We primarily keep in mind Dinu Lipatti as a celebrated and distinctive pianist. For Yehudi Menuhin, he was “a manifestation of a spirit realm, immune to all ache and struggling,” whereas Alfred Cortot thought-about his taking part in “fairly merely perfection.” And Francis Poulenc referred to as Lipatti “an artist of divine spirituality.”
Lipatti, nonetheless, was not merely an distinctive pianist; he was additionally a extremely gifted composer. Cortot had invited him to check in Paris, and he took piano classes with Yvonne Lefébure and studied composition with Paul Dukas and Nadia Boulanger. Boulanger was haunted by “that serene face with its darkish velvet eyes and the musical power and readability that emanated from him.” In flip, Lipatti referred to as her his “musical information and religious mom.”
Lipatti’s compositional output is comparatively small on account of his quick life (1917-1950), however in response to students, “it’s marked by class, technical precision, and emotional depth.” Loads of causes, it appears to me, to unveil Lipatti the artistic artist by that includes a few of his most excellent compositions.
Dinu Lipatti: Piano Concertino within the Classical Model, Op. 3 (Marco Vincenzi, piano; Padua and Veneto Chamber Orchestra; Gert Meditz, cond.)
Sinfonia Concertante for Two Pianos and String Orchestra
Dinu Lipatti and Alfred Cortot
The Sinfonia Concertante for Two Pianos and String Orchestra dates from 1938 and was written throughout his time in Paris. Composed on the age of 21, Lipatti had been establishing himself as each a performer and a composer, and the primary efficiency befell on 10 Might 1939. Ionel Perlea carried out, and Lipatti and Clara Haskil, a famend pianist with whom he shared an in depth inventive affinity, carried out the demanding solo piano components.
To students, the selection of the sinfonia concertante type, a hybrid of symphony and concerto widespread within the Classical period, “displays Lipatti’s admiration for the music of Mozart.” It additionally displays the neoclassical tendencies of the early Twentieth century as championed by Stravinsky and Ravel. Lipatti infuses this conventional framework with a contemporary harmonic language and a dynamic interaction between the 2 pianos and the string orchestra.
Harmonically, the work straddles the road between tonality and modernity, as a transparent tonal centre is enriched by chromatic detours and surprising modulations. As well as, his use of counterpoint is especially putting, reflecting his research of Bach and his skill to adapt Baroque method to a Twentieth-century context. It’s a vibrant and expertly crafted piece that displays each his prodigious expertise and his deep connection to musical traditions.
Fantasie for Piano, Op. 8
Composed and devoted to Madeleine Cantacuzène, a fellow pianist whom he married in 1948, the Fantasie Op. 8 is his “longest and most advanced solo piano composition.” Most likely composed through the early Nineteen Forties, this masterpiece is structured as a free-form fantasy unfolding in a five-movement steady narrative. The harmonic language blends tonal readability with refined chromaticism in a synthesis of his coaching underneath Boulanger and Dukas.
The readability of textures “speaks for themselves in exploratory and infrequently heartfelt simplicity.” It actually options folk-music components that lightly level in direction of Bartók, however “that is music with an intrinsic and particular person high quality, full of fascinating nuance.” Lipatti avoids radical experimentation in favour of a refined, accessible fashion, whereas he exploits the complete vary of the piano from crystalline treble strains to resonant basses.
Nadia Boulanger would write, “When the compositions of Dinu Lipatti are all printed, the greatness of his reward and his craftsmanship shall be recognised. It’s going to change into apparent that he was actually a composer who discovered his pleasure and his actual life within the course of, and who used the technical technique of his artwork to create the feelings ensuing from achieved magnificence.”
Dinu Lipatti: Fantasie for Piano, Op. 8 (Sontraud Speidel, piano)
Nocturnes
Dinu Lipatti composed two nocturnes for solo piano, and in contrast to his extra structurally bold items, these nocturnes spotlight his skill to craft intimate and atmospheric music rooted within the Romantic custom. Whereas the Nocturne in A minor, also called “Nocturne on a Moldavian Theme”, was in all probability composed someplace between 1937 and 1939, the Nocturne in F-sharp minor dates from between 1941 and 1942.
The Nocturnes emerged throughout a pivotal section of Lipatti’s life. The A minor was written whereas he was in his early twenties, learning and performing in Paris. At the moment, he was immersed within the cosmopolitan musical scene underneath the steerage of Boulanger and Dukas. The F-sharp minor, in the meantime, was composed a few years later, throughout World Battle II. At the moment, Lipatti had initially returned to Romania and was navigating the challenges from his rising sickness.
Dinu Lipatti: Nocturne in A minor (Marco Vincenzi, piano; Padova e del Veneto Orchestra; Gert Meditz, cond.)
