Chopin – 14 Waltzes & More + Presentation (recording of the Century : Dinu Lipatti)


Constantin Lipatti, called “Dinu” from a very young age, was born in 1917 in Bucharest into a family of musicians, a pianist mother and a violinist father. The composer Georges Enesco accepted to be his godfather. He worked on the piano and composition with Mihail Jora for three years before joining the Bucharest Conservatory, where he studied with Florica Musicescu. Dinu’s mother, Anna Lipatti, was a strong woman who, sweeping aside all objections and even defying her husband’s opposition, decided to take her two sons to Paris: she landed there at the beginning of August 1934 and, with the help of their fortune, moved into a comfortable apartment overlooking a square, at 9 rue Saint-Romain. Anna Lipatti has a passion for Dinu, and it was for him and his career that she chose Paris: Cortot, who had discovered Dinu at the Vienna International Piano Competition the year before (he made no secret of his anger that the too young Romanian had only won 2nd prize!), invited her to come and work with him. Anna is going to seize this opportunity. From the beginning of the 1934 school year she enrolled her son at the Ecole Normale in Cortot’s class (who first entrusted him to his tutor, Yvonne Lefébure) and in Paul Dukas’ class for composition, as well as in Charles Munch’s class for conducting. Everywhere he amazes by his gifts, his already very assured technique, his musicality. And also by his simplicity, which he will always keep. Paul Dukas, after a first trimester, felt that he “only needed to produce in order to acquire, through personal experience, the full possession of an almost trained talent”… and died suddenly a few months later, on May 17, 1935. His class was immediately entrusted to Nadia Boulanger, who thus “inherited” Lipatti – whom she would push to the front row after discovering his exceptional gifts. This new Master and this new pupil will create a friendship between them that is almost unique, even if, in the course of her very long career, Nadia Boulanger has forged reciprocal ties of rare depth with a good number of musicians, whether or not they were her disciples. Dinu, for his part, considered her to be his “spiritual mother” – and this was no mere formula for him or for her. Cortot was an extremely demanding teacher. He would have his student play the same studies for weeks before moving on to another play. Lipatti adopted his teacher’s mental discipline and made it a habit never to play a work in public until he had fully understood it. He studied works for years before performing them in concert. The disease set the limits of a repertoire that Lipatti was slowly maturing. At first, he played it in his imagination, by heart, considering all possible styles; then he dissected it measure by measure, without any expressive concern. Finally, he synthesized the technical work and his personal alchemy. Very long and solid hands (with a little finger as developed as the others and, like them, perfectly independent) and wrestler’s shoulders, contrasting with the fragility of the man, allowed him to dose the attacks and the touches, to nuance the sound to the impalpable, and to dress his emotion with the purest appearance. In 1946, he signed a contract with Walter Legge, a British music producer and talent scout who worked with some of the biggest music stars of the time, Karajan, Callas, Furtwängler and Schwarzkopf. Dinu Lipatti therefore joined the EMI stable which, the following year, began releasing the recordings that were to make his international reputation. Dinu Lipatti (1917-1950) is part of the sad family of those artists who died too soon, taken ill at the age of 33. His fame is a unique case in the history of performance: it is based almost exclusively on his recordings, although few in number, but hailed as “pure gold”. END

74 Replies to “Chopin – 14 Waltzes & More + Presentation (recording of the Century : Dinu Lipatti)”

  1. DAVID S CISNEROS says:

    Mes favorites:  Opus 69/1 et 69/2

  2. Alberto Del Buono says:

    Unparalleled

  3. Elena Kerpe says:

    Thank you for sharing

  4. Diego says:

    my god who dares dislike this
    this is pure gold

  5. Horacio Rival says:

    Los entendidos en determinado momento dijeron que fue el mejor pianista de todos los tiempos. Las tima que murio de cancer a los 33 años

  6. jim kost says:

    I am truly sad for the world when this divine artistry only gets 74 likes

  7. doina1109 says:

    The angel of piano.

  8. Meredith Foster says:

    Beauty and artistic truth at its zenith.

  9. Horia Ganescu says:

    Unique! Thank you very much!

  10. Daniel López says:

    This is one of my favorites CD's ever. I listen to this from time to time.

