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Moura Lympany

Dame Moura Lympany DBE (née Mary Gertrude Johnstone; 18 August 1916 – 28 March 2005) was an English concert pianist renowned for her commanding interpretations of Romantic composers, particularly and , and for her extensive discography that included pioneering complete recordings of Rachmaninoff's preludes. Born in , , to Captain John Johnstone, an army officer, and Beatrice Limpenny, Lympany—whose stage name derived from a Russian diminutive of Mary and her mother's maiden name—was initially taught piano by her mother before studying at a Belgian convent from age six and later at the Conservatory. At age 12, she made her concert debut in performing Mendelssohn's Piano Concerto No. 1 in G minor, followed by a to the Academy of Music in , where she graduated in 1932 with the Challen Gold Medal and Hine Prize after studies with Paul Weingarten in , Mathilde Verne, and Tobias Matthay. Lympany's career gained momentum with second prize at the 1938 Ysaÿe International Piano Competition in , her 1939 debut at in , and wartime performances across , including the UK premiere of Khachaturian's in 1940. Postwar, she became the first British musician to perform in after its liberation, playing Alan Rawsthorne's , and made her US debut at New York in 1948, establishing her as one of the 20th century's most popular and distinguished British pianists. Her recordings for Decca from the 1940s onward, spanning Brahms, Schumann, and her signature Rachmaninoff cycles (recorded three times, last in 1993), solidified her legacy, while she continued performing until age 78 and her final recording in 1995. Honored with the CBE in 1979 and elevated to Dame Commander of the in 1992, Lympany also received the Commander of the Order of the Crown from , of the Ordre des Arts et des Lettres from , and Portugal's Medal and Cross of at age 80. Personally, she married twice—first to Colin Defries from 1944 to 1950 and second to television executive Bennet Korn from 1951 to 1961—endured multiple miscarriages, and resided in , , , and her home in Rasiguères, , where she founded a in the 1980s; she published her , A Very Great Profession, in 1991. Lympany died in Gorbio near , , after a long illness.

Early Life and Education

Birth and Family Background

Moura Lympany was born Mary Gertrude Johnstone on 18 August 1916 in , , . Her parents were Beatrice Limpenny, an intelligent and cultivated woman who had worked as a governess and tutor in St. Petersburg, , before returning to in 1915, and John Johnstone, a whose career contributed to the family's frequent relocations. Beatrice, who spoke seven languages and played and , became the primary supporter of the family, which later included two sons born after Mary, while guiding her daughter's early development. The family's nomadic lifestyle, driven by John Johnstone's professional postings, exposed young Mary to diverse cultures from an early age, with moves across and beyond. This peripatetic existence fostered a cosmopolitan outlook that would influence her later career, as her mother shaped a multifaceted home environment rich in languages and arts. 's time in also inspired the choice of her daughter's future stage name, reflecting a personal affinity for that culture. Mary's initial exposure to music came through the family home, where her mother's amateur proficiency on the piano provided her first lessons and sparked an enduring interest. By age seven, this talent was evident enough for to arrange further opportunities abroad, setting the stage for more structured musical pursuits.

