Unfortunately not enough -- in my eyes: poetry doesn't mean lack of fire; virtuosity doesn't mean passion. I remember the time when M. Radu Lupu was inhabited by passion and enthusiasm. Maybe many ordeals arrived to him since this time?
This is a good recording. In my opinion he gets it right. Often (and even from well-known pianists) there's an over use of phrasing - slowing down the opening piece, here and there, instead of letting it fly. Often too, you hear a constant slowing and picking up of tempo in the pieces, which Lupo does not do - except very faintly. Very good. Also, Schumann was an amazing composer - truly unique, and not one who tried to sound like anyone else. That's a great strength, and rare. He has a fantasy style of melody that is so rare that I can only think of Rachmaninoff, who too was unique, and where the music comes alive and a thing of itself.
I think had Schumann been alive today he would definitely have been diagnosed with severe Bipolar. Clara Wieck herself said she was alarmed and disturbed when she played through it. Lupu is superb in bringing out the wild and manic, and equally the dreamy, tender and poetic qualities of this masterpiece.
@@klavesin5 There are quite a number of pianists among the younger and the young who prove you wrong, take only Alexandre Kantorow. Or Daniil Trifonov. Or Piotr Anderszewski. Or Leif Ove Andsnes. Or Cédric Tiberghien. ... But I agree, of course, that Radu Lupu playing Schumann transports me into heaven.
+Francis Cummings Hi Francis, thank you! Question, did you read my comment on Perahia on Amazon where I actually call him a 'wizard.'? See: www.amazon.com/gp/review/RJ6QBEUAU9NQV?ref_=glimp_1rv_cl
This extremely beautiful and authentic performance by the great Radu Lupu who wisely measures his appearances as well as the works he will perform, even this performance is surprising in the speed of the first movement. Almost all pianists seem to vie with each other for speed. Schumann says Extremely Animated. Had he wanted speed he would have used the word RASCH. The music can be exrtemely animated, passionate, without speed. In this instance, speed obliterates the musical line. Fellow pianists, especially performing pianists, please give this some consideration. Respectfully submitted. Show less
@@larrykatz3333and Musica Aeetrna - Schumann was a very speedy composer. The problem is pianists who slow down and sentimemtalize piecces like trauemerei. The critic , Hanslick, complained that Clara played her husband's music so fast that he could not make head or tail of it, but, as Brahms said, there was no point in talking to Hnaslick about music. Lupu's speeds are right;maybe your brain should move faster.
@Larry Katz I listened to Kempff. It's a decent rendition; the only problem with it is that he runs the movements together without taking a breath in between. The work, after all, is clearly divided into sections, and the pianist really should be cognizant of it by taking breaks at appropriate points.
@Felix de Villiers I agree that the music can get oversentimentalized with the wrong approach, but I happen to think that much music making or today, and not just by pianists, but also other instrumentalists and even conductors, is taken simply too damn fast, with those hectic, frenetic tempos which has become the trend of today. We have become so surfeited with these tempos, so conditioned to them, that anything taken at a more rational tempo will seem utterly boring, and incidentally, I altogether deplore this trend. At such tempos it is far more difficult to savor various felicities along the way when everything approaches a virtual blur, and by the way, I take strong exception to your comment "make your brain go faster" - I find that very off-putting. Can you explain what you mean about Schumann being a "speedy composer?" I have never encountered that anywhere else, but respectively suggest that it's how you've become used to hearing this music through all those hectic renditions you've been exposed to. Essentially I have few problems with Lupu's tempos. I might question what he does with the next to last section, in particular the chorale like portion which closes it .
00:00 I: Äußerst bewegt (Extremely animated), D minor. 02:22 II: Sehr innig und nicht zu rasch (Very inwardly and not too quickly), B-flat major. 11:21 III: Sehr aufgeregt (Very agitated), G minor. 15:51 IV: Sehr langsam (Very slowly), B-flat major/D minor. 19:24 V: Sehr lebhaft (Very lively), G minor. 22:45 VI: Sehr langsam (Very slowly), B-flat major. 26:37 VII: Sehr rasch (Very fast), C minor/E-flat major. 28:38 VIII: Schnell und spielend (Fast and playful), G minor.
