as well as three major solo works of Schumann; nine piano sonatas and the Impromptus and Moments musicaux of Schubert; various major solo works and the first piano concerto of Brahms; and two piano concertos of Mozart. His chamber music recordings for Decca include all of Mozart's sonatas for violin and piano with; the violin sonatas of and with; and various works by Schubert for violin and piano with Goldberg. He additionally recorded works of Mozart and Schubert for piano four-hands and two pianos with for, two albums of Schubert songs with for, and a disc of works by Schubert for piano four-hands with for.In addition to his performances of the music of Beethoven, Brahms, Mozart, Schubert, and Schumann, Lupu is also noted for his performances of, and, among other composers.
Lupu was nominated for two, winning one in 1995 for an album of two Schubert piano sonatas. In 1995, Lupu also won an for a disc of three major piano works of Schumann. Other awards won by Lupu include the in 1989 and 2006, and the 2006 Premio Internazionale Arturo Benedetti Michelangeli award. The, where Lupu studied from 1961 to 1969Lupu was born in, on 30 November 1945, the son of Meyer Lupu, an attorney, and Ana Gabor, a linguist. From his earliest days, Lupu 'had always expressed himself by singing', and was given his first piano at the age of five. He began piano studies in 1951, as a six-year-old, with Lia Busuioceanu.
He made his public debut in 1957, at age 12, in a concert featuring his own compositions. He told in 1970 that 'from the very beginning I regarded myself as a composer. I was sure, and everybody else was sure, that one day I would become a famous composer'. He gave up composing about four years later, saying that he thought he would be 'much better as a pianist'.After completing high school in Galați, and graduating from the Popular School for the Arts in, where he studied harmony and counterpoint with Victor Bickerich, Lupu continued his piano studies at the (1959–1961) with (who also taught ), and Cella Delavrancea, studying also composition with Dragos Alexandrescu. At the age of 16, in 1961, he was awarded a scholarship to the, where he studied for seven years. In Moscow, he first studied with (a pupil of ) for two years, and then with (who also taught and ) and later with his son,.
He graduated in 1969. Lupu was also a student of, a student of. However, in a 1981 interview, when asked about what types of influences his teachers had on him, Lupu answered that he thought of himself as more: 'My first teacher took me to every orchestral concert, and I am also grateful for what I learned in Moscow, but I think of myself, basically (in music anyway), as somebody who is more autodidactic. I took some from, everywhere.more and more so since I left Moscow.'
Early career In 1965, Lupu was placed fifth at the International Beethoven Piano Competition in Vienna. The following year, he won the first prize in the second; he also won special prizes for the best performance of a commissioned work (of Willard Straight's 'Structure for Piano') and the best performance of a movement from the Piano Sonata.
In the finals, his performance of the first movement of 's (Op. 16), a required piece, was described by Paul Hume of as 'the most fiery and thunderous of any of the six finalists'. In addition to the Prokofiev, he performed 's (Op. 73)., who was on the jury, declared Lupu a genius.
'I did not expect it at all. I am just speechless,' Lupu said after his victory. Shortly after the competition, in April 1967, Lupu made his debut at in in a program of Beethoven,.
However, Lupu reportedly turned down many of the other engagements that came with the prize, instead choosing to further his studies in Moscow.A year after his Cliburn Competition victory, in 1967, Lupu won the first prize in the. Two years later, in October 1969, he won the; he performed Beethoven's (Op. 37) in the finals. The following month, in November 1969, Lupu made his solo debut in London; of wrote about his performance of the second movement of Beethoven's at the recital: 'He brought what seemed like a lifetime's experience to its alternating desolation and pride. Never could music come nearer to speech.'
In April 1970, Lupu made his first recording for: Brahms' (Op. 117), and 's (D. He continued to record for the label for the following 23 years. In August 1970, the 24-year-old pianist made his debut at, performing ' (Op. 15) with the conducted by at the. In November 1970, he made his first concerto recording for Decca, of the Beethoven Piano Concerto No.
3 with the conducted by; he also recorded Beethoven's (WoO 80).Lupu's first major American appearances after his Leeds Competition victory were in February 1972 with the, in the Brahms Piano Concerto No. 1 with conducting at in, and in October 1972 with the, in the Beethoven Piano Concerto No. 3 with conducting. The performance of the Brahms with the Cleveland Orchestra and Barenboim was reviewed by, a -winning music critic for who had ten years prior notably lambasted the famous where the same concerto was played by with the conducted. Schonberg was also critical of the performance by Lupu and Barenboim, writing that not since the Bernstein-Gould performance 'had there been such an interpretation' of the concerto, describing it as 'willful, episodic and mannered, self-indulgent, capricious'. However, he added that 'yet through all the eccentricities came the feeling of two young musicians trying hard to get out of the rut and once in a while actually succeeding', but that 'in future years this kind of approach may jell for them. Right now it does not come off.'
