As concert artist, Friedrich Lips won first prize in 1969 for his brilliant performances at the world famous Internationale Musiktage in Klingenthal (GDR). In 1970, the state concert agent Goskontsert started him on his highly successful career as concert and chamber musician, which is unequalled in the bay6n–‘accordion scene. In the following 30 years of continuous concert activity, lie has performed hundreds of concerts all over the world (including such countries as Austria, Canada, China, Denmark, France, Italy, Germany, Japan, Netherlands, Norway, Spain, Switzerland, and the United States) in the leading concert halls (such as the Tchaikovsky Conservatory in Moscow, Concertgebouw in Amsterdam, Santori Hall in Tokyo, Lincoln Center in New York, and J. F. Kennedy Center in Washington) working with the most outstanding soloists (among others Vladimir Igolinski, Gidon Kremer, Yo-Yo Ma, Mark Pekarsky, and Vladimir Tonkha) and the most important composers (for example, Sergey Berinsky, Mikhail Bronner, Yevgeny Derbenko, Edison Denisov, Sofia Gubaydulina, Alexandr Kholminov, Vladimir Podgorny, Efrem Podgaits, Alfred Schnittke, Kirill Volkov, and Vladislav Zolotaryov).
For his exceptional accomplishments, lie received the national distinction “Worthy Artist” in 1982 and in 1994, the title “Russian Folk Artist.”
Over the years, Friedrich Lips’ renown bas extended beyond the bayan-accordion music scene. As interpreter, lie has appeared with increasing frequency – especially during the last decade – as guest at the world’s most important music festivals, such as in Amsterdam, Boston, Huddersfield, Lockenhaus, Moscow, Portogruaro, Schleswig-Holstein, and Turin. His influence extends as well to other instruments played in chamber music and symphony orchestra performances. Working with various chamber music ensembles and performed with famous orchestras, lie bas played under the batons of such conductors as Oleg Agarkov, Yuri Bashmet, Dmitry Liss, Lev Markis, Luka Pfaff, Timur Mynbayev, Yuri Nikolayevsky, Gennady Rozhdestvensky, Vladimir Spivakov, and Yuji Takahashi,
Friedrich Lips’ exceptional influence on developing music and culture for the bayan-accordion can be described as having historical significance. With un interrupted engagement, he has endeavored to introduce the bayan-accordion instrument to the broadest circle of internationally established composers and musicians. Thus, a large number of new pieces for bayan-accordion (alone and with other instruments) written by well-known composers can be ascribed to his efforts and continual influence. Many works have been dedicated to him personally. He bas played the première performances of more than 50 important pieces. More than 100 compositions appear on over two dozen CDs lie has prepared and published in various countries in America, Asia, and Europe. His CD Seven Words, published in Moscow, won the “CD of the Year” prize in 1991 and was distinguished with the “Diapason d’or” award in Paris.
Not content to leave creative accomplishment to others, Friedrich Lips has arranged countless pieces of classic and modern music for the bayan-accordion in such a way that the instrument can be expressed in an ideal manner. Furthermore, lie is the author of many articles and books dealing with music theory that have achieved worldwide importance. Perhaps the best known among them is the book lie wrote on playing the bayan artistically. First appearing under the title Iskusstvo igry na bajane in Moscow in 1985, it was translated and published in German as Die Kunst des Bajanspiels (Kamen, 1991), and later in English as The Art of Bayan Playing (Kamen, 2000).
The importance of Friedrich Lips’ personality and musical creativity will undoubtedly be evaluated during the course of history. However, it can already be recognized that lie, more than any other single person, has revolutionalized the music scene, developed young artists, inspired established composers, and propelled bayanistics into the limelight. These accomplishments have been made possible by his exceptional openness, liberalism, and inner tolerance to contrary ideas. Avoiding the danger of becoming one-sided, lie steadfastly continues to develop his musical ideas and convince others of the merits that can be derived from his well-considered path.