Bien sûr, il y a quelques autres sublimes versions, à commencer par Argerich, Horowitz, Arrau, Cortot, Nat, Pollini, mais celle de Lupu en fait partie très largement, poésie et folie quand il le faut. Merveilleux
Один из самых импонирующих для меня пианистов в исполнении Крейслерианы Шумана. Это то что я хотела и искала, глубокое внутреннее содержание. Благодарю пианиста за его творчество!
I believe this piece is Schumann's greatest single piece, one of highest pinnacles of the Romantic era and one of the single greatest piano works ever written. While this is a wonderfully sensitive version, I do not believe it is the finest. The level of absolute identification and spiritual union Martha Argerich achieves in her interpretation--the fury and tempestuousness; the inner and revealing poetry--is second to none and I think is one of the rare achievements in keyboard playing.
1 Äußerst bewegt (Extremely animated), D minor 2 Sehr innig und nicht zu rasch (Very inwardly and not too quickly), B-flat major. This movement in ABACA form, with its lyrical main theme, includes two contrasting intermezzi. In his 1850 edition Schumann extended the first reprise of the theme by twenty measures in order to repeat it in full. 3 Sehr aufgeregt (Very agitated), G minor 4 Sehr langsam (Very slowly), B-flat major/D minor 5 Sehr lebhaft (Very lively), G minor 6 Sehr langsam (Very slowly), B-flat major 7 Sehr rasch (Very fast), C minor/E-flat major 8 Schnell und spielend (Fast and playful), G minor. Schumann used material from this movement in the fourth movement of his first symphony. WIKIPEDIA
Re your last comment - people put almost anything into Wikipedia, but I respectfully suggest that the quotation of a motive between the last section of Kreisleriana and an episode in the last movement of the Spring Symphony was not an intentional quotation, but something more subconscious. At worst one could level it as an unconscious mannerism but regardless, from the appearance of it, I really don't think that it was a conscious transfer and subsequent usage from one work to another. From my experience, people put all sorts of things on Wikipedia, and much of the information presented in this source should be taken with a grain of salt.
Musical Aeterna Я тоже каждый раз жалею, что в быстром темпе пропадает экспрессия интонаций в первой пьесе. У Лупу даже в быстром темпе меньше потерь, так как его эмоциональная экспрессивность очень сильна.
Take down the ads, you gotta be kidding me! Let’s stop the middle of the concert and eat candy or read the newspaper or check our emails in the concert hall. If you cannot post classical music on UA-cam without running ads, go and find a job.
Vor drei Jahren- aber keineswegs zu viel Pedal, Ein Mann der Schumann speilen gesehen hat sagte a er hatte den Fuss immer auf das Pedal so dass immer eine leichte Mischung von Dissonanzen hoerba war,r aber da mit gutem Geschmack.
+Cathy Permut Cathy, thanks for that observation. This extremely beautiful and authentic performance by the great Radu Lupu who wisely measures his appearances as well as the works he will perform, even this performance is surprising in the speed of the first movement. Almost all pianists seem to vie with each other for speed. Schumann says Extremely Animated. Had he wanted speed he would have used the word RASCH. The music can be exrtemely animated, passionate, without speed. In this instance, speed obliterates the musical line. Fellow pianists, especially performing pianists, please give this some consideration. Respectfully submitted.
Another famous pianist, I won't mention the name, was asked by a music magazine to listen to some recordings and react to it. When the Horowitz/Kreisleriana started he immediately said something like "Stop it. It sounds like somebody would practise Czerny etudes. Horrible."
Grandissimo Lupu!!!!!!! Genio Schumann !@!