Growing acclaim Although Schonberg had been critical of Lupu's debut with the Cleveland Orchestra conducted by Barenboim in February 1972, he was far more enthusiastic of Lupu's performance in November 1972 of Beethoven's Piano Concerto No. 5 with the conducted by Lawrence Foster at Carnegie Hall, writing, in The New York Times, that 'his performance did much to redeem the impression he had made last season in the Brahms D minor Concerto. Then he sounded mannered, finicky, artificial. This time he was a different pianist.' Schonberg added:His proclamation in the cadenza‐like opening was big and bold, featured by a penetrating though glassy tone. This set the stage for a fiery performance that was consistently interesting. It may have been banged out a bit, it may have been lacking in color resource, but it did have propulsion, and it did have ideas.
And it had superb momentum aside from a few bad rhythmic groupings in the slow movement.The following year, Lupu recorded the piano concertos of and with the conducted by, a recording described by as 'grandly commanding'. In February 1974, Lupu performed a recital at in New York, which was raved by of The New York Times. Rockwell declared Lupu 'no ordinary pianist' and wrote about Lupu's performance of Schubert's (D. 960):During the Schubert, however, the audience's attentive silence was extraordinary.
It was as though Mr. Lupu were employing some sort of alchemy to work a spell over everyone. That, indeed, is just about what he did, for he has that mysterious something that goes beyond technique, erudition and general musicality to reach into the sensibilities of listeners.In November 1974, Lupu made his debut with the, performing Mozart's (K. 467) conducted. In 1975, Lupu debuted with the and gave the premiere of the Piano Concerto, Op. 4 with the Royal Philharmonic Orchestra conducted by at the.
In 1976, Lupu recorded Brahms' (Op. 118) and (Op. 119), which was described by as 'a glowing realization of what Brahms set down that leaves one at a loss for words and simply glad to have ears.' In 1978, he gave his debut with the conducted by at that year's. Reviewing a recital Lupu gave at in 1980, of hailed Lupu as 'a master of the most satisfying kind'.
By 1981 he had played with every major orchestra. Remainder of the 20th century In June 1982, Lupu made a critically acclaimed recording of Schubert's (D. John Rockwell wrote in The New York Times that Lupu's 'singing tone here must be heard to be believed. Without belittling the other facets of Schubert's musical personality, he captures the composer's songful essence with a rare beauty – and, in so doing, he reaffirms once more the ability of present-day performers to do ample justice to the music of the past.' In addition, Gramophone said about the recording:To all eight pieces he brings insights all his own betokening acute awareness of the visionary in Schubert, while as piano playing pure and simple it could scarcely be lovelier in phrasing or tone. When first confronting this return to already over-recorded pieces my immediate reaction, I confess, was Why yet another? I now realize the catalogue would not have been complete without the viewpoint of so dedicated a Schubertian.In 1989, Lupu was awarded the prize by the Italian Critics' Association; he was awarded the prize again in 2006.
In 1995, he won an for his album of 's (Op. 20) which was also nominated for a. In the, he won a for his album of Schubert's Piano Sonatas in B-flat major (D. 21st century In 2006, Lupu was awarded the Premio Internazionale Arturo Benedetti Michelangeli and in 2016 was appointed (CBE) in the for services to music. Musical style. Lupu at in Chicago, 2010Lupu uses a regular, straight-backed chair at the piano as opposed to a standard piano bench. He told Clavier in 1981 that while sitting on a bench he tended to lean forward, raise his shoulders, become impossibly stiff and develop pains all over.
He also said that he practiced with a chair at home and found it natural for him. Although Lupu is an admirer of the pianism of and, he named as having the most influence on his playing, saying that Horszowski 'speaks to me like no one else'.
Lupu's initial approach to new music is to read it away from the piano, saying that he 'reads more easily away from the instrument' and that 'it is the only way to learn'. Lupu says in regards to that 'everything in music comes from the head', adding: 'If you have any concept of sound, you hear it in your inner ear. All you have to work for is to match that sound on the instrument. The whole balance, the line, the tone, is perceived and controlled by the head.'
He further describes tone production as a 'matching process for which one practices', and the physical contact of the keyboard as 'a very individual thing determined by the color or timbre you hear and try to get, the piece you are playing, the phrase'.Lupu's playing has garnered admiration not only from music critics, but also by fellow major artists. Told in a 2002 interview that 'there is nobody on earth who can actually get certain range of colour, and also the control – don't underestimate this unbelievable control of his playing.' Said in an interview that Lupu 'possesses the rare power of letting the music speak for itself', and stated that Lupu has the 'rare gift to illuminate anything that he plays with rare musical intelligence'. Other pianists who have expressed admiration for Lupu or cite him as an inspiration in their music-making include, (who named Lupu's recording of the Schubert Impromptus as his favourite),.