  11. Matteo Epis says:

    Permettemi il paragone, gli manca un pelo da michelangeli

  12. guyinadiner says:

    This is not the order in which Lipatti played the Chopin waltzes.

  13. costalina1925 says:

    Fara cuvinte….asa ceva se naste odata la 1000 de ani!!!

  14. Peter Barnes says:

    Tastes change, but artistry abides. And he was an absolute angel.

  15. Fritz Maisenbacher says:

    Can you even dream something better ?

  16. Janis Treijs says:

    Thank you!

  17. MrGer2295 says:

    Beautiful! Thank you for posting!

  18. Laura H says:

    I can hardly keep from dancing. Really like that you also have Cortot's version posted as a "reference."

  19. Randy Sills says:

    Dinu Lipatti was such a brilliant pianist, especially in his recordings of Chopin. I have heard the waltzes played by many of the great pianists of the 1940s through the 1990s and his seem so much more clear than many of the others. If only he could have lived at least another 33 years. He died way too young!

  20. Curatica C says:

    When I was a child, they were playing Lipatti's performance of the first waltz very often on the radio, in my country. At that time, I didn't know who the performer was and was not aware of the brilliancy of that performance, but I can still recognize it.

  21. Yk Wang says:

    Thank you so much!!

  22. Ladislau Siposs says:

    A legjobb a legjobbak kozul. Ez a partitura-hitelesseg, ez a visszafogottsag es megis jatszadozo kedv, ez a tokeletes aranybeosztas, a kantilena, ami szamara a legfontosabb, az enek, ez teszi Lipatti-t egyedulallova.

  23. Meline Karakashian says:

    heavenly music

  24. Jon Hardy says:

    I love this music and did from first hearing it – am very frustrated that I do  not feel it is very easily accessible as never able to name which songs I wish to find specifically.  What it the waltz called at 20:00 so that I can find that song alone?

  25. Gloria Ines Gomez pinto says:

    He´s so divine unique and perfect! . How could he have died so young? Now he´s an angel

  26. Classical Music/ /Reference Recording says:

    Frédéric François Chopin (1810-1849) – 14 Valses – Barcarolle – Nocturne n°8 – Mazurka n°32
    Click to activate the English subtitles for the presentation (00:00–04:57)
    Waltz #1 In E Flat, Op. 18, « Grande Valse Brillante » (00:00)
    Waltz #2 In A Flat, Op. 34/1, « Valse Brillante » (4:38)
    Waltz #3 In A Minor, Op. 34/2, « Grand Valse Brillante » (9:13)
    Waltz #4 In F, Op. 34/3, « Valse Brillante » (14:04)
    Waltz #5 In A Flat, Op. 42, « Two Four » (16:17)
    Waltz #6 In D Flat, Op. 64/1, « Minute » (20:00)
    Waltz #7 In C Sharp Minor, Op. 64/2 (21:46)
    Waltz #8 In A Flat, Op. 64/3 (24:54)
    Waltz #9 In A Flat, Op. 69/1, « L’Adieu » (27:50)
    Waltz #10 In B Minor, Op. 69/2 (32:18)
    Waltz #11 In G Flat, Op. 70/1 (35:52)
    Waltz #12 In F Minor, Op. 70/2 (37:48)
    Waltz #13 In D Flat, Op. 70/3 (40:33)
    Waltz #14 In E Minor, CT 222 (43:07)

    Barcarolle In F Sharp, Op. 60, B 158 (45:52)
    Nocturne #8 In D Flat, Op. 27/2, CT 115 (54:23)
    Mazurka #32 In C Sharp Minor, Op. 50/3, CT 82 (1:00:14)

    Piano : Dinu Lipatti
    Recorded in 1950, 1948 & 1947

    Constantin Lipatti, appelé depuis son plus jeune âge "Dinu", est né en 1917 à Bucarest dans une famille de musiciens, d'une mère pianiste et d'un père violoniste. Le compositeur Georges Enesco accepte d'être son parrain. ll travaille le piano et la composition avec Mihail Jora pendant trois ans avant de rejoindre le Conservatoire de Bucarest, où il étudie auprès de Florica Musicescu.