The Nocturne in A minor blends Romanian folks influences with a refined pianistic fashion. Apparently, it takes us into the ambiance of Christmas Eve, as “a type of improvisation on a ‘Colinda’, a Moldavian Christmas carol. Mixing French harmonies and timbres, Lipatti evokes a quiet and nocturnal panorama. Some critics hear the affect of his godfather, George Enescu, because the bittersweet and nostalgic qualities tie this nocturne to its folks origins. The marginally quicker and extra agitated distinction returns us to the preliminary theme, now imbued with deeper resonance.
The F-sharp minor Nocturne, with its frequent ostinato passages, seemingly remembers the Nocturnes by Gabriel Fauré. As well as, it clearly attracts inspiration from Chopin whereas incorporating Lipatti’s distinctive sensibility. The melody just isn’t explicitly folk-based, however carries his signature lengthy and arching phrases that unfold with pure grace. This nocturne feels extra private and sombre, presumably reflecting his sickness and the wartime backdrop. It balances melancholy with moments of serene magnificence, ending in a quiet and contemplative decision.
Dinu Lipatti: Nocturne in F-sharp minor (Marco Vincenzi, piano; Padova e del Veneto Orchestra; Gert Meditz, cond.)
3 Romanian Dances
Dinu Lipatti with Nadia Boulanger
In his set of Romanian Dances, initially composed for 2 pianos round 1937, Lipatti fuses up to date sonorities with Romanian folks rhythms. He showcases his deep connection to Romanian musical traditions by uniquely mixing his nationwide heritage with neoclassical refinement. Initially composed for 2 pianos, he later orchestrated the dances for piano and orchestra. This twin existence, in response to a scholar, “highlights the work’s versatility and Lipatti’s sensible strategy as a performer-composer.”
The Romanian Dances are steeped within the rhythms and modes of Romanian peasant music, as distinct from the urbanised “lăutărească” gypsy fiddler fashion. But regardless of their folks roots, the dances are tightly structured, with clear thematic developments and balanced proportions. Within the featured model for 2 pianos, the music creates a conversational texture, “simulating the communal nature of folks dance whereas exploiting the complete vary of the devices.”
The set strikes from exuberance to introspection to triumph, conveying different moods inside a concise type. Printed posthumously, the Romanian Dances are a spirited celebration of Lipatti’s Romanian heritage, crafted with neoclassical precision and pianist brilliance. In line with commentators, “they provide a vivid snapshot of a composer whose voice was silenced too quickly.”
5 Chansons de Paul Verlaine, Op. 9
Dinu Lipatti’s Cinq Mélodies sur des Poèmes de Paul Verlaine dates from between 1941 and 1945. Reflecting his affinity for the French musical custom, this set of artwork songs for tenor and piano was formed by his time in Paris and his admiration for Paul Verlaine. It was composed throughout a interval of private and world challenges, as Lipatti had fled Romania in 1941 and ultimately settled in Geneva, Switzerland. He taught on the Geneva Conservatory whereas battling the early levels of Hodgkin’s illness.
This set was begun in Romania and accomplished in Geneva, with a number of revisions in between that mirror the interruptions by battle and exile. The cycle is devoted to the Swiss tenor Hugues Cuénod, a private buddy and collaborator. In line with students, “Verlaine’s evocative musical poetry, wealthy with imagery and emotional ambiguity, supplied the perfect canvas for Lipatti’s lyrical and refined fashion.”
In his 5 Verlaine settings—initially, he had deliberate for six songs—Lipatti blends French Impressionist influences with neoclassical readability and refined Romanian undertones. The elegant vocal strains and impressionistic piano textures, specializing in poetic nuance, have been absolutely formed by his research with Boulanger and Dukas. The idiomatic and expressive piano components, tailor-made to his personal virtuosic but poetic contact, function equal companions to the voice. The set fuses Verlain’s Symbolist poetry with a refined neoclassical fashion, providing a fragile but profound addition to the French mélodie repertoire.
Dinu Lipatti: 5 Chansons de Paul Verlaine, Op. 9 (Markus Schäfer, tenor; Mihai Ungureanu, piano)
Sonatina for the Left Hand
The Sonatina for Piano, for left hand alone, was written and devoted to Ion Filionescu, a Romanian pianist and buddy who had misplaced using his proper hand. It suits into a convention of left-hand piano works from that point, comparable to these commissioned by Paul Wittgenstein from Ravel, Strauss, Prokofiev, and lots of others.
The one-movement composition displays Lipatti’s skill to create expressive music inside a constrained medium. It’s a buoyant and optimistic work, with its playful opening denying its wartime origin. Echoing the readability and economic system of his neoclassical fashion, the piece avoids sentimentality however blends light-hearted vitality with moments of poignant lyricism. It’s a small however sensible gem in his tragically temporary legacy.
Dinu Lipatti’s legacy as a composer, although overshadowed by his extraordinary pianistic profession, reveals a exceptional expertise whose works mix neoclassical precision, Romanian folks influences, and a profound lyrical sensibility. Restricted by a short life and a concentrate on efficiency, his output stays small but impactful, providing a tantalizing glimpse of a artistic potential lower quick.
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Dinu Lipatti: Piano Sonatina (for the left Hand) (Marco Vincenzi, piano)
