# Composers: Edvard Grieg, Robert Schumann
# Conductors: Herbert von Karajan, Alceo Galliera
# Orchestra: The Philharmonia Orchestra
# Performers: Dinu Lipatti
# Vinyl (1947 / 1948 / 1981)
# Number of Discs: 1
# Format: Flac
# DR Analysis: DR 12
# Label: Franklin Mint Record Society – Record 79 of 100
# Size: 1.14GB (24/96) + 282MB (16/44.1)
# Recovery: 5%
# Scan: yes
# Server: FF, FP
This one was by request.
As always, if anyone has requests for other titles in this set, please add them to the comments or PM me directly. Please include the album numbers from the master list with your requests.
Dinu Lipatti is regarded as a legend among 20th century pianists. Alfred Cortot thought Lipatti’s playing “perfection,” while Clara Haskil once wrote to him, “How I envy your talent. The devil take it. Why must you have so much talent and I so little? Is this justice on earth?” Was it justice that such a talented musician had such a short life? Both Lipatti’s parents were musicians: his father was a violinist who had studied with Sarasate and Flesch, his mother a pianist. They, and Lipatti’s godfather Georges Enescu, nurtured his talents early. Lipatti attended the Bucharest Conservatory, working with Floria Musicescu from 1928 to 1932. Cortot was one of the judges at the 1934 Vienna International Piano Competition, where Lipatti was awarded second prize. Cortot, who thought Lipatti should have won first prize, resigned from the jury and took Lipatti to Paris to study with him and his assistant Yvonne Lefébure. Lipatti also studied conducting with Charles Münch and composition with Nadia Boulanger and Paul Dukas.
Lipatti recitals and concerts in Paris in the late 1930s secured his reputation as a performer. He was known for his self-discipline and thoroughness, taking years to learn a concerto before performing it in public. Those who heard him play assumed that either he had studied the music with a composer’s eye or he instinctively knew how to make whatever he played sound so obviously what the composer intended, whether it was Bach or Schubert or Ravel. He returned to Bucharest in 1939 to spend the war years teaching, composing, and writing criticism. Just before the end of the war, he was diagnosed with a rare form of leukemia. His illness was relieved somewhat by new medicines in 1946, enough for him to make recordings for Columbia at his home in Geneva. He took a post teaching at the Geneva Conservatory in 1949 and also recorded the Schumann Piano Concerto with Herbert von Karajan in London. The next year, however, he had to cancel tours of Australia and North and South America and cut back his European performance engagements. Just three months before his death at the age of 33, he gave one last recital in Besançon, fortunately recorded for posterity, his playing still unsurpassed despite his illness. – Patsy Morita, allmusic.com
How many music lovers aged under 50 have even heard of Lipatti, I wonder. He was Romanian and lived from 1917 to 1950, continuing to give recitals when obviously at death’s door from a combination of leukemia and rheumatoid arthritis. It’s a genuine tragic-romantic story but it needs no sentimentalising because this contemporary of Richter and Michelangeli easily stands comparison with either of them. It would be a rough but reasonable generalisation to say that he is the same kind of player as they are — super-virtuoso but not in the ‘exhibitionist’ (said with no disrespect) tradition represented by Horowitz and continued by Cziffra, another contemporary. Lipatti was nearly as fastidious and perfectionistic as Michelangeli himself, and I urge any lover of great playing who does not know these performances or this performer to get hold of these accounts of the Grieg and Schumann.
The Grieg is big, majestic and forceful, not unlike Michelangeli’s version in a sense. For all it amounts to, the Grieg concerto has been luckier than it deserves in the interpreters it has found. Schumann’s is another matter, a lovely and most loveable romantic masterpiece. In this, Lipatti resembles nobody! The intermezzo has the beautiful lyric tenderness and smoothness that Lipatti was famous for, the central andante in the first movement is as full of affection and Innigkeit as I have ever heard, but the thing that makes the real impact in both the outer movements is the tremendous pace Lipatti takes them at. If that sounds wrong to you, all I can say is hear it for yourself. It’s hard to put the effect into words, because no other version known to me is really similar and I doubt if there is a similar version anywhere. The opening chordal flourish will lift you out of your chair, the upward-rushing crescendo at the end of the exposition is stupendous, and the finale, taken very fast, is a tumbling glory of great fingerwork, superb diablerie and enormous sensitivity at the same time. – David Bryson, amazon.com
Piano Concerto in A Minor, Opus 54 – Robert Schumann
01 – I. Allegro Affetuoso; Andante expressivo; Tempo 1; Cadenza; Allegro molto
02 – II. Intermezzo; Andante Grazioso
03 – III. Allegro Vivace
Recorded on June 9th and 10th, 1948, No.1 Studio, Abbey Road, London
Piano Concerto in A Minor, Opus 16 – Edvard Grieg
04 – I. Allegro Molto Moderato; Cadenza; Tempo 1
05 – II. Adagio
06 – III. Allegro Moderato Molto E Marcato – Andante Maestoso
Recorded on September 18th and 19th, 1947, No. 1 Studio, Abbey Road, London
You can see a listing of the entire Franklin Mint set here.
All vinyl is cleaned on a VPI 16.5
Technics SL1200-MK5 (modified)
– Rega RB300 arm with RB700 wiring
– Michell Tecnoweight
– SoundSupports armboard
– Trans-Fi Audio Reso-Mat
Shure V15VxMR (with Jico stylus)
SimAudio Moon 110LP preamp
Native Instruments Audio4DJ USB interface
Processing: Sound Forge 10, ClickRepair (manual mode only), iZotope RX2
Ripper’s note: As these are vintage recordings from 1947 and 1948, you may hear an occasional anomalies here and there while listening.
Do you like my rips?
Password is SteveMTNO.