Radu Lupu, celebrated Romanian pianist, dies at age 76

April 18, 2022 - 7:46 PM ET

By  Anastasia Tsioulcas

An undated portrait of the late Romanian pianist Radu Lupu. Lupu died Sunday at age 76 in Lausanne, France.
Photo: Erich Auerbach / Getty Images

The widely admired Romanian pianist Radu Lupu has died at age 76. His manager, Jenny Vogel, told NPR that he died "peacefully at his home in Switzerland from multiple prolonged illnesses" on Sunday evening. Lupu was frequently cited by fellow musicians as an inspiration and model of artistic expression, particularly for his interpretations of Schubert, Brahms, Mozart, Beethoven and Bartok, among other composers.

His death was announced by the George Enescu International Festival and Competition in Bucharest; no other details of his death have been released. Lupu had retired from public performances in 2019, after several years of canceling many engagements due to poor health, and had not recorded since the mid-1990s.

Throughout his career, Lupu recoiled from interviews and press appearances; he also did not allow radio broadcasts of his performances. But his music making became the stuff of deep dedication among fans and fellow musicians.

Born in Galati, Romania, on Nov. 30, 1945, he began piano lessons at age 6; by the time he was 12, he gave his first public concert featuring entirely his own compositions. He went on to study at the Moscow Conservatory in 1961.

His international career began with a blazing trio of wins at three highly prestigious piano competitions: the Van Cliburn International Piano Competition in Texas in 1966, the George Enescu International Piano Competition in Bucharest in 1967, and the Leeds International Pianoforte Competition in England in 1969.

By the following year, he had begun recording for Decca, his record label home for the next two-plus decades. (He made a handful of other recordings for other labels in partnership with other musicians, including collaborations with pianists Daniel Barenboim and Murray Perahia, soprano Barbara Hendricks, and violinists Szymon Goldberg and Kyung-Wha Chung.)

In a review of a collection of Lupu's complete solo recordings for Decca, Gramophone critic Rob Cowan wrote in 2010: "If I were asked to sum up the art of the pianist Radu Lupu in a single phrase, it would be "the Carlos Kleiber of the piano," meaning perfectionism in detail combined with a musical imagination that delivers, and an invariable grasp of where the music is going ... Lupu gives the impression of someone who had been thinking of the music long before playing it, so that every quaver has its place, every nuance its designated effect. And yet the end results rarely sound calculated, such is the depth and persuasiveness of Lupu's musicianship."

When news of Lupu's death came Monday, tributes from fellow musicians poured out on social media, including from pianists Igor Levit, Kirill Gerstein, Vikingur Olafsson, Lars Vogt, Gabriela Montero and Stewart Goodyear, as well as composer and conductor Esa-Pekka Salonen.

Cellist Steven Isserlis wrote on Twitter: "Devastated to hear that Radu Lupu has left us. Not only one of the greatest, warmest, most profound musicians I've ever heard, but also a deeply kind, compassionate, modest and humorous man - and a wonderful friend. He was ready to go, true; but he'll still be desperately missed."

First published at npr.org April 18, 2022

'Maestro' Lenny packs his baton for NZ | Canberra City News

by Helen Musa

CANBERRA conductor Leonard Weiss – Lenny to most people here – has just graduated to the title of “maestro” with his appointment to the role of NZ’s national assistant conductor-in-residence.

Conductor Leonard Weiss … off to NZ.

The position is funded by Creative New Zealand and managed by the Auckland Philharmonia Orchestra. Changes to NZ’s covid-related border restrictions has meant that Weiss can now start after a two-month delay.

APO chief executive, Barbara Glaser, said assistant conductor-in-residence program had been created as a long-term strategy to build greater depth amongst emerging conductors within Australasia and that Weiss would take over from the inaugural recipient, New Zealand’s Vincent Hardaker.

The auditions for the position took place across the later months of 2021, and because of covid, involved an hour-long interview on Zoom with a panel of musicians and members of the management teams from all the orchestras across NZ.

During his tenure, Weiss will participate in a structured development and performance program led by the APO’s music director Giordano Bellincampi and supported by the music directors and guest conductors from the other NZ orchestras.

He will conduct rehearsals and concerts across all the orchestras’ 2022 seasons, participate in planning and strategy sessions and meet with aspiring conductors, composers and ensembles studying at school and at university.

“This role offers me a chance to be a part of the season ‘life-cycle’ of each of these fantastic ensembles,” Weiss says.

”I’m especially excited by the chance to work with young Kiwi composers and lead the various workshops scheduled around the country while I am in NZ.”

Weiss, who was studying for his masters at the Peabody Institute of Johns Hopkins University, before covid struck, has recently been in Sydney, where in 2022, he still plans to fit in stints with Sydney Youth Orchestra, National Opera, The CoOperative and Australian Conducting Academy.

He is best known here as long-time former conductor of the Canberra Youth Orchestra, music director of the National Capital Orchestra and he is still artistic director of the Canberra Sinfonia. He was named the 2016 Young Canberra Citizen of the Year for Youth Arts and Multimedia and was an ACT Finalist for 2016 Young Australian of the Year.