Musical Training and Early Influences

At the age of seven, in 1923, Mary Gertrude Johnstone was sent by her family to a convent school in Belgium to study languages and music, where her emerging piano talent was soon evident. Her studies progressed to the Liège Conservatory, where she immersed herself in intensive practice—up to five hours daily by age nine—focusing on foundational repertoire such as J.S. Bach's The Well-Tempered Clavier. She remained in Belgium for about four years, honing her technical skills in a disciplined environment before returning to England around 1927 or 1928 at age 11 or 12. This early continental exposure, influenced by her mother's background in Russian culture and language teaching, laid the groundwork for her interpretive depth in Romantic and classical works. Back in , Johnstone secured a scholarship to the Royal Academy of Music (RAM) in , enrolling at age 13 in 1929 and graduating in 1932 under piano professor Ambrose Coviello. Her RAM tenure culminated in the prestigious Challen Gold Medal, awarded for exceptional pianism. She supplemented her formal education with private lessons from leading early 20th-century pedagogues, including Mathilde Verne—a direct pupil of —who stressed precise technique and expressive phrasing, and Tobias Matthay, renowned for his emphasis on arm weight and tonal relaxation to achieve natural beauty in performance. At 16, in 1932, she traveled to for a year of advanced study with Paul Weingarten at the Hochschule für Musik, further refining her command of the keyboard. These mentors shaped her balanced approach, prioritizing interpretive clarity over mere virtuosity. In 1929, during her early RAM years, Johnstone adopted the stage name Moura Lympany for her inaugural public engagement—a performance of Mendelssohn's Piano Concerto No. 1 in G minor at Harrogate, conducted by Basil Cameron, who proposed the moniker as a blend of the Russian diminutive "Moura" for Mary and an archaic spelling of her mother's maiden name, Limpenny. This choice signaled her dedication to a professional concert path, building on her foundational training. By 1932, amid the Great Depression's economic hardships, she performed Grieg's Piano Concerto in A minor with the Royal Academy Orchestra under Henry J. Wood, demonstrating her growing poise. The next year, she entered her first major international competition, the inaugural Franz Liszt Piano Competition in Budapest, where she competed against talents like the eventual winner, Annie Fischer, though without placing.

Professional Career

Debut and Early Successes

Moura Lympany made her professional debut at the age of 12 on August 8, 1929, performing Mendelssohn's Piano Concerto No. 1 in G minor with Basil Cameron conducting at the Harrogate Festival. This early appearance, arranged after an audition prompted by her mother's determination, marked the beginning of her public career and showcased her precocious talent under Cameron's guidance. Cameron, impressed by her poise, suggested she adopt a more exotic to enhance her appeal, leading to the adoption of "Moura Lympany," a of combined with a variant of her mother's maiden name Limpenny. Her London debut followed in May 1935 with a recital at , featuring works by Bach and Schumann, which received positive attention and solidified her presence in the British capital's music scene. In 1939, she made her debut at in , further advancing her early profile. The following year, she expanded her orchestral engagements, but her breakthrough at the came in 1938 during Prom 47 at , where she performed Grieg's Piano Concerto in A minor with conducting the . That same year, Lympany achieved significant recognition by securing second prize at the Ysaÿe International Piano Competition in , finishing behind among 79 competitors from 29 countries; this accomplishment, noted by jury member , elevated her visibility across and led to immediate concert bookings. As erupted, Lympany faced disruptions but persisted in the British music scene, performing to support the , including at the National Gallery's lunchtime concerts organized by . On April 13, 1940, she gave the British premiere of Khachaturian's in D-flat major at with the London Philharmonic Orchestra under Anatole Fistoulari, a performance that highlighted her affinity for Russian repertoire amid the escalating conflict. Despite the war's challenges, such as reduced opportunities and the destruction of venues like by bombing in 1941, these wartime appearances established her as a prominent figure in Britain's resilient community.

