The legendary pianist recalls her first meetings with the celebrated British cellist, shares little-known anecdotes involving Nelson Freire and Daniel Barenboim, and reflects on the extraordinary artistry and humanity of one of classical music’s most iconic figures.
Martha Argerich has published a rare and deeply personal tribute to Jacqueline du Pré, offering an intimate portrait of the legendary British cellist nearly four decades after her death. Released exclusively through the official Jacqueline du Pré social media channels, the text combines personal memories, little-known anecdotes and heartfelt reflections on an artist whom Argerich describes as utterly unique.
“The way she was, the way she played—everything,” Argerich writes. “I was, and still am, totally fascinated by her.”
First meeting in Lisbon
Although the two musicians met in person only a handful of times, Argerich says those encounters left an indelible impression. She recalls first meeting du Pré in Lisbon in November 1966, when the cellist was touring with Stephen Kovacevich, then still performing under his birth surname, Bishop. Also present was the late Brazilian pianist Nelson Freire, a close mutual friend.
One of Argerich’s warmest recollections comes from that visit. Freire volunteered to turn pages during a recital by du Pré and Kovacevich, but, she remembers with affection, repeatedly got in Kovacevich’s way, causing their arms to become hopelessly entangled during the performance.
“Fortunately, both Nelson and Stephen found the whole thing very funny,” she writes.
“Completely unique”
Much of Argerich’s tribute is devoted to explaining why du Pré’s artistry remains incomparable in her eyes.
She compares the cellist to Maria Callas, arguing that both possessed an unmistakable artistic identity.
“With Jackie I had the same kind of fascination that I had with Maria Callas, in the sense of an artist possessing a completely unique sound, a totally distinctive expression and identity. Such artists are very, very rare.”
Argerich describes du Pré’s performances as completely authentic, free of pretence and inseparable from her personality.
“I had never heard anything like it,” she recalls. “She was completely one with what she played.”
She goes on to praise the spontaneity and creative freedom of du Pré’s musicianship, writing that “there was no filter, and absolutely no limit to what she could create on the instrument.”
A story from Daniel Barenboim
Among the most revealing passages is an anecdote Argerich says Daniel Barenboim once told her.
According to Argerich, Barenboim was working on a Beethoven sonata when du Pré entered the room. Unable to decide between two interpretative approaches, he played both versions for her.
Du Pré then sat at the piano and demonstrated a third solution.
According to Argerich, Barenboim later told Argerich that Jacqueline’s interpretation was superior because it was “both more original and more true to the music.”
A beautiful human being
The tribute concludes by moving beyond music to celebrate du Pré’s character.
Argerich remembers her kindness, sincerity and even her speaking voice, which she compares to “the finest cognac” for its warmth and richness.
“Jacqueline du Pré was a singular figure in music, and a beautiful human being with a big heart and great sincerity who enchanted, and still profoundly moves, the soul to this day.”
Signing the tribute simply “Martha Argerich, July 2026,” the pianist closes with a final expression of affection:
“As for myself, I continue to remember and love Jackie with deep fondness.”
The tribute offers a rare glimpse into Argerich’s personal memories while bringing together four towering figures of twentieth-century music—Jacqueline du Pré, Martha Argerich, Daniel Barenboim and Nelson Freire—in a touching testament to friendship, admiration and enduring artistic legacy.
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