    La mère de Dinu, Anna Lipatti, est une forte femme qui, balayant toutes les objections et bravant même l'opposition de son mari, a décidé d'emmener ses deux fils à Paris : elle y débarque au début d'août 1934 et, leur fortune aidant, s'installe dans un confortable appartement donnant sur un square, au 9 de la rue Saint-Romain.

    Anna Lipatti a une passion pour Dinu, et c'est pour lui et sa carrière, qu'elle a choisi Paris : Cortot, qui avait découvert Dinu au concours International de piano de Vienne, l'année précédente (il n'a pas caché sa colère que le trop jeune Roumain n'ait eu que le 2eme prix !), l'a invité à venir travailler avec lui. Anna va saisir cette chance.

    Dès la rentrée de 1934 elle inscrit son fils à l'Ecole Normale dans la classe de Cortot (qui le confie d'abord à sa répétitrice, Yvonne Lefébure) et dans celle de Paul Dukas pour la composition, ainsi que dans celle de Charles Munch pour la direction d'orchestre. Partout il stupéfie par ses dons, sa technique déjà très assurée, sa musicalité. Et aussi par sa simplicité, qu'il conservera toujours.

    Paul Dukas, après un premier trimestre, estime qu'il « n'a besoin que de produire pour acquérir, par des expériences personnelles, la pleine possession d'un talent presque formé »… et meurt brutalement quelques mois plus tard, le 17 mai 1935. Sa classe est aussitôt confiée à Nadia Boulanger, qui « hérite » ainsi de Lipatti — qu'elle poussera au premier rang après avoir découvert à son tour ses dons exceptionnels.

    Il naîtra entre ce nouveau Maître et ce nouvel élève une amitié à peu près unique, même si, au cours de sa très longue carrière, Nadia Boulanger a suscité des liens réciproques d'une rare profondeur avec bon nombre de musiciens, qu'ils fussent ou non ses disciples. Dinu Pour sa part la considérera comme sa « mère spirituelle » – et ce n'était, ni pour lui ni pour elle, une simple formule.

    Cortot était un professeur extrêmement exigeant. Il faisait jouer à son élève les mêmes études pendant des semaines avant de passer à une autre pièce. Lipatti a adopté la discipline mentale de son professeur et s’est imposé pour habitude de ne jamais jouer une œuvre en public avant de l’avoir entièrement comprise. Il étudiait des œuvres pendant des années avant de la présenter en concert.

    La maladie a fixé les limites d'un répertoire que Lipatti mûrissait lentement. Dans un premier temps, il se la jouait en imagination, par cœur, en envisageant tous les styles possibles ; ensuite il la disséquait mesure par mesure, sans aucun souci expressif. Enfin, il faisait la synthèse du travail technique et de son alchimie personnelle. Des mains très longues et solides (avec un petit doigt aussi développé que les autres et, comme eux, parfaitement indépendant) et des épaules de lutteur, contrastant avec la fragilité de l'homme, lui permettaient de doser les attaques et les touchers, de nuancer le son jusqu'à l'impalpable, et d'habiller son émotion de l'apparence la plus pure.

    En 1946, il signe un contrat avec Walter Legge, producteur musical britannique et découvreur de talents qui travaille alors avec les plus grandes stars de la musique de l’époque, Karajan, Callas, Furtwängler ou encore Schwarzkopf. Dinu Lipatti entre donc dans l’écurie EMI qui, dès l’année suivante, commence à publier les enregistrements qui vont faire sa renommée internationale.

    Dinu Lipatti  (1917-1950) fait partie de la triste famille de ces artistes disparus trop tôt, emporté par la maladie à l’âge de 33 ans. Sa notoriété est un cas unique dans l’histoire de l’interprétation: elle repose presque exclusivement sur ses enregistrements, peu nombreux certes, mais salués comme "de l’or pur".

    Frédéric François Chopin PLAYLIST (reference recordings)
    https://www.youtube.com/watch?v=1xx5VDoyRsM&index=9&list=PL3UZpQL9LIxOd2d1F4YsbL4XLfB6zvRfj

    Another cycle rarely played but magnificent : Mendelssohn – The Piano Works / Songs without Words (reference recording) https://www.youtube.com/watch?v=fZJLAAspeaU&list=PL3UZpQL9LIxNEOECwK4VjfNazYgWVbApx&index=4

  27. Nadia De Simone says:

    Thank you for sharing ❣

  28. Nathalie Romathier says:

    Superbe !