International Recognition and Key Performances

Following the end of , Moura Lympany achieved significant international recognition through landmark performances that highlighted her technical prowess and emotional depth. In 1945, she and conductor became the first British musicians to perform in after its liberation, presenting Alan Rawsthorne's Piano Concerto No. 1 to Allied forces amid the city's ongoing recovery. This event marked a pivotal moment in her career, symbolizing cultural renewal and earning her acclaim across Europe for her commanding stage presence. Lympany's global profile expanded dramatically with her American debut in November 1948 at New York's , where her recital of works by Beethoven, Chopin, and others drew enthusiastic reviews for its virtuosity and interpretive insight. Subsequent U.S. tours solidified her reputation, including a notable 1957 recital at on November 20, featuring Debussy's Études and Chopin's Nocturnes, which showcased her as one of the era's leading pianists and attracted sell-out crowds. These engagements, building on her earlier successes that had garnered invitations from major orchestras, established her as a transatlantic star. In 1953, Lympany participated in the Steinway Centenary Concert at on October 19, joining over thirty renowned pianists in a collective performance of Chopin's Polonaise in A-flat major, Op. 53, an event that celebrated the piano maker's 100th anniversary and underscored her status among the world's elite artists. She further enhanced her international stature through collaborations with distinguished conductors, including during a 1953 concert at London's , where her interpretation of Rachmaninoff's No. 2 was praised for its lyrical intensity, and in performances of Beethoven and other concertos in the , noted for their precise ensemble and dramatic flair. Lympany's resilience shone in 1969, when, just three months after undergoing a for , she performed Prokofiev's No. 4 for the Left Hand at London's with the Royal Philharmonic Orchestra, delivering a poignant and technically assured rendition that highlighted her unyielding commitment to her art. This appearance not only demonstrated her physical and emotional fortitude but also resonated deeply with audiences, reinforcing her reputation for interpretive depth. In the 1970s, she extended her reach with extensive tours across , , , and , performing recitals and concertos in major venues that captivated diverse audiences and cemented her as a global ambassador for British pianism.

Post-War Achievements and Later Career

In 1979, marking the fiftieth anniversary of her debut, Lympany gave a recital at the Royal Festival Hall attended by Charles, Prince of Wales, in support of the National Society for Cancer Relief. That same year, she was appointed Commander of the (CBE) for her services to music. During the 1980s, Lympany established the annual Rasiguères Festival of Music and Wine at her home in the village of Rasiguères near , , which ran from 1981 until 1992 and featured the Manchester Camerata as resident orchestra. The event combined performances with local and vintages, attracting international artists and audiences to the Pyrenean setting. She continued to advocate for contemporary British composers, including Alan Rawsthorne, whose Piano Concerto No. 1 she had championed since her post-war performances and later selected as a favorite on 4's . As she entered her seventies, Lympany reduced her international touring schedule due to age but maintained an active presence through masterclasses and occasional recitals. Her final major public recital took place on October 24, 1993, at age 77, at Suntory Hall in , where she performed a selection of Rachmaninoff's Preludes to acclaim. Into the , Lympany shifted toward informal mentoring of young pianists, offering guidance through private sessions and continued masterclasses that emphasized interpretive depth and technical poise. She also served on juries for prominent international competitions, including the Ninth in , in 1993, where her experience influenced selections amid a field of rising talents. This transition to advisory roles solidified her legacy as a mentor in the final phase of her performing career.

Personal Life

Marriages and Family

Lympany's first marriage was to Lieutenant-Colonel Colin Defries, a engineer and amateur thirty-two years her senior, in 1944. The union, kept secret initially due to wartime conditions, ended in in 1950, strained by the demands of her burgeoning concert career. In 1951, she married American television executive Bennet H. Korn, with whom she relocated to the United States and sought to establish a family. Their efforts were marked by profound losses: an initial stillborn child, followed by twins who died at birth, and a premature son who survived only 35 hours. These tragedies contributed to the couple's divorce in 1961, leaving Lympany childless despite her strong desire for parenthood. Lympany entered no further marriages. From the onward, she maintained a close platonic friendship with British politician , bonded by shared passions for music, food, and wine; they performed in concerts together and she visited him frequently at and during his premiership. Although urged by Conservative colleagues to marry Heath to counter perceptions of his bachelorhood, Lympany declined, citing her affections elsewhere. This enduring companionship provided significant emotional support in her later personal life.