First published in Canberra City News on-line edition, April 15, 2022

Polifemy - a concert of sublime glory

Palms / Ashes / Rebirth

Polifemy Vocal Ensemble

Wesley Uniting Church

April 10, 2022

Reviewed by Tony Magee

Polifemy music director and singer, Robyn Mellor. Photo supplied.

In a concert that elevated the soul to heights of rapturous glory, Polifemy, directed by Robyn Mellor, captured the sublime compositional styles of eleven composers ranging from Medieval through Renaissance and early Baroque.

The comically named Wipo of Burgundy (c. 995 - c. 1050) composed “Victimae paschali laudes” as plainchant, the choir singing it beautifully in pitch perfect antiphon.

“Christus factus est” by Asoli followed. Influenced by Palestrina, the work was beautiful and revealed rich harmonies.

Palestrina himself was next with “Pueri Hebraeorum”, composed in 1587 in Motet form. Beginning with a plainchant introduction the piece morphed into glorious polyphony for which he was famous and was sung superbly.

Molinaro’s “Insurrexerunt in me” also from 1587 welcomed the addition of two male singers, joining the nine women. A gentle opening developed into complex polyphony showcasing enormous dynamics. It was beautifully expressive, finishing on a gentle tierce-de-picardie.

“Vere languores” by Lotti written during the High Baroque is composed in a block chordal style, the choir singing in rich harmonies, the piece featuring many suspended cadences, all beautifully sung with precision and poise.

Returning to a polyphonic style, Polifemy sang de Rore’s Easter Motet “O crux benedicta” from 1563 with style and grace.

That most famous of Medieval and Renaissance composers, Anon., followed with “Pascha nostrum”. Composed circa 1500, the piece revealed an older compositional style more aligned to Medieval music, with bare fifths and octaves in abundance.

Two pieces by William Byrd, considered one of the greatest composers of the Renaissance, both showcased a huge vocal range, with high soaring soprano lines over a solid lower foundation from the altos. “Vespere autem Sabbathi” was composed for the Paschal Vigil on Easter Saturday. “Angelis domini” which followed, is usually performed at Mass on Easter Monday.

The great master of the late Renaissance and early Baroque, Claudio Monteverdi was represented with his “Surgens Jesu” from 1582. Often credited with composing the first known opera, “L’Orfeo”, his Motet written for Easter Sunday was divine, delivered with excellent diction and pronunciation, as were all the pieces sung, ending with another beautifully crafted and sung tierce-de-picardie.

Claudio Montiverdi by Bernardo Strozzi, circa 1630.

In two sections, Byrchley’s “Christus resurgens” is his only known work. Part one was sung as plainchant. Part two revealed just two vocal lines, gloriously sung.

The concert closed with “Gratias agimus tibi” by Gregor Aichinger. Written in 1600 the piece is a thanksgiving prayer from the “Gloria” section of the Sunday Mass. 

Rhythmically diverse, the full choir sang in a magnificent and uplifting manner with rich harmonies, finishing with a powerful “Amen”, and was repeated as an encore. The delighted audience responded with rapturous applause.

First published in Canberra City News on-line edition, April 11, 2022

Stargazers - A joyous celebration of Australian music

Canberra Symphony Orchestra Chamber Players

National Museum of Australia, Gandel Atrium

April 7, 2022

Reviewed by Tony Magee

String section of CSO Chamber Players. Photo: Martin Ollman

IN PREPARING and performing this concert the CSO has brought together a small ensemble of their finest musicians and delivered a joyous celebration of Australian composers and their music.

Guest pianist Edward Neeman opened the evening playing Richard Meale’s “Coruscations”, a work filled with intensity and drama contrasted with delicate tonal shadings, exploring the full range of the piano.

Displaying a dazzling technique, he played with conviction and panache, clearly savouring all that was on offer, which was extensive, in the writing and expressive opportunities this piece invites.

Composed in 2015, the then 21-year-old Connor D’Netto’s “String Quartet No 2 in E minor” is thought by many to evoke ‘the contours of the Australian landscape’, something which he denies, but is more than happy for listeners to ponder!

Led by Kirsten Williams on 1st violin and joined by Doreen Cumming (violin), Lucy Carrigy-Ryan (viola) and Patrick Suthers (cello), the quartet established a gentle, wistful opening, almost a prelude before a storm, later taken over by pizzicato over a solid bowed cello foundation. In the second movement the players climaxed into an intense, dynamic wash of furious playing with an abrupt climactic conclusion.

Whatever D’Netto’s intensions were, it certainly made for gripping listening and showcased his talents as a composer of conviction and purpose.

In a world premiere and commissioned by the CSO, “In the Beginning, Fun” scored for string quartet plus marimba was composed by Christopher Sainsbury in 2021, who was also present in the audience.

Sainsbury’s unusual vision for this piece - God having some fun and a playful romp in creating the universe - presented significant challenges for the players in attempting to put this unusual premise across musically.

Certainly, the pizzicato cello lines overlaid with marimba splashes contrasted with gentle melodic phrases from the first violin as an opening, had a playful, almost comic quality, later joined by the other strings. It was definitely interesting listening.

