But if the Tchaikovsky competition represented Mr. Cliburn’s breakthrough, it also turned out to be his undoing. Relying inordinately on his keen musical instincts, he was not an especially probing artist, and his growth was stalled by his early success. Audiences everywhere wanted to hear him in his prizewinning pieces, the Tchaikovsky First Concerto and the Rachmaninoff Third. Every American town with a community concert series wanted him to come play a recital.
His subsequent explorations of wider repertory grew increasingly insecure. During the 1960s he played less and less. By 1978 he had retired from the concert stage; he returned in 1989, but performed rarely. Ultimately, his promise and potential were never fulfilled. But the extent of his talent was apparent early on.
Yet as early as 1959 his attempts to broaden his repertory were not well received. [Summary of bad reviews, 1959-1962.] Despite the criticism, Mr. Cliburn tried to expand his repertory, playing concertos by MacDowell and Prokofiev and solo works by Samuel Barber (the demanding Piano Sonata), Chopin, Brahms, Beethoven and Liszt. But the artistic growth and maturity that were expected of him never fully came.
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