Dinu Lipatti

Lipatti’s planned repertoire

This is an outline of the repertoire Lipatti had planned to study, taken from notes drawn out a few months before his death. The thought of Lipatti performing these works is tantalizing to say the least! The unorthodox programming also gives a greater clue to his unique approach to music.

Summer 1950

Brahms Concerto in B-Flat Major
Stravinsky Capriccio [i]

Summer 1951

Recital #7:

Bach Prelude and Fugue in A Minor
Haydn Sonata in C Minor
Beethoven Sonata in B-Flat Major, Op. 106, “Hammerklavier”
Chopin Sonata in B-Flat Minor, Op. 35, “Funeral March”

Summer 1952

Beethoven Concerto #4 in G Major
Franck Variations Symphoniques

Summer 1953

Recital #8:

Bach Chromatic Fantasia and Fugue
Bartok Suite Op. 14
Beethoven Sonata in D Minor, Op.31#2
Brahms Variations on a theme of Handel

Summer 1954

Tchaikovksy Concerto in B-Flat Minor [ii]
Hindemith Concerto [iii]

Summer 1955

Recital #9:

Bach Italian Concerto
Stravinsky Sonata
Liszt Sonata
Debussy 12 Preludes

Summer 1956

Chopin Concerto in F Minor [iv]
Lipatti Concerto [v]

Summer 1957

Recital #10:

Bach Three Preludes and Fugues from the Well-Tempered Clavier
Chopin 12 Etudes Op.10
Bach Three other Preludes and Fugues
Chopin 12 Etudes Op.25

  1. Lipatti had actually performed this work in the 1930s, and was no doubt refreshing it. It is interesting to note that a critic in Bucharest wrote that he found Lipatti’s style of playing more suited to the Capriccio than to the Mozart Concerto he played it with that night!
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  2. It is no doubt the fact that Lipatti planned to study the work in 1954 that led Walter Legge to say that Lipatti needed 4 years to prepare the work – though Lipatti might have said something along those lines as well. However, there is correspondence indicating that Lipatti had agreed to record the work in 1949, but that as Legge had already discussed recording the work with Malcuzynski, the project was nixed.
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  3. It is unclear if this is The Four Temperaments or if Hindemith was planning on writing a concerto for Lipatti. The two artists had performed together in Lucerne in 1947 and seemed to have a cozy relationship.
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  4. Walter Legge had written that he first heard Lipatti in a rehearsal for Chopin’s F Minor Concerto. In fact, he never played it and it must have been the E Minor Concerto.
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  5. In an interview with Henri Jaton on August 23, 1950, Lipatti stated that he hoped to write a piano concerto.
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