Mozart, Chopin, Schumann, Grieg by Dinu Lipatti : The Piano Concertos (Presentation + New Mastering)

[@classicalmusicreference]

❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Dinu Lipatti play Mozart, Chopin, Schumann and Grieg : Piano Concerto / New Mastering. *Click to activate the English subtitles for the presentation* (00:00-05:55) Wolfgang Amadeus Mozart (1756-1791) Piano Concerto No.21 in C major, K.467 Ⅰ. Allegro maestoso (00:00) II. Andante (15:16) III. Allegro vivace ass (22:33) Festival Orchester Luzern Dirigent : Herbert Von Karajan Live recording in 1950, at Luzern Frédéric François Chopin (1810-1849) Piano Concerto No.1 In E Minor, Op. 11, B 53 I. Allegro Maestoso (28:49) II. Romance: Larghetto (45:58) III. Rondo: Vivace (55:50) Tonhalle-Orchester Zürich Dirigent : Otto Ackermann Recorded in 1950, at Zürich Robert Schumann (1810-1856) Piano Concerto in A minor Op.54 I. Allegro affetuoso (1:05:12) II. Intermezzo. Andantino grazioso (1:19:27) III. Allegro vivace (1:24:49) Philharmonia Orchestra Dirigent : Herbert Von Karajan Recorded in 1948, at London Edvard Hagerup Grieg (1843-1907) Piano Concerto in A minor, Op.16 I. Allegro molto moderato (1:34:42) II. Adagio (1:47:19) III. Allegro moderato molto e marcato (1:53:46) Philharmonia Orchestra Dirigent : Alceo Galliera Recorded in 1947, at London Piano : Dinu Lipatti New Mastering in 2020 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Le langage musical de Lipatti est empreint d'une authenticité si caractéristique qu'il peut être identifié dès les premiers sons. On peut même parler de "timbre lipattien", les sons spécifiques dans le contexte d'une œuvre donnée "correspondant" à la qualité du son produit par son "toucher". Dans le prolongement de la lettre mentionnée précédemment au jeune pianiste, Lipatti rappelle certaines "lois" simples et essentielles, fondamentales pour toute interprétation : 1.Étude du solfège, en particulier du solfège rythmique. 2.Accentuation des temps faibles. (Insister et souligner le rythme fort, c'est commettre une des plus grandes erreurs de la musique car ce n'est rien d'autre qu'un plongeon vers les faibles car ceux-ci en portent le poids réel). 3.L'ignorance de nombreux pianistes quant aux immenses possibilités obtenues grâce à l'indépendance des différentes attaques et touches d'une même main pouvant produire des timbres différents. En atteignant une telle indépendance, l'interprétation ressort immédiatement en un relief inattendu et le jeu reflète la variété timbrale et la plasticité d'une exécution orchestrale.. En analysant le langage musical de Lipatti, l'interprète, nous constatons que sa beauté consiste en la simplicité, l'essence et la pureté, qui n'est rien d'autre que le reflet d'un plan superstructurel de la personnalité de l'artiste. Selon les mots d'Ansermet, "les qualités de ce musicien ne sont rien d'autre que le reflet de son être moral". La simplicité de sa manière d'interpréter ne signifie pas qu'elle soit objective ou froide, mais au contraire qu'elle possède un immense pouvoir expressif, d'autant plus poignant que ses moyens sont économiques. Ces qualités de l'art de Lipatti n'apparaissent jamais comme un but en soi mais comme le résultat d'une réponse intuitive à l'essence du phénomène musical et d'une imagination artistique. À la synthèse entre la pensée et l'intuition, il faut ajouter un autre aspect : l'unité entre l'ensemble et ses composantes, entre la recherche d'une compréhension complète de l'œuvre et le soin de présenter sa structure avec la plus grande clarté. Son souci permanent du détail se mêlait à une vision monumentale de l'ensemble de l'œuvre. En parlant des concertos pour piano de Grieg ou de Schumann, il a insisté sur le fait que "chaque note doit vivre par elle-même, contribuant ainsi à une recréation significative de l'œuvre dans son ensemble. " Dans les quelques notes de Lipatti, publiées à titre posthume, on voit une tentative de formuler ses principes sur l'art de l'interprétation. Un nouvel aspect de sa personnalité se dégage de certaines de ses lettres : celui de l'esthète et du pédagogue. Bien que ces quelques extraits n'indiquent aucun concept esthétique précis ou une méthode bien structurée, ils expriment avec une grande sincérité son credo