In addition, the conductor cites Lupu as an inspiration while he was a piano student, saying that listening to recitals and recordings by Lupu 'shaped my conception of sound from a very young age', and the cellist called him 'one of the greatest artists I have ever heard or known'. Repertoire and recordings In the span of 23 years, Lupu made over 20 recordings for. His first recording was made in the spring of 1970. Lupu's solo recordings, which have received considerable acclaim, include works by,. His solo recordings without orchestra include 5 Beethoven piano sonatas (Opp. 13, 27/2, 49, and 53), as well as Beethoven's (Op. 51) and; Brahms' (Op.
118) and (Op. 119); nine piano sonatas of Schubert (D. 157, 557, 664, 784, 845, 894, 958, 959, 960) as well as the (D. 899, 935) and (D.
780); and Schumann's (Op. His concerto recordings include the complete cycle of Beethoven piano concertos with the conducted by; the (Op. 15) with the conducted by; the Grieg and Schumann piano concertos with the and; and two Mozart piano concertos (K. 414 and 467) with the conducted. His chamber music recordings for Decca include all of Mozart's sonatas for violin and piano with; the violin sonatas of and with; the quintets for piano and winds of Beethoven (Op. 16) and Mozart (K.
452) with, and Brian Pollard; and various works by Schubert for violin and piano with Goldberg. He additionally recorded works of Mozart and Schubert for piano four-hands and two pianos with for the, two albums of Schubert songs with for, and a disc of works by Schubert for piano four-hands with for.In addition to the composers he has recorded, Lupu is also noted for his performances of,. Personal life Lupu's first wife was the cellist Elizabeth Wilson (born 1947), daughter of diplomat Sir (Archibald) Duncan Wilson, whom he married in 1971. He currently resides in, with his wife Delia, a violinist in the.For most of his career, Lupu has regularly refused to grant interviews to the press out of 'fear of being misunderstood or misquoted'. His aversion to the press and publicity has prompted them to label him as 'the reclusive Radu Lupu', with referring to him as a 'woolly recluse' and 'like someone dragged unwillingly into the concert hall but asked to leave his begging-bowl outside.'
In addition, Lupu usually does not allow radio broadcasts of his performances. In 1994, noted that Lupu's press kit then contained one single interview he granted to the Clavier magazine in 1981. Other published interviews include a 'conversation' that Lupu granted to Clavier in 1992 and an interview from 1975 that was aired on. Retrieved 19 December 2018. ^ Montparker, Carol (July – August 1992). 'Radu Lupu in Conversation'. 31: 12–16.
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10 October 1966. Retrieved 17 December 2018. Lupu, whose father is a lawyer and whose mother teaches French in high school, finished fifth at the recent Vienna International Beethoven Competition. ^. The New York Times. 10 October 1966.
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13 April 1974. Lupu, 28, made a notable Chicago Symphony debut last season when he performed Beethoven's Third Piano Concerto under the direction of Carlo Maria Giulini on Oct. 5-6, 1972. Schonberg, Harold C. (7 April 1962). 'Music: Inner Voices of Glenn Gould'. The New York Times.
P. 17. Schonberg, Harold C. (16 February 1972). The New York Times. Retrieved 17 December 2018. Schonberg, Harold C. (26 October 1972).
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Rockwell, John (18 February 1974). The New York Times. Retrieved 17 December 2018. The orchestra's 1974-1975 regular subscription season. Will introduce two conductors in their Philharmonic debuts.
One is Bernard Haitink. And the other is James Conlon. Soloists scheduled to make Philharmonic debuts are. Radu Lupu. Schonberg, Harold C. (7 November 1974).
'Music: Conlon Conducts Philharmonic'. The New York Times. Pountney, David (15 September 2016). The Guardian.
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The New York Times. Retrieved 20 April 2019. Retrieved 20 April 2019. Holland, Bernard (26 January 2002). The New York Times. Retrieved 20 April 2019.
Griffiths, Paul (24 January 2000). The New York Times. Retrieved 20 April 2019. Oxford Dictionary of National Biography.:. Retrieved 19 April 2019. Rusbridger, Alan (17 September 2013).
Farrar, Straus and Giroux. P. 318. ^ Ivry, Benjamin (10 January 2008). The New York Sun. Retrieved 27 December 2018. Gerstein, Kirill (30 November 2015). The New York Review of Books.
Retrieved 18 December 2018. Morning Performance. 29 April 2002. Retrieved 16 April 2019.External links Wikimedia Commons has media related to. in the catalogue. discography at. at Decca.
– biography.