Lupu expresses the poetry inherent in this wild piece that many others miss.
Unfortunately not enough -- in my eyes: poetry doesn't mean lack of fire; virtuosity doesn't mean passion.
I remember the time when M. Radu Lupu was inhabited by passion and enthusiasm. Maybe many ordeals arrived to him since this time?
A very beautiful rendition by a great pianist.
I listen many times to this recording it's absolutely wonderful
This is a good recording. In my opinion he gets it right. Often (and even from well-known pianists) there's an over use of phrasing - slowing down the opening piece, here and there, instead of letting it fly. Often too, you hear a constant slowing and picking up of tempo in the pieces, which Lupo does not do - except very faintly. Very good.
Also, Schumann was an amazing composer - truly unique, and not one who tried to sound like anyone else. That's a great strength, and rare. He has a fantasy style of melody that is so rare that I can only think of Rachmaninoff, who too was unique, and where the music comes alive and a thing of itself.
Un pianiste dont l'interpretation traduit les émotions ,la passion du compositeur et quel jeu magnifique possède ce Mr Lupu !
I think had Schumann been alive today he would definitely have been diagnosed with severe Bipolar. Clara Wieck herself said she was alarmed and disturbed when she played through it. Lupu is superb in bringing out the wild and manic, and equally the dreamy, tender and poetic qualities of this masterpiece.
Radu Lupu pianista fantástico !!!! sensibilidad y sonido espectacular el poeta del piano.
ua-cam.com/video/b-cpx_SVSRI/v-deo.html
Another triumph for the big Rumanian, such power and yet such delicacy and soul. It really shows up in this Schumann masterpiece.
Musicians like that simply dont exist anymore...pure poetry
@@klavesin5 There are quite a number of pianists among the younger and the young who prove you wrong, take only Alexandre Kantorow. Or Daniil Trifonov. Or Piotr Anderszewski. Or Leif Ove Andsnes. Or Cédric Tiberghien. ... But I agree, of course, that Radu Lupu playing Schumann transports me into heaven.
One of the best interpretations
ua-cam.com/video/b-cpx_SVSRI/v-deo.html
agree!
Radu Lupu is the best pianist alive, together with Sokolov and Perahia. This is amazing. Thanks.
+pianogus Nelson Freire, Arcadi Volodos,Argerich
+pianogus I couldn't agree more! And -- Perahia is a WIZARD!
+Francis Cummings Hi Francis, thank you! Question, did you read my comment on Perahia on Amazon where I actually call him a 'wizard.'? See:
www.amazon.com/gp/review/RJ6QBEUAU9NQV?ref_=glimp_1rv_cl
+CSBstif Yes, and keep on topping up the list, right?!
+pianogus Argerich and Trfonov are the best alive
suberb. Interpretare sincera, melodioasa, parca fara nici un efort. Superb.
Ce pacat ca nu apreciem ceea ce avem.
This extremely beautiful and authentic performance by the great Radu Lupu who wisely measures his appearances as well as the works he will perform, even this performance is surprising in the speed of the first movement. Almost all pianists seem to vie with each other for speed. Schumann says Extremely Animated. Had he wanted speed he would have used the word RASCH. The music can be exrtemely animated, passionate, without speed. In this instance, speed obliterates the musical line. Fellow pianists, especially performing pianists, please give this some consideration. Respectfully submitted.
Show less
Kempff doesn't fall into this trap.
@@larrykatz3333and Musica Aeetrna - Schumann was a very speedy composer. The problem is pianists who slow down and sentimemtalize piecces like trauemerei. The critic , Hanslick, complained that Clara played her husband's music so fast that he could not make head or tail of it, but, as Brahms said, there was no point in talking to Hnaslick about music. Lupu's speeds are right;maybe your brain should move faster.
/
@Larry Katz I listened to Kempff. It's a decent rendition; the only problem with it is that he runs the movements together without taking a breath in between. The work, after all, is clearly divided into sections, and the pianist really should be cognizant of it by taking breaks at appropriate points.