artistique, ses scrupules et ses aspirations ; surtout, les efforts pour formuler ses propres intuitions artistiques sur un plan théorique. Quelques mois seulement avant sa mort, il a préparé les grandes lignes d'un cours d'interprétation qu'il souhaitait donner au Conservatoire. Voici ces quelques pages : On pense à tort que la musique de toute époque doit conserver les caractéristiques et même les échecs qui prévalaient au moment de sa création. L'interprète qui adopte ce point de vue le fait en toute bonne conscience et se croit à l'abri de toute déviation dangereuse de la vérité. Mais quel effort faut-il faire pour ratisser la poussière du passé et combien de scrupules inutiles sont nécessaires avant d'affronter "le seul et unique objet de notre attention". En essayant de le mettre en lumière de manière trop fidèle, nous ne faisons que le noyer dans un flot de préjugés et de fausses données. Nous ne devons jamais oublier que la grande et vraie musique transcende son temps ; de plus, elle ne se conforme jamais au cadre, aux formules et aux règles acceptées au moment de sa conception. Bach réclame l'orgue électrique, avec ses nombreux appareils pour jouer ses pièces d'orgue, Mozart réclame le piano et un style différent de celui du clavecin, Beethoven réclame avec vigueur le piano moderne qui ne sera utilisé que par Chopin qui sera aussi le premier à lui donner plus de couleur, tandis que Debussy va plus loin en laissant entrevoir la "vague Martenot" dans ses Préludes. Le désir de replacer la musique dans le cadre de son époque s'apparente à l'habillage d'un adulte dans des vêtements d'adolescent. Cela peut paraître charmant quand on pense à un renouveau, mais cela ne peut intéresser que ceux qui cherchent dans les feuilles mortes du passé, ou les collectionneurs de vieilles pipes. Ces pensées me sont venues à l'esprit lorsque je me suis souvenu de l'étonnement que j'avais provoqué en jouant le Concerto en ré mineur de Mozart, avec la magnifique Cadence de Beethoven, lors d'un grand festival européen il y a quelque temps. Il ne fait aucun doute que les mêmes thèmes sonnaient très différemment lorsqu'ils étaient fraîchement sortis de la plume de Beethoven ! L'importance réside précisément dans l'intéressante confrontation entre deux personnalités aussi différentes. Je dois ajouter que, à part quelques esprits éclairés, personne n'a compris grand-chose à cette confrontation ; de plus, beaucoup m'ont accusé d'avoir écrit cette Cadence anachronique et inacceptable. Comme Stravinski avait raison de dire que "la musique vit dans le présent" La musique doit être vivante dans nos doigts, nos yeux, nos cœurs et nos esprits, avec tout ce que nous avons à offrir. Loin de moi l'idée de prôner l'anarchie ou le mépris des lois fondamentales qui régissent, en termes généraux, la coordination de toute interprétation véritable et valable. Cependant, je crois qu'une grave erreur est commise dans toute recherche de détails inutiles quant à la manière dont Mozart aurait joué un certain trille ou fait un certain tour. Les indications très différentes, souvent contradictoires, qui nous sont laissées dans certains excellents traités - déjà considérés comme datés - me conduisent fermement sur la voie de la simplification et de la synthèse. Je m'en tiens rigoureusement à ces quelques principes de base que nous connaissons (ou devrions connaître, je suppose) ; mais pour le reste du temps, je m'en remets à mon "intuition" (cette seconde et plus précieuse intelligence), ainsi qu'à ce pouvoir de pénétrer profondément dans une oeuvre qui, tôt ou tard, ne manquera pas de produire sa propre vérité particulière. N'étudiez jamais une œuvre avec les yeux du passé ou des morts ; vous risquez de ne plus avoir que le crâne du pauvre Yorick ! Casella l'a bien dit lorsqu'il a déclaré que "nous ne devons pas nous contenter de respecter les grands chefs-d'œuvre, nous devons les aimer ! Wolfgang Amadeus Mozart PLAYLIST (reference recordings) : kzbin.info/www/bejne/bn-tdZdrmb-ogMU Frédéric François Chopin PLAYLIST (reference recordings) : kzbin.info/www/bejne/jpXVkKZ4jduUgLs Robert Schumann PLAYLIST (reference recordings) : kzbin.info/www/bejne/hYTKp2qfmM6Njq8 Edvard Grieg PLAYLIST (reference recordings) : kzbin.info/www/bejne/lXqtgGWKlr10f5I

