Notes and Editorial Reviews
It is clear from the appreciably quicker tempo set by the orchestra at the start of the Adagio that Lupu's is going to be a rather different reading. And he does indeed catch in rare measure that sense of an inner dreamscape—the notes floating, free, unaccented... In the long first movement Lupu's is a reading which, though it may sacrifice some of the sweep and tonal splendour of the de Larrocha, communicates in much greater degree—notes more sparely, more tellingly struck—a sense of the music's intellectual fibre, its classical poise, and its classical command of argument... In the finale, where Mehta's tempo for Lupu is now noticeably slower, there are some unpleasant slurred accents from the Israeli players and a less marked degree of
concentration. Which is a pity, given the intelligence and limpidity of Lupu's playing, its Kempff-like resilience.
-- Gramophone [9/1979, reviewing the original LP release]
I greatly admired Lupu's playing of the Emperor Concerto when the LP first appeared and I admire it as much, if not more, on reacquaintance. In its vitality, sensitivity, and poise it recalls the old mono version by Solomon and the stereo version of Kempff. We are fortunate that the first Compact Disc version of so central a work is as good as this.
-- Gramophone [3/1983]
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