I do not know how Radu Lupu did it. No 1 else does either. But I have bought a pair of theories.
The incomparable Romanian pianist, who died Sunday, was admired not only by a massive community he saved enthralled but also by the main pianists of his working day, even famous ones these kinds of as Martha Argerich, Daniel Barenboim and Murray Perahia. On the event of Lupu’s 70th birthday in 2015, pianist Kirill Gerstein described Lupu in a New York Evaluation of Textbooks tribute as “far more than a wonderful pianist,” one who took the listener “deep under and considerably above” the area of songs. André Previn the moment informed me that Lupu was the most magical pianist he experienced at any time worked with.
You will barely locate a evaluate of Lupu, mine incorporated, that does not comment on his gruff, bear-like look. Bearded, a very little wild-seeking, he cheerlessly walked onstage, hardly if at all acknowledged the audience, sat down on the common wooden chair he desired to a posh piano bench. The to start with notes, be they by Beethoven, Schubert, Schumann or Brahms, ended up in contrast to anything at all you’d at any time heard. You ended up promptly transported.
We do not know much about Lupu over and above the regular method bios and a Wikipedia entry. He averted interviews. He did not make it possible for his live shows to be recorded or broadcast. He shooed away photographers and journalists There is very small movie (a single Mozart concerto is pretty significantly it). Set Lupu’s identify in a textbooks search on Amazon and all that will come up is an situation of the academic Journal of Romanian Studies. He stopped creating professional information in the past two decades of his concertizing, which finished in 2019. As for social media: You have obtained to be kidding.
That is partly how he did it. New music in the moment, the indicating of lived, not virtualized, was everything to Lupu. His presence was incredible.
He walked onstage searching like an early 20th century anarchist. And he performed like one, like a musician enraptured with a vision of utopian modern society. Well-known for his lyricism, he spun Schubertian melody into a spellbinding internet. He introduced fiery passion to a Brahms rhapsody. He created you hear with a zeal you did not know you experienced in you, but it was also a communal zeal, the zeal of the idealistic anarchist who thinks in the inherent goodness in people to look out for each and every other.
Lupu didn’t particularly like the recording studio but he did make documents for a few a long time, almost all for the British label Decca Classics (originally produced as London in the U.S.), and in every single single a single of them, he succeeds in in some way conveying what shouldn’t be feasible to convey. They are superbly produced, enabling the uniquely Lupu-ian array of colours and textures to magnificently occur by even without Decca bothering to remaster any in hi-res.
On hearing of Lupu’s passing, I put on his recordings of Brahms’ late piano pieces, Opp. 117, 118 and 119, which he recorded as a youthful gentleman. I was instantly, yes, transported. It is totally real that his depth, his potential to impart magnificence and a which means, goes further than being familiar with. If reality, in point, has a audio, this is it.
Luckily, we got to listen to quite a little bit of Lupu. He appeared typically with the Los Angeles Philharmonic. He was a favored of Zubin Mehta (who recorded the Beethoven piano concertos with Lupu and the Israel Philharmonic), Carlo Maria Giulini (who was a person of the first conductors to winner Lupu in The us and whose 1980 efficiency of Schumann’s Piano Concerto was unusually broadcast) and Previn (of program). Lupu was also the soloist for a unforgettable overall performance of Schumann’s concerto in one of Esa-Pekka Salonen’s most particular live shows, 1 that included the premiere of Franco Donatoni’s “Esa (in Cauda V),” the dying Italian composer’s tribute and farewell to his renowned pupil, Salonen. Hearing Lupu’s ethereal nevertheless palpably considerable Schumann afterward captured that area in between becoming and non-being.
Lupu has still left us just ample to know what he was. There are about 25 several hours of recordings but lots of of his most amazing parts — Beethoven’s past piano sonata, Opus 111, important among them — are long gone with him. But his range of audio was significantly broader than what we have. He never recorded the Bartók or Janácek works, in which he was astounding at his past L.A. live performance in 2006 at Walt Disney Live performance Corridor. When it arrives down to it, we have much less documentation of Lupu than of any other present-day musician of his stature.
But in the age of each and every dwelling second captured on someone’s cellphone and posted on the net somewhere, in an period wherever lifetime is significantly less lived than postponed, Lupu has still left us just adequate brilliance to excite our imaginations. We should conjure him as we must good folks whose voices we can no for a longer time listen to, and existence we no lengthier experience. Incredibly generally, and for that very purpose, they can be the kinds who inspire us the most. Not understanding how may possibly basically serve to preserve Lupu alive for us.