[@MOGGS1942]

Many people's favourite pianist. Certainly MY favourite. Thank you for these gems.

[@vforvendetta588]

The great romanian pianist, the one that Michelangeli called "the greatest of all times"...

[@Davidfooterman]

I didn’t know Michelangeli said that, and he was ‘no respecter of persons’ so that is a very significant statement. It also explains why I occasionally hear certain bits of Michelangeli phrasing that sound exactly like Lipatti. Interestingly, I have heard them from Maurizio Pollini who was ABM’s piano student; you couldn’t want a bigger endorsement for Lipatti than from these giants. To this day, nobody that I know of has been able to emulate Lipatti’s extraordinary lyricism; it goes beyond the mere act of playing the piano; it’s a spiritual connection. I used to think that a lot of that kind of talk was nonsense until I went through Lipatti’s recorded performances. There is a kind of magic you get from remastered 78 rpm recordings that are not as searching of pianistic precision as the modern recordings of a 21st century Steinway in a modern concert hall are. But that’s not the whole story, and it certainly doesn’t explain the special esteem in which the world’s leading pianists and piano teachers have held Lipatti ever since. True, there is a kind of mystique that comes from the dream of what might have been; what it would have been like to hear, see and know Lipatti. But the beautiful lyricism of his playing is something special; his whole persona has a gentle serenity about it, but then you hear the dazzling virtuosity coming through in the service of the music alone and the discussion is over. If you ask top pianists to name a greatest of all time, Lipatti’s name comes up far more often than anyone else’s. He looks like he had a very beautiful personality, which comes across in the precious video footage that was recently published. But that’s not the whole story: you only have to listen to the EMI Great Instrumentalists edition on Lipatti and the recording of his last performance in Besancon, literally just before he died, to become utterly captivated. Part of his magic is that he not melodramatic or histrionic; he doesn’t exaggerate, but neither does he understate anything. Take his playing of the Bach B-flat major Partita, for example: it’s without equal; nobody else has played Bach on the piano like that; it’s miraculous. And then you hear the most dazzling virtuosity in the Chopin and Schumann concerti, so disciplined and controlled in the service of the music alone, it’s amazing. One of my favorite performances is Richter’s gorgeous rendering of the Schumann Waldszenen; nobody could play it better, but I think Lipatti could have matched it. Well, that’s enough speech-making from an amateur pianist for now; it’s time to shed some tears of joy over Lipatti’s playing of the Schumann piano concerto.

[@user-rg4by3gc9p]

Гениальный пианист, слушаю его всегда с наслаждением! Как рано ушёл из жизни ...

[@michaelletellier218]

Repeated hearing of these beautifully remastered, and grand performances repay the discerning listener. Lipatti was in a league of his own.

[@fransmeersman2334]

Dinu Lipatti's performances are beyond all praise, certainly here in the Mozart and the Chopin concerto. Thank you.

[@classicalmusicreference]

All 4 ;-)

[@fransmeersman2334]

@@classicalmusicreference Yes ! I was a bit hasty to express my admiration. Regards.

[@helenkurdin]

It is sadism to allow ads into Dinu Lipatti's recordings.

[@elenakadlecik6665]

Надеемся что родятся такие таланты , как Моцарт или Липатти , придётся долго ждать , спасибо обоим , вы жили и будете жить .

[@vallou18]

Such clarity even in old recordings. So moving & beautiful. ❤

[@liberjimenez3748]

Oh! Lipatti one of my favourite pianists.