  29. quark libidinal says:

    lipatti génial ,, un artiste majeur du 20 éme parti trop , bien trop tôt ,, merci

  30. quark libidinal says:

    quel beauté , quel pianiste sublime , une météore de la musique qui brille dans le ciel ,, merci mr lipatti

  31. Adrian Cook says:

    Rubinstein was a king but Lipatti an angel

  32. אסתר אילן דולינסקי says:

    ניפלא.!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

  33. Peter Helbich says:

    this is gods Music………Chopin was not an Atheist……..no great Music was ever composed by an Atheist……..Facts and love from vienna austria

  34. Jee Hoon Kim says:

    This great pianist deserves a place next to Horowitz, Rubinstein, and Richter.

  35. willem karel arts says:

    .. oh, wat speelt deze man mooi ..

  36. Pammy says:

    Bravissimo!

  37. Pammy says:

    Bravissimo ! 🌹

  38. David Footerman says:

    The untimely death of Dinu Lipatti was perhaps the worst thing that ever happened to the history of piano music.

  39. Shako73 says:

    The one and only that NEVER interpreted Chopin's Waltzes in a kitch manner ! The Besançon Festival recording is even better. Lipatti is by far my best recorded pianist of all time.

  40. Graziella Iaccarino Idelson says:

    Non è un pianista , è u MIRACOLO !!!!

  41. not2tees says:

    Dinu, this tear is for you, for Frédéric, and for the mortal listeners among us such as myself.

  42. JUAN MANUEL SALDIVAR CANTU says:

    Truly heavenly music, an amazing and marvelous artist!

  43. Malu Pezzin says:

    Mágico!

  44. IsaM Molina says:

    Dinu for ever the best.!!!🌹💎🌹💎🌹💎🌹💎🌹💎

  45. Agent 007 Bond says:

    Dinu Lipatti won the Chopin Price only at the age of 17 and he was the youngest guy winning that price at the time

  46. fredo gerald says:

    THAT INTIMACY AND TECHNICAL SKILLS HE ALWAYS BRINGS IN AS EASY GOING. MAKES MELODIES TELL STORIES SO DELIGHTFUL THAT YOU CANNOT BUT JOIN IN AND LISTEN IN ASTONISHMENT.

  47. Alexander Arsov says:

    For once, overblown descriptions like "reference recording" and "recording of the century" are actually correct. An absolutely stunning performance. Makes modern imitators like Koscis all but unbearable.

  48. Gx Gxvmc says:

    lipatti's playing sounds like an entire orchestra

  49. Gx Gxvmc says:

    if one could spot the difference between he's ''pianos's'' and ''forte's'' he does ,then, they could start to have a''……'' understanding of what a technique this man had. he is the one of the masters(few in numbers) indeed . Dinu , thank you from my true heart

  50. teddy toto says:

    Lipatti’s artistry is on another level. All of the recordings we’re left with from this all-too-short career quite literally set the standard for so many masterpieces: everything he played of Chopin, Schubert Impromptus, Schumann Piano Concerto, Grieg Piano Concerto, Bach Partita No 1, Ravel Alborada del gracioso, Mozart Piano Concerto no 21, Mozart piano sonata in a minor, Liszt Concert Etude in f minor, Bartok Piano Concerto No 3… The list goes on and on. Every performance of his is itself a masterpiece.

  51. Dries Analog says:

    in 500 years Lipatti will still be the reference.

  52. 上田進 says:

    リパッティは素晴らしいですね。
    おそらく、宇宙第一のピアニストであると思っていますが、ただ、もう一人いるのです。
    それは、クララ・ハスキルです。
    この人は女性です。
    この二人が:この世の双璧なのです。
    この二人を聴くことが、この世の楽しみな のです。
    この世に、繊細無垢というものがあるとすれば、この二人を指すのであると思っています。
    とにかく、何回も繰り返して聴きたいと思います。
    ワルツ良いですね。
    次はマズルカですね。
    後は、シューマンのピアノ・コンチエルトなどいろいろですね。
    ではお元気でありますように😊

  53. 上田進 says:

    追伸
    改めて聴き直しました。
    リパッティは最高ですね😊
    正宗白鳥が源氏物語を、アーサー・ウエイリーの英訳で熟読した時に、満天の青空の星を見たと、感想を述べたそうですが、まさしくその通りですね。
    背にエンゼルの羽根を付け、天空を飛ぶ思いがしました。
    次は、シューマンが聴きたいですね。
    ハスキルもです。
    それではご機嫌よう😊😊😊😊😊😊

  54. Georges de La Fuly says:

    Fabuleux !

