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Home , Mikhail Glinka

VLADIMIR STOUPEL, PIANO

Biogra- phy

“Vladi- mir Stoupel draws the lis- tener into a virtual- ly eleva- ted state and es- tablis- hes his pianist persona- lity as the mea- sure of all things musi-

cal.” (Der Tagesspiegel, )

Vladimir Stoupel is a musician with an extraordinarily rich tonal and emotional palette. The Washington Post recently praised his “protean range of expression” and Der Tagesspiegel Berlin described his performance as “enthralling and atmospherically dense.” His extraordinary technical command allows him to explore the out- ermost limits of expression, mesmerizing audiencesUnforgettable: with his musical intensity. After a solo recital, the Frank- furter Allgemeine Zeitung granted the pianist a critic’s greatest compliment: “Unforgettable!”

Vladimir Stoupel has been a guest soloist Vladimirwith including Stoupel the Berlin Philharmonic , the Konz- erthaus Orchestra Berlin, the Gewandhaus Orchestra Leipzig, the Orchestra of the Bavarian Radio, the German Symphony Orchestra Frankfurter and the Radio Symphony Allgemeine Orchestra Berlin, the ZeitungRussian State Orchestra, the “Vladimir Stoupel draws the listener into a virtually elevated state and establishes his pianist personality as the measure of all things musical.” (Der Tagesspiegel, Berlin)

Vladimir Stoupel is a musician with an extraordinarily rich tonal and emotional palette. The Washington Post recently praised his “protean range of expression” and Der Tagesspiegel Berlin described his performance as “enthralling and atmospherically dense.” His ex- traordinary technical command allows him to explore the outermost limits of expression, mesmerizing audiences with his musical intensity. After a solo recital, the Frank- furter Allgemeine Zeitung granted the pianist a critic’s greatest compliment: “Unforgettable!”

Vladimir Stoupel has been a guest soloist with orchestras including the Berlin Philharmonic Orchestra, the Konzerthaus Orchestra Berlin, the Gewandhaus Orchestra Leipzig, the Symphony Orchestra of the Bavarian Radio, the German Symphony Orchestra and the Radio Symphony Orchestra Berlin, the Russian State Or- chestra, the Staatskapelle Weimar, the Staatskapelle Mainz, and the Staatsphilharmonie Kassel. In the United States, he has been heard with orchestras including the Wheeling Symphony, Lancaster Symphony and Lake Placid Sinfonietta. He has collaborated with conductors such as Christian Thielemann, Michail Jurowski, Leopold Hager, Marek Janowski, Steven Sloane, Stefan Malzew, Patrik Ringborg, and Günther Neuhold.

Vladimir Stoupel has appeared on many of the world’s notable stages, including Berlin’s Philharmonie and Konzerthaus, Avery Fisher Hall in New York, the National Gallery of Art in Washington DC, Hamburg’s Grosse Musikhalle, and Dortmund’s Konzerthaus, to name just a few. Festival appearances include the renowned Schleswig-Holstein Music Festival, Piano en Valois (France), Brandenburgische Sommerkonzerte (Germany), Printemps des Arts in Monte Carlo, the Helsinki Festival, and Festival La Grange de Meslay in Tours (France). He is a co-artistic director and founder of the international festival "Aigues-Vives en Musiques" (France).

Stoupel’s interest in breaking up the at times rigid incrustations of the concert business and – in addition to the cultivation of the classics – in dedicating himself to the unjustly forgotten “edges of the repertoire” is also re- flected in his CD recordings and diverse chamber music activities. Thus, in 2007, he released a CD on the EDA label, entitled "The Life of the Machines", with piano works of the twentieth century by George Antheil, Conlon Nancarrow, Alexander Mossolov, and others. In September 2010, together with Ingolfsson (Violin) and Leonid Gorokhov (Cello), he released a CD "En hommage Simon Laks" and a double - CD with chamber works by Glinka, Borodin and Shostakovich, with Breuninger Quartet. His extensive discography includes Arnold Schoenberg’s complete piano works (auris subtilis, 2001), the complete sonatas of (Audite, 2008) – a highly regarded recording for which he received the Luxemburgian Excellentia Prize, among others – and a recording of the complete works for viola and piano by Henri Vieuxtemps, with violist Thomas Selditz, which was awarded the coveted Preis der deutschen Schallplattenkritik 2002.

