Radu Lupu Memorial Concert in an interview with Nelson Goerner

Today we remember Romanian pianist Radu Lupu CBE, who was born on 30 November 1945, in Galați. 

Last December, at the Romanian Athenaeum in Bucharest, Maestro Cristian Mandeal paid tribute to the extraordinary man and friend with a deeply moving concert, alongside National Symphony Orchestra of Romania and Argentine pianist Nelson Goerner. The (very Romantic) programme consisted of Franz Schubert: Overture in the Italian Style D591, Frédéric Chopin: Piano Concerto No. 2 in F Minor, Op. 21 and Beethoven’s Symphony No. 3 “Eroica”. 

Nelson Goerner is an essential Chopinist. He is a member of the artistic advisory committee for the Chopin Institute in Warsaw and a regular guest of Chopin and his Europe International Festival. As one of the leading pianist-ambassadors of Polish musical culture, in 2018 he was honored by the Polish Ministry of Culture and National Heritage with the ‘Gloria Artis’ gold medal for services to culture. 

Being so praised for his interpretations of Chopin made the Second Piano Concerto an obvious choice, but there’s more to that. 

What deeply moved me was the Larghetto, a work of “a perfection almost ideal” inspired by composer’s first great love, Konstancja Gładkowska. So luminous and romantic… sung poetically but not over-sentimentalized… no flashiness, no excesses… there’s no greater proof of love for Chopin’s music other than an insightful, heartfelt interpretation… I love a pianist who thinks and feels deeply. Seems like Goerner found the perfect balance between mind and soul and what could be more beautiful than a superbly played Chopin? Only more (superbly played) Chopin. His encore was the dreamy, melancholic Nocturne No. 20 in C Sharp Minor, which served as an achingly beautiful benediction to a deeply emotional and very grateful audience.

Concluding the memorial evening, Cristian Mandeal gently addressed the audience, saying that he was sure the spirit of Radu Lupu, one of the greatest pianists of our times, was present in music, words, and silence. 

After the concert, I spoke to Mr. Goerner about his connection with Radu Lupu, his past experiences with him and, of course, about his lifelong affinity with Chopin.

Tell us about your connection with Radu Lupu and your past experiences with him.

I saw Radu at a concert in 1994 and I simply went to him, to express my great admiration. By chance, he had heard me not long before on the radio and he welcomed me warmly. I had the courage to ask him if I could play something to him one day and he accepted. I was exhilarated. I had the unusual chance to play many times for him, quite a lot of repertoire; and each of his comments inspired me profoundly. From one meeting to the next, a great friendship grew between us. We were very close, and his passing hit me deeply.

How would you describe Radu Lupu as a pianist?

Radu Lupu was a sublime artist. Time stand still when he played... he was a great source of inspiration throughout my life. He had the capacity to bring us to another world when he played. His dedication and devotion to music was complete. And he had one of the most glorious sounds, for its richness, its incredibly nuanced subtleties, and enormous power when required.

Why Chopin’s Second Piano Concerto?

When thinking about the programme for this memorial concert, I remembered Radu being very complimentary about hearing me on the radio playing this concerto. So, I naturally thought it would be appropriate.

Quite recently, in August, at the 42ème Festival International de Piano de la Roque d’Anthéron, you dedicated your recital to the memory of Radu Lupu. The programme consisted of Chopin’s Ballades and Schumann’s Études symphoniques. Tell us more about both the festival and the programme and how are they linked to Radu Lupu.

La Roque d'Anthéron Festival is one of my favourite venues! The Parc de Florans, where the concerts take place, is a very beautiful one, with its majestic old trees; the public is so warm and knowledgeable. René Martin, its founder and director, as well as all the festival team, create all the conditions for us musicians to try and give our best. Regarding the programme: Schumann’s Études Symphoniques are, in my memory, linked to Radu Lupu; he was playing them the first time I heard him in concert, and when he made me the surprise to come to listen to me for the first time in public, I was playing the same piece, too! And I worked with him on Chopin Fourth Ballade.

On your previous performance here at the Romanian Athenaeum, you played Chopin’s Ballades, Iberia (Albéniz) and Estampes (Debussy). Do you prefer the intimacy of a solo recital instead of performing a concerto? What is different in sound and atmosphere and what is your take as a performer in both cases?

A recital and a concerto are very different experiences, not to be compared, I think. The solo recital is unique in the sense that everything depends on you alone — it is therefore more challenging, more difficult... and I welcome this challenge, I love to play recitals. But when the collaboration with a conductor and an orchestra is satisfying, as it was the case with Cristian Mandeal and the Romanian National Orchestra, the experience is wonderful — a deeply rewarding one.

How did the love for Chopin’s music start? Tell us about Chopin’s sound world for you.

For every pianist I know, Chopin's music is very special... he occupies a big place in my daily life, in my soul. I believe he is one of the hardest composers to interpret, because of the blending of his classical heritage and his romantic, feverish temperament.

How do you manage to balance the scientific and the emotional dimensions of the score? How do you get into the very heart of Chopin without losing sincerity and personal touch?

I study the score from every angle, but your intuitive response to it from the first reading is so essential and should never be missed. At first, it is important to play with sincerity and, above all, pleasure. There is time later to go into every detail, into every corner. Then, you must make all these details to take their own place, to make them speak.

A heartfelt interpretation of Chopin’s music makes us feel like Chopin is so close to each and every one of us. Could you give us an insight into how to listen to Chopin?

Sometimes, you hear an interpretation, of Chopin or any other composer, and you feel "this is true". The world of the composer and the voice of the interpreter are in fusion. And it is convincing, even perhaps if it is not the way you would play it yourself. When this happens, I feel I am in presence of a true recreation of a masterpiece.

Do you approach a composer always with the same priorities or are there certain things for each composer that you want to bring out?

Of course, each composer has its own sound world, his own "language". But my initial approach, the total honesty, fidelity and sincerity that I naturally want to convey in my countless hours of study remains the same, certainly. This forms the basic ground of the interpretative work.

Lastly, some impressions about returning to Romania and your Romanian ties/past experiences. How do you find the Romanian public, performing here and being the President of the Jury in the Piano section of the George Enescu International Competition?

I played very many times in Romania and I believe a close, warm connection with its public has forged throughout all those years. I had not been back since 2019, so I was eagerly waiting for this return. Romanian audiences are so musical, cultivated and receptive — it makes each encounter a very special one.

First published in Revista Tomis, no. 3-4, January-February 2023 (Romanian translation).