[@user-sk4kd7ob2b]

Я не нахожу слов для Выражения своих чувств. Могу сказать лишь- Он мне необходим! Благодарю, вас! Четыре концерта! Это подарок для души, необходимый ей,как воздух. 9.12.2020.

[@h-mh93]

How to describe great art? What makes these performances so that at times you forget to breathe? is it the impeccable timing - the spontaneity that feels almost jazz-like - the nuance of the keystroke - the importance of the pause - or that his music "breathes" for lack of a better word? Is the the sheer force that let´s him thunder through the opening movement of the Grieg that sends shivers down your spine? What a gifted - no - truly stupendously gifted pianist!

[@classicalmusicreference]

Thank you for your comment. Have you read the synopsis with English subtitles :-) ?

[@h-mh93]

@@classicalmusicreference No - i am not a fan of the subtitles - when automatically generated they can be misleading at times - should I have?

[@classicalmusicreference]

@@h-mh93 They're not automatic, we entered them manually.

[@elsasanders2175]

Técnica perfecta, sonido celestial interpretación maravillosa, en una palabra :único. Lipatti, pianista de otra dimension

[@michaelletellier218]

These recordings have been remastered with sure sensitivity. I hope they will add to the recognition Lipatti so deserves. A set of concerts that for me make for imperative listening. His pianistic technique was remarkable and he became an icon of his time, dying tragically early. Of this selection the Grieg is outstanding. Thank you for sharing.

[@classicalmusicreference]

Thanks Michael for your feedback :)

[@leilaamineddoleh7974]

His tone was absolutely gorgeous-- it comes through even on an old recording. That combined with the emotional depth of his playing is divine.

[@ancapirvu8159]

Mulțumesc Classical music! Thank you Classical Music.

[@asdfasdf-gm5uk]

One of my favourite pianists... Thank you!!!!

[@classicalmusicreference]

You're welcome

[@fmoll2509]

Это бесценная запись! Благодарю! 🔥

[@fe12rrps]

One of my all time favorites of your reference recordings! Each concerto is so beautifully performed. There is a certain beauty and artistry to Lipatti’s performances that transcends all the modern day digitally perfect recordings of today.

[@jeffsmith1284]

Wow! Thank you so much for this wonderful posting!

[@mabiperalta9217]

Qué pena que no haya un registro fílmico! Gran pianista, exquisita interpretación, de una sensibilidad que toca el alma. Gracias!!

[@vilmaschambers]

Yes, it is a pity. He was born in 1917 and died in 1950. Not that many film recordings in general, before he died - and it made sense back then. Unfortunately, he died so young, he did not get to see mass television. We are lucky to have relatively decent recordings of him playing.

[@user-xx6be5dg6t]

kzbin.info/www/bejne/hnKxq3uhga6Bp9Usi=AE_l7u1BcSx2oX4Y Начиная с 51:53 вы увидите несколько эпизодов с Дину Липатти.

[@user-xx6be5dg6t]

​@@vilmaschamberskzbin.info/www/bejne/hnKxq3uhga6Bp9Usi=AE_l7u1BcSx2oX4Y Начиная с 51:53 вы увидите несколько эпизодов с Дину Липатти.

[@boumbastik]

Thank you Classical Music for sharing so many treasures.

[@classicalmusicreference]

You're welcome :-)

[@alexandrudumitrescu9904]

Divine! For sure Lipatti is one of the most proeminent pianist of all time! Thank you!

[@classicalmusicreference]

The original tapes are bad but we wanted to preserve the naturalness of the interpretation by emphasizing natural dynamics rather than ultra-filtered sound.. Dinu Lipatti lived only 33 years and left us very few recordings compared to other great pianists. Yet he is considered one of the greatest pianists of the 20th century and surely of all time. Discover his exceptional art through 4 famous concertos and read the commentary to understand his thoughts (Click to activate the English subtitles for the presentation (00:00-05:55)). 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr

[@cymbaliv5586]