In recent years, Vladimir Stoupel has also made a name for himself as a conductor. He conducts chamber op- eras at Konzerthaus Berlin on a regular basis, works with the Philharmonie Neubrandenburg, the Polish Chamber Philharmonic, the Nîmes Chamber Orchestra, the Berlin Kammerphilharmonie, the Orquesta Sin- fonica de Cuidad d'Oviedo, the Mendelssohn Chamber Orchestra Leipzig, the Orchestre Philharmonique de Marseille and the Young Europe Philharmonic, among others. A main focus is on the works of the twentieth century and contemporary compositions. Thus, Stoupel gave an extremely successful debut at Iceland's Reyk- javik Arts Festival in 2009, where he performed works of contemporary women composers (Sofia Gubaiduli- na, Frangis Ali-Sade, Lera Auerbach and others) with the Reykjavik Chamber Orchestra. He is regularly con- ducting concerts with the Brandenbourg State Orchestra. He also lead the German premiere of the "Wir Gratulieren!" by M. Weinberg at Konzerthaus Berlin and a new production of the Shostakovich opera "The Tale of the Pope and of his Workman Balda", also at Konzerthaus Berlin.

A French citizen since 1985, Vladimir Stoupel currently lives in Berlin.

www.vladimir-stoupel.com Repertoire Piano Concertos

Johann Sebastian Bach Emilie Mayer Dmitri Shostakovich •Concerto f-Moll •Concerto B-Dur op. 25 •Concerto No. 1 c-Moll •Concerto d-Moll •Concerto No. 2 F-Dur •Brandenbourg Concerto No. 5 Bartholdy Alexander Skrjabin •Concerto g-Moll op. 25 •Concerto fis-Moll op. 20 •Concerto d-Moll op. 40 •Promethée (Le poème du feu) •Concerto No. 1 C-Dur •Concerto No. 3 c-Moll Olivier Messiaen Erwin Schulhoff •Concerto No. 4 G-Dur •Concert à quatre •Concerto No. 1 •Concerto No. 5 Es-Dur •Concerto-Rondo B-Dur Wolfgang Amadeus Mozart •Concerto a-Moll Alban Berg •Concerto Es-Dur (KV 271) • Chamber Concerto for Piano, •Concerto-Rondo D-Dur Nikos Skalkottas Violin and 13 Winds (KV 382) • Concerto Nr. 3 for Piano, •Concerto A-Dur (KV 414) Winds and Percussions •Concerto Es-Dur (KV 448) •Concerto No. 2 B-Dur •Concerto d-Moll (KV 466) Igor Stravinsky •Concerto A-Dur (KV 488) •Concerto for Piano and Winds Frédéric Chopin •Concerto c-Moll (KV 491) •Concerto No. 1 e-Moll •Concerto C-Dur (KV 503) Wladislaw Szpilman •Concerto No. 2 f-Moll •Concertino (1940) Sergej Prokofiev Ernst von Dohnanyi •Concerto No. 1 Des-Dur Peter Tschaikowsky • Variations on a Nursery •Concerto No. 2 g-Moll •Concerto No. 1 b-Moll Rhyme op. 25 •Concerto No. 3 Es-Dur •Concerto No. 2 op. 42 Sergej Rachmaninoff •Concerto No. 1 fis-Moll Victor Ullmann Antonin Dvorák •Concerto No. 2 c-Moll •Concerto op. 25 •Concerto g-Moll op. 33 • Rhapsodie over a Theme of Paganini Galina Ustwolskaja •Composition Nr. 1 "Dona Nobis •Les nuits dans les Maurice Ravel Pacem" for Piccolo, Tuba and Jardins D’Espagne •Concerto G-Dur Piano (1970) •Composition Nr. 2 "Dies Irae" for George Gershwin Miklos Rosza Piano, 8 double basses and wood •Rhapsodie in Blue •“Spellbound”- Concerto block (1972) •Composition Nr. 3 "Benedictus, Sofia Gubaidulina qui venit" for 4 Flutes, 4 Bassons • "Introitus", Concerto for Piano •Concerto No. 3 G-Dur and Piano (1975) and Chamber Orchestra •Concerto for Piano, Strings and Peter Ruzicka Timpani (1946) Hans-Werner Henze •”Annäherung und Stille” •Oktett for 2 Oboes, 4 Violins, • "Tristan-Préludes" for Piano, Concerto for Piano Timpani and Piano (1950) Orchestra and electronic tape and 42 Strings