@Felix de Villiers I agree that the music can get oversentimentalized with the wrong approach, but I happen to think that much music making or today, and not just by pianists, but also other instrumentalists and even conductors, is taken simply too damn fast, with those hectic, frenetic tempos which has become the trend of today. We have become so surfeited with these tempos, so conditioned to them, that anything taken at a more rational tempo will seem utterly boring, and incidentally, I altogether deplore this trend. At such tempos it is far more difficult to savor various felicities along the way when everything approaches a virtual blur, and by the way, I take strong exception to your comment "make your brain go faster" - I find that very off-putting.
Can you explain what you mean about Schumann being a "speedy composer?" I have never encountered that anywhere else, but respectively suggest that it's how you've become used to hearing this music through all those hectic renditions you've been exposed to.
Essentially I have few problems with Lupu's tempos. I might question what he does with the next to last section, in particular the chorale like portion which closes it .
00:00 I: Äußerst bewegt (Extremely animated), D minor.
02:22 II: Sehr innig und nicht zu rasch (Very inwardly and not too quickly), B-flat major.
11:21 III: Sehr aufgeregt (Very agitated), G minor.
15:51 IV: Sehr langsam (Very slowly), B-flat major/D minor.
19:24 V: Sehr lebhaft (Very lively), G minor.
22:45 VI: Sehr langsam (Very slowly), B-flat major.
26:37 VII: Sehr rasch (Very fast), C minor/E-flat major.
28:38 VIII: Schnell und spielend (Fast and playful), G minor.
Whoever disliked this... Imma consider that as a finger mis-slip. I mean it would be a blasphemy to object to this masterpiece of music!
Bien sûr, il y a quelques autres sublimes versions, à commencer par Argerich, Horowitz, Arrau, Cortot, Nat, Pollini, mais celle de Lupu en fait partie très largement, poésie et folie quand il le faut. Merveilleux
Один из самых импонирующих для меня пианистов в исполнении Крейслерианы Шумана. Это то что я хотела и искала, глубокое внутреннее содержание. Благодарю пианиста за его творчество!
А Вы послушайте Николаса Эконому (Nicolas Economou)
crying as listening!!!!
감사합니다!!😄👍🙆💐
I believe this piece is Schumann's greatest single piece, one of highest pinnacles of the Romantic era and one of the single greatest piano works ever written. While this is a wonderfully sensitive version, I do not believe it is the finest. The level of absolute identification and spiritual union Martha Argerich achieves in her interpretation--the fury and tempestuousness; the inner and revealing poetry--is second to none and I think is one of the rare achievements in keyboard playing.
Please check out Tzimon Barto's interpretation of Kreisleriana.
Un autre voyage, superbe !
Thanks ...
1 Äußerst bewegt (Extremely animated), D minor
2 Sehr innig und nicht zu rasch (Very inwardly and not too quickly), B-flat major. This movement in ABACA form, with its lyrical main theme, includes two contrasting intermezzi. In his 1850 edition Schumann extended the first reprise of the theme by twenty measures in order to repeat it in full.
3 Sehr aufgeregt (Very agitated), G minor
4 Sehr langsam (Very slowly), B-flat major/D minor
5 Sehr lebhaft (Very lively), G minor
6 Sehr langsam (Very slowly), B-flat major
7 Sehr rasch (Very fast), C minor/E-flat major
8 Schnell und spielend (Fast and playful), G minor. Schumann used material from this movement in the fourth movement of his first symphony. WIKIPEDIA
Re your last comment - people put almost anything into Wikipedia, but I respectfully suggest that the quotation of a motive between the last section of Kreisleriana and an episode in the last movement of the Spring Symphony was not an intentional quotation, but something more subconscious. At worst one could level it as an unconscious mannerism but regardless, from the appearance of it, I really don't think that it was a conscious transfer and subsequent usage from one work to another.
