Always a privilege to hear this:
Aside from the lucidity brought to matters of style, the wonders of the Lupu touch were once more a thing to behold: the decay-defying length and depth of his chords, prominent in the second movement, and gorgeous legato maintained across the most improbable of leaps; the seamless switch from his customary poetic silkiness to a glistening clarity when pointing a phrase a particularly way or drawing attention to Beethoven’s descending bass lines; and the ghostly quality of his pianissimo – truly the quietest in the business – which remains capable of sparkling through thick orchestral textures and reaching the back of any hall.
There’s more on his Beethoven 3 in the full review. I wrote about Lupu once before, here, also prattling on a bit about Schenker, which has got to be self-defeating any way you look at it, but I did it anyway and very seriously I took it too.
This concert also marked the first time in a while I’ve seen Eschenbach, having almost forgotten in the meantime how good he can be. The Schleswig-Holstein Festival Orchestra also played Till Eulenspiegel and the Concerto for Orchestra, giving the Gustav Mahler Jugendorchester a run for their money and a few other youth orchestras besides.