Thank you for posting this collection: without doubt Dinu Lipatti was one of the finest pianists of his generation, one who died far too young. I do, as it happens, have a performance of the Schumann Concerto which I prefer, even to this masterful one - but it is another, very different, performance by Lipatti himself, this time with L'Orchestre de la Suisse Romande conducted by Ernest Ansermet. It was recorded live on 22 February 1950, about 10 months before he died. You may care to read an extract from the record label (Decca SDD 271). “For weeks before this concert, Lipatti was mortally ill, in bed, incapable of touching the piano. However he was determined - one might say wildly, even blindly, and yet how understandably determined - to play the Schumann Concerto with Ansermet. His doctors begged him to give up the idea, but he refused; they therefore agreed to a dangerous procedure, but one justified in the event, to master at all costs the fever which possessed him. The evening before the concert, he had a temperature of 104 degrees, but the next day it had disappeared. “Its is hard for me to tell of this concert which has remained unforgettable. The hall was full, the audience profoundly moved by the knowledge of the tragic outcome which awaited this young spirit, so gifted and yet so soon to depart from among us. “Lipatti was extremely weak; he could scarcely mount the steps to the platform, but once he was at the piano, a great stillness fell on the hall. His mastery, his lucid intelligence, dominated all, and he played as though inspired by a supernatural power, without hesitating, or faltering. This was the reward of a lifetime spent in the pursuit of probity. His technique was as sure as ever, his conception of the work as convincing, he may indeed have achieved in this performance something bordering on the sublime. “Maitre Ansermet and the members of the Orchestra not only accompanied Lipatti in the musical sense with solicitude and affection, they were in truth a company of friends who surrounded and supported him… “Lipatti always loved the Schumann Concerto, which he considered the most beautiful, both in musical content and form… “For years Lipatti worked on the Schumann Concerto, not only as a pianist but as a composer, seeking to comprehend, ever more deeply, the composer’s thinking, a thinking which may sometimes seem to us confused. Not, however, in the piano Concerto where tenderness and the joy of youth reign, and the certainty that all will be well. There is no room for grief.”

[@steveegallo3384]

@@cymbaliv5586 -- Wow! Great narrative.....Thanks from San Agustinillo, Oaxaca!

[@classicalmusicreference]

​@@cymbaliv5586 Thanks for sharing :-)

[@georgemylonakis106]

Exceptional Art, indeed. Thank so much for sharing.

[@notaire2]

Großartige Sammlung dieser vier berühmten Konzerte mit klar artikuliertem Klang des Soloklaviers und perfekt entsprechenden Tönen anderer Instrumente. Der geniale und unvergleichliche Pianist kontrolliert sein Instrument im inspirierenden Tempo und mit völlig effektiver Dynamik. Die Tonqualität ist auch erstaunlich hoch als Aufnahmen von etwa siebzig Jahre vor. Schade, dass er allzu jung gegangen war!

[@user-fu6tt8qq4v]

아름다운 피아노 연주곡 잘 들었읍니다~감사합니다~🎵🎹🌿🍀☘🌹🌹☘🍀🌿❤❤

[@reecejennings]

Thank you for that really incredible presentation.

[@annachristinahogewoning1906]

geweldig!! Heerlijk genoten van deze briljant gespeelde muziek

[@yayitadelsur]

Magnifique! Thank you!

[@sleort42]

Magnifique !

[@kkam3811]

Grieg by Dinu Lipatti is his best.

[@alejandrosotomartin9720]

Such elegance.

[@carmenridiche7231]

îndeed !!! marvellous !!!Thanks a lot for this remasterized interpretations !!!

[@ericaschoenberger4435]

Just discovered you. What a gift. Thank you.

[@user-uv7pe9lt6c]

эталон пианиста вообще!!!

[@hannastaszak1684]

Piękna muzyka, dziękuję.

[@xresdkj]

Wolfgang Amadeus Mozart Piano Concerto No.21 in C major, K.467 - II. Andante (15:16). No words. Without a word. Everything I say will say little of this indescribable interpretation of this 'andante'. I was left with great emotion and tears.

[@classicalmusicreference]

it's one of the purest music that exists :-)

[@corinatudor9765]

Good pianist to România !

[@helenkurdin]

???

