Josephine Miles

Eric Lu signs exclusive contract with Warner Classics

9:11, 6th September 2019

Chinese-American pianist Eric Lu, winner of the 2018 Leeds International Piano Competition, has signed an exclusive contract with Warner Classics

Lu’s first release under the new contract will be a recital of Chopin (24 Preludes), Schumann (‘Ghost’ Variations) and Brahms (Intermezzo No 1). This will be his second album for the label, following last year’s release of Beethoven’s Piano Concerto No 4, recorded live at the Leeds Competition with the Hallé and conductor Edward Gardner.

Lu, who studies with Jonathan Biss and Robert McDonald at Philadelphia’s Curtis Institute of Music, has joined BBC Radio 3’s New Generation Artists scheme, a two-year programme encompassing concerts around the UK, appearances and recordings with BBC ensembles, and studio recordings for Radio 3.

On 1 September 2019 Lu made his debut at the BBC Proms, playing Mozart’s Piano Concerto No 23 with the Shanghai Symphony Orchestra under Long Yu. His 2019/20 season includes debuts with the BBC Symphony Orchestra, Detroit Symphony and St Petersburg Philharmonic, a UK tour with the Orchestre National de Lille, and recitals at the Elbphilharmonie (Hamburg), Wigmore Hall (London), BOZAR (Brussels), Amsterdam Concertgebouw, Philharmonie Luxembourg and Gewandhaus Leipzig.

Lu said, ‘It’s a great honour to record for Warner Classics – a label with a back catalogue of legendary recordings, many of which were part of my own musical upbringing. The Warner team were incredibly supportive following the Leeds Competition, and I’m looking forward to starting this new chapter in our relationship with repertoire that’s close to my heart.’

Patrick Lemanski, director of classics at Warner Music UK, commented, ‘I went to the finals at Leeds, having watched the rest of the competition online, so I was convinced that Eric Lu was a pianist of high artistic integrity. When he came onto the stage with his air of determined calmness and that inner smile, I knew something even more intense was about to take place. The way he played Beethoven’s 4th Concerto was so evidently moving that I knew his performance was not just about technique and virtuosity: I was in the presence of a new magician of the keyboard.’

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