“I took some from Furtwängler, Toscanini, everywhere… more and more so since I left Moscow.” I’m also grateful for what I learned in Moscow, but I think of myself, basically (in music anyway), as somebody who is more autodidactic,” he declared. “My first teacher took me to every orchestral concert. However in an interview in 1980 Lupu claimed he’d been more influenced by his experience of conductors. There, his teachers included the famous pianist and pedagogue Heinrich Neuhaus, who’d studied with Scriabin and who also taught Emil Gilels and Sviatoslav Richter. Unlike Lipatti who’d gone on to study in Paris with Alfred Cortot, when the ties with Paris and Romania were very close before World War II, Radu Lupu went off on a scholarship to study at the Moscow Tchaikovsky Conservatory from 1961, for most of that decade. “I took some from Furtwängler, Toscanini, everywhere…” In Bucharest he studied at the Conservatory with Professor Florica Musicescu, who also taught Dinu Lipatti and is widely regarded as the founder of the Romanian piano school. But by the time he was 16 he’d given up composing to focus on the piano.
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I was sure, and everybody else was sure that one day I’d become a famous composer.”įor his professional debut recital in Brasov when he was 12, Lupu devoted the complete program to his own compositions. I made tunes on it, and from the very beginning I regarded myself as a composer. “I didn’t really play the piano as an end in itself. He began piano lessons when he was six but his early ambition was to be a composer. The story goes that Radu didn’t speak much until he was almost three, preferring to sing to express himself. He was born in Galați, the port town north-east of Bucharest on the Danube River in 1945. Radu Lupu was the only child of Meyer Lupu, a lawyer, and Ana (Gabor) Lupu, a French teacher. “From the very beginning I regarded myself as a composer.” Without any concessions to the usual publicity and marketing campaigns, Radu Lupu conquered the world, speaking through his music. This was the challenge this perfectionist set himself. The whole balance, the line, the tone, is perceived and controlled by the head.” “All you have to work for is to match that sound on the instrument. In one of his rare interviews, he revealed that his extraordinary tone control came not from his hands, but from his head, or rather inner ear. Lupu’s pianism was distinguished in part by the clarity and poetic beauty of sound he produced and the way he coloured the harmonies, but also his total lack of ego, to the point where he seems to disappear. What was even more memorable was their rehearsal which I also saw, where these two great artists argued passionately about tempi. I finally saw him ‘live’ at the Enescu Festival in Bucharest in 2013, in the headline concert partnering his friend Daniel Barenboim in Mozart’s Concerto for Two Pianos. His early recording of the Schubert Impromptus quickly became the benchmark by which I judged all other pianists. Like many music lovers, I’ve been a long-time fan. “The world has lost a poet, a giant – a kind and tender soul.”
Lupu was very much a musician’s musician and tributes quickly followed from pianists Igor Levit, Kirill Gerstein, Gabriela Montero, Lars Vogt and composer Esa-Pekka Salonen.
We will forever cherish his amazing way to transform music into magic.” Lupu had been the first expat Romanian to offer financial aid to the George Enescu Philharmonic Orchestra after the revolution in 1989. The first news of Radu Lupu’s death came from the George Enescu Festival in his native Romania: “We are deeply saddened to find out about the death of Maestro Radu Lupu, a dear friend of the Enescu Festival and a magnificent musician. As per any great artist it's the power of unleashing that space between the notes that creates emotional resonance.” Richard Tognetti I really felt embarrassed being there, so private and tumultuous were his invocations of Schubert. I only heard him live once and it was spellbinding.
“Vulnerable thunder is how I'd describe Radu Lupu's playing.
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