[@georgetanaum9666]

Lipatti este admirat și de cel mai tânăr laurear al van Cliburn Contest,Lim Yunchan care îl enumără printre favoriți!💝🙏🇷🇴

[@camillebouchard6436]

Superbe !

[@gerryramireza.4521]

Magnific!!

[@dejanstevanic5408]

Wow! Thank you.

[@user-lf8lf3ft3x]

unglaublich gut bravo

[@isaachilario7913]

So many recordings being uploaded and not enough time to listen to them a great problem to have many thanks!!

[@classicalmusicreference]

a little every day, maybe just one movement of a concerto or symphony :-)

[@mohamedhamza456]

Ah! Le très regreté Dinu Lipatti!

[@thomasc390]

Thank you!

[@Thanos1969]

Divine!

[@michelallegrini1636]

Extraordinaire

[@onix6394]

Thanck you! Sounds like heaven

[@anitarauld]

Thanks dear friend🦋🍀👌

[@classicalmusicreference]

You're welcome Anita

[@pupucina]

Le sublime comme une prière.

[@gezaradai2958]

Köszönöm!

[@classicalmusicreference]

Szívesen :-)

[@rosellarosa2763]

Lindo!!!

[@user-lf8lf3ft3x]

ein Genius

[@arabellacolli9630]

Que bueno que hayan colocado a lipatti es ungranpianista ojalá coloque si esque lotienen lapartitade bach

[@kanekokazuko7034]

どうして、あんなに早く天国に行ってしまわれたのですか❓😢😢😢

[@martincook318]

Having got a first Pressing Stereo His Master's Voice Recording made by Daniel Barenboim who is Conducting from the Piano and the Recording first came out in 1969 I Consider Performance as good as the Daniel Barenboim Recording and who ever did this Transfer has done a Marvelous Job in the Restoration work

[@alombredeslava2468]

" "les qualités de ce musicien ne sont rien d'autre que le reflet de son être moral" Ceci n'est-il pas valable pour tout musicien digne de ce nom?

[@ybroad1908]

15:16

[@Cayres18]

Strange, I didn't see anyone commenting on the error in 1:03:54 normalmente comentam

[@horiaganescu3948]

Allegro vivace assai (not ass) (22:33)

[@marcomauricio]

De quem é esta cadenza do 1 mov. de Mozart?

[@user-lf8lf3ft3x]

einfach er wahr ein Gott

[@DanielLopez-zt4ig]

Isn't there any live video of him playing?

[@classicalmusicreference]

never found

[@stijnzimny5097]

Reference, century's recording, recording of the century, ode to Lipatti or just some personal favorites ? I don't get it.

[@classicalmusicreference]

Let your ears, your intelligence and your heart guide you through listening, then compare Lipatti's art to that of other recordings and you will quickly understand its value :-)

[@stijnzimny5097]

O yes, i agree about his high level of virtuoso but this is the first time i know of a recording you posted didn't received a special mention. No problem at all !

[@classicalmusicreference]

@@stijnzimny5097 It is referenced in a lot of guides that are a bit old now but still good advice :-)

[@stijnzimny5097]

@@classicalmusicreference yes

[@IanMatthewGray]

1:43:20 - 1:43:33 Dinu signs his name.

[@gabrieldrdery8042]

didn't he play Tchaikovsky concerto?

[@classicalmusicreference]

To our knowledge: no

[@maandahhan4900]

He did play it but sadly he never recorded it, the emperor concerto was also in his repertoire

[@user-vn8yq2et7f]

37:58 여기부분부터 단락 별로 빌드업하는 방식이 쌉오진듯.

[@giuseppepuccidibenisichi8660]

Ok ok ok ok ok ok

[@KevinZJR]

so...so....so....many....ads.......

[@michelleregis6181]

the comments aare in French.....i dont understan d the good comments

[@classicalmusicreference]

Our comments are in French with English subtitles. How to Turn On/Off Subtitles in KZbin App (kzbin.info/www/bejne/sJSvkmWFhcR7b5o) How To Enable Subtitles In KZbin Videos | Tutorial | HD (kzbin.info/www/bejne/novdgnaYf7F1ra8)

[@MM-111]

You put too many ads here and you want to make money with it. It is not right to do something like that in classical music. Shame on you !