From my experience, people put all sorts of things on Wikipedia, and much of the information presented in this source should be taken with a grain of salt.
Interesting that no one here has mentioned Alfred Brendel's impeccable interpretation - one of the best renderings of Kreisleriana.
Ideale Auffassung, endlich!
RIP🕯️
excellent, without equal
Musical Aeterna Я тоже каждый раз жалею, что в быстром темпе пропадает экспрессия интонаций в первой пьесе. У Лупу даже в быстром темпе меньше потерь, так как его эмоциональная экспрессивность очень сильна.
What a relief to listen to this after hearing Trifonov butcher the piece
omg yes.
So well said!!! Trifonov is killing many dead composers and great pieces, unfortunately.
Merveilleux
Like his tempi , his interpretations , straight forward playing no mannerism very musical and doesn't overdo with left hand voicing
Indeed. However, you still may prefer a touch more of passion, of "fire" even more poetry at some moments...
yes, so much better than Yuja Wang
Is this live? Either way, thank you for uploading it. It's tremendous.
This piece will be played by Michel Fournier at the concert in Val Morin, March 1st, 2014.
죽기 전에 라두루푸님 공연 실제로 보는게 소원인데ㅠ
이제 못볼드슈ㅠ
he played it wild, because he could. Horowitz did it also. great!
Wow
26:37
Bravo!
And the instrument ETA Hoffmann's Kreisler played was?
28:38 !
Take down the ads, you gotta be kidding me! Let’s stop the middle of the concert and eat candy or read the newspaper or check our emails in the concert hall. If you cannot post classical music on UA-cam without running ads, go and find a job.
die beste Interpretation auf YT. Aber immer noch zu viel Pedal, oder nicht?
Vor drei Jahren- aber keineswegs zu viel Pedal, Ein Mann der Schumann speilen gesehen hat sagte a er hatte den Fuss immer auf das Pedal so dass immer eine leichte Mischung von Dissonanzen hoerba war,r aber da mit gutem Geschmack.
он чертовски потрясающий
II: 2:24 III: 11:24
Unrivaled. Particularly the middle passage of III.
0:19, 6:19, 14:27
komponiert in 1838
+AwesomeClara I .. composed this
what?
34:20
11:22
Most interpretations of this work as far as I know are outstanding in some way or another except one : that by Trifonov.
O
Vladimir Horowitz on RCA in absolutely unrivalled in his performance, so spare your time.
Stupid troll:))
so it is stupid to have different opinions from you on music ?
i will point out the "stupid" part in what you said: spare your time. Understand now?
Some english grammar for you: spare: to be able to afford or give. So spare your time, means to afford it for something else.
Witold Domeyko you don't get it, do you?
even Radu takes too fast- every versions is too fast- misses the poetry- shld ignore the markings
+Cathy Permut
Cathy, thanks for that observation. This extremely beautiful and authentic performance by the great Radu Lupu who wisely measures his appearances as well as the works he will perform, even this performance is surprising in the speed of the first movement. Almost all pianists seem to vie with each other for speed. Schumann says Extremely Animated. Had he wanted speed he would have used the word RASCH. The music can be exrtemely animated, passionate, without speed. In this instance, speed obliterates the musical line. Fellow pianists, especially performing pianists, please give this some consideration. Respectfully submitted.
why poet here- no one ever responds?
meaning why POST
I doubt this is Lupu.
I have only two words to say. Vladimir Horowitz.
Certo. Ma non esageriamo, Radu Lupu e' tra i Grandi della storia del pianoforte!
Another famous pianist, I won't mention the name, was asked by a music magazine to listen to some recordings and react to it. When the Horowitz/Kreisleriana started he immediately said something like "Stop it. It sounds like somebody would practise Czerny etudes. Horrible."
@@FirstGentleman1 Well, that's his problem.
@@pvonberg You are right but it shows that people can see things very differently.
Not bad, but not good.
26:30
11:58