Using the medium of music to express her Yuin culture, First Nations composer Brenda Gifford’s piece “Mungala” (Clouds) is scored for alto flute, Aboriginal clapping sticks and a specially made percussion instrument of dried bean pods.

Kiri Sollis playing alto flute. Photo: Martin Ollman

Played by Kiri Sollis, the wafting, almost haunting flute lines definitely evoked images of clouds, large and small, dramatically set against blue skies, whilst the percussion elements played by Veronica Bailey evoked images of clouds suddenly separating and being blown erratically by the wind, sometimes perhaps with the occasional lightning strike or thunder.

Nardi Simpson is a Yuwaalaraay storyteller from New South Wales. Her work, “Of Stars and Birds” was one of the most captivating pieces on the program. Rachel Best-Allen on clarinet, Veronica Bailey on vibraphone and Kiri Sollis on flute opened with individual musical contributions before coming together in a complex polyphonic wash of sound before gently releasing into fluttering bird-like symbolism.

The piece is a musical realisation of a significant Yuwaalaraay story ending in the creation of the Southern Cross, with birds weaving the story into our dreaming state as well as our conscious state.

The concert closed with Jakub Jankowski’s “To the Waters Above”. Composed this year as a CSO commission, the piece saw the full ensemble of players come together under the direction of guest conductor Carlo Antonioli. Carlo is currently assistant conductor to the Melbourne Symphony Orchestra.

“The Waters Above” is a reference to the stars in our galaxy and highlights some of the vast differences in viewing them between city settings where the images are blurred and hidden by city lights, and countryside viewing where the clarity is enormous.

Jankowski has effectively created a musical time machine. When we look upwards to the heavens we are actually looking back in time, as some of these celestial objects are hundreds or thousands of light-years away.

Opening with twinkling melodic phrases from piano and percussion, the scene was set, searching upwards as more instruments joined in, creating a mixture of star images, sometimes obscured by clouds moving past.

Antonioli gently gestured each measure and entrance point for the players, seemingly observing a moving, almost divine respect for the night sky and all its mystery and wonder.

In celebrating the diversity and uniqueness of Australian music, Canberra Symphony Orchestra Chamber Players delivered an elevating and fascinating journey through a myriad of mediums, dreams, stories and textures, to which the near capacity audience in the Gandel Atrium erupted in enthusiastic applause.

First published in Canberra City News Web Edition, April 8, 2022

Canberra Sinfonia and soloists showcase Mozart concertos

"Mozart Concerto Gala"

Canberra Sinfonia with guest soloists

Lucy Macourt - violin

Alison Mountain - flute

Rowan Phemister - harp

Wesley Uniting Church, Forrest ACT

Saturday April 2, 2022

Reviewed by Tony Magee

COMPOSED in 1775 in Salzburg, the nineteen year old Mozart is thought to have written his fourth violin concerto with himself in mind as soloist. It is known that Italian violinist Antonio Brunetti (1744 - 1786) later championed the piece, along with others by Mozart.

Violin soloist Lucy Macourt played with conviction and style, filling the church with a rich and sonorous tone, brightly uplifting and joyous.

Canberra Sinfonia with violin soloist Lucy Macourt. Photo: Peter Hislop

Duet passages between the soloist and first violin were played with feeling and warmth.

Macourt played all three cadenzas with lyrical and heartfelt emotion, capturing the 18th century style beautifully, projecting into the room with ease.

The final Rondeau movement showcased her ability to explore and deliver the joyful, almost playful texture of the music. Mozart must have been in a happy place when he composed this piece.

IMPRESSIVELY playing their parts from memory, soloists Alison Mountain and Rowan Phemister delivered a delightful and polished rendition of Mozart’s “Concerto for Flute and Harp”.

Savouring the sea of opportunity to play together and share the many glorious moments this piece offers, the two were almost as one at times, filling Wesley church with mellifluous musical phrases.

Alison Mountain, flute and Rowan Phemister, harp.  Photo: Peter Hislop

Mountain played with a beautiful, rich tone. Phemister delivered sparkling and flowing lines from the harp, richly supporting the flute at times and at others showcasing sparkling melodic phrases.

The first movement also featured excellent pizzicato accompaniment from the string section of the chamber orchestra.

The second movement features one of Mozart’s most beautiful and treasured melodies, beginning with an introduction by the orchestra, taken over gloriously by the soloists. The musical communication between them was a fascination to watch and was a key factor in the success of this performance, particularly evident in the lush and flowing cadenzas.

The third movement was bright and airy with excellent projection from the soloists, the harp coming through with greater conviction this time.

The program suggested there would be two oboists, but only one was present for this performance. Never-the-less, the eight players of Canberra Sinfonia were confident in delivery, with good ensemble work, albeit with some tuning and intonation blemishes along the way which need to be addressed.

The large audience rewarded the players with well deserved enthusiastic applause.

This concert marked yet another triumphant return to quality live music performances in our national capital.

First published in Canberra City News on-line edition, April 2, 2022

Patrick Leonard Ward: 1940 - 2022

 

Fiancée Mary with Patrick outside the Larry Sitsky Recital Room, ANU School of Music circa 2021