Franz Liszt Camille Saint-Saens •Concerto No. 1 Es-Dur •Concerto No. 2 g-Moll •Concerto No. 2 A-Dur •Dance macabre •Wanderer-Fantasie (Schubert/Liszt)

www.vladimir-stoupel.com Discographie

• Albéric Magnard Suite polonaise pour (2007 - EDA Edition Abseits) Sonate for Violin and Piano violon et piano, Rudi Stephan Ballade pour piano • „Elegy for the jewish “Groteske” Judith Ingolfsson (Violin) villages“ for Violin and Piano Leonid Gorokhov (Cello) Victor Ullmann Judith Ingolfsson, Violin (2010 - EDA - 34) Drei jiddische Lieder (2016 - Accentus 303711) op. 53 (1944) Johannes Brahms Simon Laks • Louis Vierne • Albert Dietrich Huit chants populaires Sonata g-minor for Violin and Piano Robert Schumann juifs (1947) Judith Ingolfsson, Violin F.A.E.-Sonata for Hugo Weisgall Quintet c-minor Violin and Piano Seven popular songs from Judith Ingolfsson, Violin Robert Schumann the Yiddish (1960/1967) Rebecca Li, Violin Sonata No. 2 in d minor, Op. 121 Simon Laks Stefan Fehlandt, Viola for Violin and Piano Elégie pour les villages Stephan Forck, Cello Anna Rabinova (Violin) juifs (1961) (2016 - Accentus 303712) (2002 - auris subtilis) With: Valérie Suty (Soprano) (2007 - EDA - 30) • Gabriel Fauré • Arnold Schönberg Sonata No. 1 A-Major op. 13 & Complete Works for Piano Sonata Nr. 2 e-minor op. 108 • for Violin and Piano in Concert Four Impromptus, op. 90 Judith Ingolfsson, Violin (2001 - auris subtilis) Moment musical f-Moll, op. 94 (2016 - Accentus 303713 ) Frédéric Chopin INTERNATIONAL • W. A. Mozart Ballade No. 1, op. 23 Piano Concerto in c minor, c-Moll, op. 48, 1 AWARD 2017 KV 491 Polonaise gis-Moll, op. posth. NOMINATION RIAS Jugendorchester Polonaise As-Dur, op. 53 Gernot Schulz (Conductor) (1999 – Brandenburgische Alexander Scriabin • (2000 – Ars Produktion, Sommer Concerte, Edition 3) Complete Sonatas for Piano FCD 368393) (2008 - Audite: 21.402) • Dmitri Shostakovich EXCELLENTIA-PREIS • Erwin Schulhoff Sonate No. 2 h-Moll, op. 61 LUXEMBOURG Arabeske, op. 29 6 Préludes (1999 - Danacord, 3 Préludes und Fugues • Henri Vieuxtemps DACORD 539) (1989 - Rodolphe Complete Works for Production France Viola and Piano • Elliot Carter RPC 32600) With: Thomas Selditz (Viola) Night Fantasies (2002 - Audite: 97.486) (1999 – IPPNW-Concerts) • PREIS DER DEUTSCHEN Piano Quintet in c minor SCHALLPLATTENKRITIK • “The Life of the Mikhail Glinka Machines” Gran Sestetto Originale • Dimitri Shostakovich Nikolai Roslavets Dmitri Shostakovich Sonata for Violin and Piano op. 137 Sonata No. 2 (1916) Piano Quintet Op. 57 Igor Stravinsky George Antheil With the Breuninger Quartett “Divertimento” for Violin and Sonata „Der Tod der (2010 – IPPNW-Concerts) Piano Maschinen“ (1923) With: Judith Ingolfsson (Violin) Alexander Mossolow (2011 - Audite 92.576) Sonata No. 4 (1925) ICMA-NOMINATION 2013 Wladyslaw Szpilman Suite „Das Leben der Simon Laks • Maschinen“ (1933) “En Hommage Simon Laks” Conlon Nancarrow Trois pièces pour violon et piano, Sonatina (1941) Sonate pour violoncelle et piano, George Antheil Sonate No. 4 (1948)