Health Challenges and Personal Interests

In 1969, Moura Lympany was diagnosed with and underwent a of her left breast. Three months after the surgery, she resumed performing, including a notable rendition of Prokofiev's No. 4 for the Left Hand. She later had a second operation for the condition but achieved a successful recovery, returning to her concert career with renewed focus after consulting her former teacher Ilona Kabos to refine her technique. Lympany channeled her experiences into philanthropic efforts, supporting initiatives and charities. She founded the Rasiguères Festival of Music and Wine in , which ran from 1980 to 1990 and promoted musical performances alongside cultural events to foster appreciation for . Additionally, she assisted Prince Louis de Polignac in establishing the Festival des Sept Chimins in Guidel, , starting in 1986, further advancing through accessible concerts and workshops. Beyond her professional life, Lympany pursued personal interests that offered balance amid extensive travel. She tended a at her estate in Gorbio, near , , where she cultivated plants as a therapeutic escape. She also built a notable collection of art, acquiring works that reflected her refined aesthetic sensibilities and provided intellectual stimulation during periods of rest.

Death and Legacy

Final Years and Death

In the late 1990s, following her decision to cease public performances around her 80th birthday in 1996, Moura Lympany retired to a more private life, dividing her time between residences in and , including her home in Rasiguères and later Gorbio near . Her public appearances became limited, as she shifted focus away from the concert stage to personal pursuits in the healthier she had sought since the . By the early , Lympany's health had deteriorated, compounded by challenges from a prior . She spent her remaining years in Gorbio, where she passed away on 28 March 2005 at the age of 88 from natural causes associated with advanced age. Following her death, Lympany's body was transported to Rasiguères, where she was buried in accordance with her last wishes to rest in the village she had cherished since acquiring property there in the 1970s. Immediate tributes from musical peers highlighted her enduring artistry; and Bryce Morrison described her as "a of dreaming," praising her poetic interpretations and resilience in the face of personal hardships.

Honors, Awards, and Enduring Influence

In recognition of her contributions to music, Moura Lympany was appointed of the (CBE) in 1979. She was elevated to of the (DBE) in 1992 by Queen Elizabeth II. Additionally, she received the of the Order of the Crown from in 1980 and was named of the Ordre des Arts et des Lettres by in 1992. On her 80th birthday in 1996, she received Portugal's highest honour, the Medal and Cross of . Lympany was made a of the Royal Academy of Music () in 1948. Lympany exerted a profound influence on the British piano tradition, serving as a prominent figure whose career inspired subsequent generations of female musicians in . Her technical mastery and interpretive depth helped elevate the profile of women performers during a period when gender barriers persisted in the field. She played a key role in promoting 20th-century composers, most notably by giving the first performances outside the of Aram Khachaturian's in 1940, which introduced the work to Western audiences and established it in the international repertoire. Following her death in 2005, Lympany's legacy endured through tributes that highlighted her pioneering status, including events that celebrated her for greater opportunities for women in . Her example as one of the foremost British pianists of the continues to encourage equal representation and artistic excellence among female artists.