  55. Maestro Classico says:

    19 dislikes?? probably just some young pranksters!

  56. Romea Romeo says:

    Sublime, Divino

  57. Sorin Enachescu says:

    Unvergleichliche Walzer-Interpretation…!!!

  58. Dana Franchitto says:

    He died way too young.

  59. ludlow 889 says:

    The best recording of these waltzes I've ever heard. His playing is brilliant but never merely flashy, never kitschy or sappy. Sincerely felt and played with such clarity and depth of feeling.

  60. нина вахрушева says:

    Изящное, ювелирное исполнение, наполненное светлой печалью.

  61. Luis Pascual says:

    A mi modo de ver la más justa y apropiada manera de tocar a Chopin. Deberíamos recordar siempre a intérpretes como éstos.

  62. Luis Pascual says:

    magnífica interpretación de un artista prematuramente fallecido.

  63. Lin Johnson says:

    unbelievable, only one man is playing the music … it sounds like a quartet or a group playing music together. Excellent piano playing

  64. Şahan Arzruni says:

    Sheer genius!

  65. Filip Adam says:

    Fantastic

  66. Etienne Delaunois says:

    Speed is not the goal and is definitely not a proof of intense musicality.
    But temperament have a huge influence on the way a pianist or a musician will play music.
    A pianist who want to play fast to play like most pianist is nothing else than a parrot.

    Rubinstein plays the waltz a lot slower but his interpretation are wonderful. Just different as Rubinstein had a totally different temper.

    Here, I'm very very touch by the fiery temper of Lipatti, being so comfortable with the speed of most of the brilliant waltz and the small faster waltz.

    Everything is so clear and each phrases means something and bring you to something else.

    Even with the bad recording compare to today's quality of recording, the waltz in Bminor, for exemple, is so deep and I can nearly hear a singer and somebody crying saying lyrics while Lipatti is playing.
    That musician wasn't just playing what is written but he was living it, feeling it and understand it.

    What a wonderful instinct that man used to have!

    What fascinating me with Lipatti is the fact that he wasn't just like this with Chopin, but every composers that he plays and we have the chance to hear after he recorded their work, are just as deep as Chopin.

    Enescu, Mozart, Liszt, Bach and not mentioning Scarlatti.

    He was a deep musician and understood the language so well that he was able to speak it his own way.

    If he had lived a bit longer he would have been listed among the biggest!

    In my eyes he is, but most people remember Rubinstein, Horowitz, Cziffra, Richter,… who are all wonderful, but forgot to put Lipatti on that list!

  67. yakshaver shavemyyak says:

    WOW! How amazing!! I have the CD. Still, when coming across this on youtube I was blown-over… again! Thanks!

  68. Gheorghe Petean says:

    21 Dislikes wash your ears, or better .. cut them 🙂 you have no right of an opinion in music when you dislike this.

  69. notaire2 says:

    Technisch perfekte und zugleich lyrische Interpretation dieser romantischen Meisterstücke im relativ schnellen Tempo mit glänzendem Klang und völlig effektiver Dynamik. Schade, dass dieser unvergleichliche Virtuose so jung gegangen war!

  70. liesel murphy says:

    What a pianist….! Probably the best who ever walked this earth. His playing is sublime; perfect in every way. Dinu; you are truly an angel of the piano. You will never be forgotten.

  71. Paul Johnson says:

    Technically brilliant, but as with so many others, too high a tempo (trying too hard to impress?). Please, more Soul!

  72. 류순열 says:

    아름다운 피아노 연주곡 잘 들었읍니다~감사합니다~🎵🎹

  73. Dr Aub says:

    THE Reference ! 🇷🇴💓🙏🕊 ( Piano BECHSTEIN )

  74. Michael's ML&ATG says:

    If this is the true speed/pace, this guy is brilliantly gifted!!! My gosh!! His technique & interpretations are phenomenal.

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