www.vladimir-stoupel.com Reviews

“Power Centers of Time, Mittelbayerische Zeitung “Mountain-Peak Tour with a Mirrored” Liberating Outbreak of Sound View” Frankfurter Allgemeine Zeitung “... The soloist in Liszt’s Second Piano Vladimir Stoupel with the "The main work of the evening was Concerto was the pianist Vladimir Tchaikovsky Concerto in Kassel Igor Stravinsky’s unfortunately very Stoupel, who celebrated a brilliant Hessische Allgemeine Zeitung seldom played Concerto for piano, success with his performance. He and “There is a trend toward standardizat- wind band, double basses, and timpa- the orchestra presented Liszt’s theme ion when it comes to the most well- ni from 1924. It very clearly highlights metamorphoses as transformations of known classical hits. That which ever- reminiscences of the music of the character, and right from the first ybody knows has to sound the same early eighteenth century, for example, measures showed the potential in- each time. But it often gets exciting when the first movement calls to mind herent in the unassuming beginnings then when someone offers his own the structure of a French , or of the music. individual version. when the piano’s sound – rhythmically Stoupel did not simply add filigree In Vladimir Stoupel’s interpretation, complicated, dry, emotionlessly shaped arabesques to the lyrical-soft chords in Tchaikovsky’s famous B-Minor Piano – gives the impression of a harpsi- the woodwinds, but gave the tones Concerto not only had its own sonori- chord. In the outer movements, at weighted accentuations with which he ty. On the forty-minute musical moun- least, expressiveness is allowed only already foreshadowed the heavily ath- tain tour, the forty-seven-year-old Ber- here and there in the orchestra. letic developments of his piano part, lin-based Russian with French citi- Soloist Vladimir Stoupel mastered the where he later presented the octave zenship took advantage of every liber- task with exemplary artistic power and and chordal passages sharply chiseled ty to linger, to enjoy the atmosphere, – especially important in this piece – and angular. But Stoupel is also able to then quicken the pace again in or- utmost rhythmic precision." to make music in a completely relaxed der to storm the peak at the end in a manner: in the lightly sketched leggie- quick tempo. “The One-armed of the World ro, in lost-to-the-world, dreamy sec- Stoupel played the heavy chordal War” tions in which the participation of the towers at the beginning with forward- Frankfurter Allgemeine Zeitung orchestra almost seems forgotten, and pressing élan, yet in the lyrical passa- "A concert in the International Thea- also there where he caresses the canti- ges he slowed the tempo and let the ter in Frankfurt offered the opportuni- lena of the solo cello with gently various episodes pass by in complete ty to become acquainted with Schul- sparkling playing.” serenity, almost coming to a standstill hoff ’s very ambitious and demanding – but without forfeiting tension becau- Piano Suite for the left hand. We owe Märkische Oderzeitung se of it. this to pianist Vladimir Stoupel, who Hymn-like Finale Stouple did not emphasize virtuoso played the five movements with subtle “Chosen for the Chopin homage was brilliance in this first movement. stylistic differentiation: from the be- the E-Minor Piano Concert, op. 11, to Unusual, however, was the tonal sensi- ginning with the impressionistic tim- whose orchestral exposition the musi- tivity with which he differentiated the bres up to the percussive, toccata-like, cians lent a truly Beethovenian passi- rhythmical levels of the piano writing. and dissonant movements in bright on. The playing of soloist Vladimir The second movement began extre- expressionistic colors. And with Stoupel, who gave every tone astonis- mely slow. Here, too, Stoupel disco- Shostakovich’s Sonata for violin and hing resoluteness, was exceedingly vered tonal fields over which many piano, op. 134, Stoupel and Ingolfsson powerful. Playfully light, but far from pianists pass over without regard, and showed themselves to be an excellently being kitschy, he proved himself to be provided for strong contrasts in the attuned duo. They sharpened the con- a thinking, almost brooding Chopin prestissimo passages. trasts of this late work, whose radical advocate, who with his trill-rich passa- Only in the finale did Stoupel really nature and modernity were shown to ge work also did not disappoint in get down to it with his virtuoso hands, best advantage." terms of virtuosity. Dreamily he mu- and the octave cascades at the end sed through lyrical regions, thundered came out as if chiseled in stone. For Der Tagesspiegel Berlin, up pathos with keyboard bravura – in the thunderous applause in the sold- short, with his nuanced touch, from out Stadthalle, the soloíst reciprocated Germany cotton-soft to muscular, and his un- Storming applause! with the Autumn Song from Tchaiko- bridled will to shape things, he proved wvsky’s Seasons cycle, op. 37, which himself to be a contrast-loving, clearly he played delightfully dreamy with contouring painter of moods. He sang nearly magical pianissimo colors.” the larghetto in enchanting, glowing beauty as a nocturne full of inner lu- minescence. Enthusiastic