Recordings and Repertoire

Notable Commercial Recordings

Moura Lympany's early commercial recordings were primarily made for Decca between 1941 and 1952, capturing her virtuoso technique in a range of Romantic and modern works during the post-war era when she was establishing her international reputation. Among these, her 1945 recording of Aram Khachaturian's in with Symphony Orchestra under Anatole Fistoulari, commercially released on Decca 78rpm that year, highlighted her affinity for vibrant . She rerecorded the same concerto in 1952 with the London Philharmonic Orchestra and Anatole Fistoulari, achieving fuller orchestral color and technical brilliance that showcased the work's exotic rhythms and her precise articulation. In 1947, Lympany committed Balakirev's demanding Islamey: Oriental Fantasy to disc for Decca, a feat of stamina and dexterity that demonstrated her command of 19th-century Russian piano fireworks amid the label's 78-rpm format limitations. Her Decca tenure also encompassed significant solo repertoire, notably the Rachmaninoff Preludes from Opp. 23 and 32; she recorded complete cycles starting with her debut set in 1941–1942, followed by the 1951–1952 version at Decca's studios, where she captured the composer's brooding lyricism and dramatic contrasts across the sets, reflecting the era's shift to long-playing records. Additionally, a 1945 Decca recording of Alan Rawsthorne's No. 1 with the and Boult, previously unissued, was preserved as a broadcast and later remastered, underscoring Lympany's advocacy for contemporary composers in the immediate post-war period. These sessions positioned Decca as a key outlet for her early career, blending technical prowess with interpretive depth amid wartime austerity and emerging stereo technology. In the 1950s and into the –1970s, Lympany shifted to () as her primary label, producing acclaimed interpretations of core classical works that expanded her discography beyond virtuoso showpieces. Her 1952 recording of Beethoven's No. 14 in , Op. 27 No. 2 (""), exemplified her poised phrasing and emotional restraint, while later sessions in the 1950s and included additional Beethoven sonatas, emphasizing structural clarity and dynamic subtlety suited to the label's growing catalog. For Chopin, her recordings of selected Études from Opp. 10 and 25 in the captured the composer's poetic demands with elegant fingerwork, though she revisited the full sets in later decades for other imprints; these efforts solidified her reputation for Romantic precision during 's golden age of piano recording. Decca and others later reissued some of her concerto material, but her original later solo works remained predominantly -associated. A landmark reissue of Lympany's Decca catalog came in with The Decca Legacy, a 7-CD compiling her complete 1941–1952 recordings, including previously unissued material like the 1947 Chopin No. 3 and Samuel Barber's , Op. 26, all newly remastered for enhanced clarity and depth as of the set's release. This collection, totaling nearly eight hours, preserves her early artistry in historical context, with transfers addressing surface noise from 78-rpm sources while retaining the original acoustic warmth, and no further remastering updates reported by 2025.

Signature Works and Artistic Style

Moura Lympany's signature works prominently featured the Romantic and Slavic repertoires that aligned with her strengths, including Sergei Rachmaninoff's Piano Concerto No. 2 in C minor, Op. 18, which she performed and recorded with notable drive and lyricism, capturing its emotional intensity through her affinity for Russian music. She also championed Aram Khachaturian's Piano Concerto in D-flat major, giving its British premiere in 1940 and establishing it as a cornerstone of her career, where her interpretations highlighted the work's exotic rhythms and virtuosic demands with precision and flair. Additionally, her 1943 recording of Ernst von Dohnányi's Capriccio in F minor, Op. 28 No. 6, showcased her as a virtuoso in showpieces, demonstrating effortless technical command and sparkling articulation in its Hungarian-inflected bravura. Her artistic style was defined by expressiveness, a powerful yet controlled tone, and meticulous precision, particularly in and compositions, where she conveyed deep emotional resonance without excess. Lympany's playing emphasized lyrical warmth and graceful phrasing, often described as singing from an inner musicality, allowing her to navigate the dramatic swells of works like Rachmaninoff's concertos with compelling intensity and refined power in climaxes. She placed less emphasis on , favoring the era's expressive demands over its structural clarity, which suited her unpretentious, disciplined approach that prioritized beauty of sound and character fidelity. Over her career, Lympany's interpretations evolved from the fiery, passionate vigor of her youthful performances—evident in early recordings like the 1947 Balakirev Islamey—to more mature, introspective readings in her later years, particularly in Beethoven's Piano Concerto No. 5 ("") and Chopin's works such as the 24 Preludes, Op. 28, and Sonata No. 3 in B minor, Op. 58, where she infused greater subtlety and emotional depth. This maturation, influenced by studies with Eduard Steuermann in the and a post-cancer renewal under Ilona Kabos, broadened her repertoire while maintaining technical polish. Critics praised Lympany for her accessible yet profound emotional depth, noting her interpretations' naturalness and impeccable taste, which made complex Romantic and 20th-century pieces approachable without sacrificing artistry. Her championing of Slavic works positioned her as a key figure in promoting Russian composers like Rachmaninoff and Khachaturian in the West, influencing subsequent generations of pianists in their approaches to 20th-century music through her recordings' enduring model of sensitivity and accuracy.

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