www.vladimir-stoupel.com “Journey to Pianistic and soft touch in the Mozart’s Piano extremely strong. Sensationally unwa- Dreamworlds” Concerto K491 and a wide range of vering, confident in style to an almost Vladimir Stoupel’s expression. It reached from tragic se- unfashionable degree.” Outstanding Piano Recital riousness and dramatic triumph to a deceptive, forced gaiety.” Harris Goldsmith, New York at the Kassel Musiktagen “Bravo for a magical recital! What an Hessische Allgemeine Zeitung The New York Sun ear for color, spacing, atmosphere, and “The concert with the Russian pianist “This was white-hot , the what a superb sense of concentration, Vladimir Stoupel, who is known for finest realization of any work I have harmonic tension; and what an in- his “well-composed” programs, set a encountered thus far this season, it credible dynamic range!” mark that colleagues who follow him was so involving that I actually forgot will find difficult to surpass. Russian to look at the fabulous view of Lower Norddeutsche Neueste Nach- piano school: yes. Demigod of the Manhattan.” richten, Germany keyboard: no. One can reduce Stou- “The most lasting musical impression pel’s playing to this simplified formula. Der Tagesspiegel Berlin was made when Russian pianist Vla- Framed by two works by Felix Men- “Stoupel induces an almost trance dimir Stoupel played Viktor Ullmann's delssohn, who, as is known, came from state in his listeners, and his pianist's Piano Concerto. For this, Stoupel re- a Jewish family, were two other Jewish personality sets musical standards.” ceived thunderous applause.” composers from the twentieth century and, as a premiere, five short pieces ARTE Holsteinischer Kurier from a seasons cycle by Russian com- “Russian pianist Vladimir Stoupel “The audience was held in rapt atten- poser Olga Rajewa, who was in atten- presents one of the best complete edi- tion by Schubert’s Piano Sonata in A dance. Stoupel played Karol Rathaus’s tions of Scriabin’s piano sonatas. A minor, op.164 and by Stoupel’s in- Third Sonata and Erwin Schulhoff ’s groundbreakingl interpretation.” credibly sensitive playing.” Third Suite for the left hand, both extremely complicated structures. At FAZ Leipziger Volkszeitung the beginning and end, however, stood “Vladimir Stoupel captivates by unify- Vladimir Stoupel impresses with his Mendelssohn, whose piano works have ing such opposing qualities as attenti- Tchaikovsky concerto in b-flat always been a bit overshadowed by his on to detail and regard for the whole, “Stoupel gave a downright perfect , oratorios, and chamber a delicate sensitivity for sounds and performance.” music. fervent virtuosity.” The pianist chose the Fantasia in F- Sunday News, PA sharp Minor, op. 28, and the Variati- Washington Post “Stoupel's nervy pianism and virtuosic ons sérieuses, both highly virtuoso “Violinist Judith Ingolfsson and pianist edge provided imaginative renderings; creations. It was interesting to observe Vladimir Stoupel brought power and the refinement of detail in his playing how differently he approached the two purpose to a varied duo program at charges every note with energy, direc- works: the Fantasia with full intensity, the National Gallery on Sunday. tion and meaning. His tone seems reminiscent of Liszt, the Variations Stoupel's protean range of expression capable of any modulations of volu- clearly more reserved and transparent. was well suited to Ravel's "La Valse." me, any effect of color. The pianist's In the one as well as in the other, It was a performance of thunder and sensitivity to nuances of articulation Stoupel immersed himself in this mu- lightning, even if the waltz feeling and sonorities was brilliant. The con- sic, became completely engrossed in it, sometimes took a back seat to the key- certo closed with cascades of sound, breathed with it, and emerged again, board pyrotechnics. When they played eliciting thunderous applause and shortly catching his breath and only together, the sum of these two fine multiple standing ovations from the gradually regaining a smile, from the artists produced moments of great audience.” dreamlike self-absorption of his play- imagination, especially in the outer ing. An outstanding evening.” movements of Ravel's pellucid Il Roma, Italien Sonata.” “Vladimir Stoupel is a pianist particu- Süddeutsche Zeitung, Germany larly careful to the quality of the “'s 2nd Piano Concerto Dresdner Neueste Nachrichten, sound.” was in the best of hands with Vladi- Germany mir Stoupel. One rarely hears the “What was then demonstrated with Neue Westfälische Zeitung, delicate structure of the piece convey- Maurice Ravel's version for piano of Germany ed so excellently in each and every his orchestral composition "La Valse" “Vladimir Stoupel is a sensitive note, exactly as in this Russian pia- was at first glance piano acrobatics of sorcerer of sound.” nist's performance that evening.” the highest order.” FAZ Berliner Morgenpost, Germany Frankfurter Rundschau “Unforgettable: Vladimir Stoupel.” “Vladimir Stoupel displayed a light “Stoupel’s "Wanderer Fantasy" was

www.vladimir-stoupel.com