Choral "Jesus bleibet meine Freude" from Cantata "Herz und Mund und Tat und Leben", BWV 147 (arr. Hess) recorded in Geneva, 1950,
Siciliana from Sonata No. 2 for Flute and Harpsichord, BWV 1031 (ar...
Choral "Jesus bleibet meine Freude" from Cantata "Herz und Mund und Tat und Leben", BWV 147 (arr. Hess) recorded in Geneva, 1950, Siciliana from Sonata No. 2 for Flute and Harpsichord, BWV 1031 (arr. Kempff) recorded in Geneva, 1950.
Dinu Lipatti (born 19th March, 1917, in Bucharest - died 2nd December, 1950, in Geneva)
...Lipatti: an artist filled with divine spirituality." F. Poulenc
"How I envy you for your talent. It should go to the devil. Why should you have so much talent and I so little? Is that justice on earth?" Clara Haskil
"...(he is) the epitomy of a spirit world, untouched by pain and suffering." Yehudi Menuhin
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I*m also interested in this question - but I think, it's not the last concert - compare the data with Wikipedia.
I feel a big sensation listening to this - the compositor and the player were kongenial. The fact that Lipatti was in his last days/months, knowing about his death still makes the piece very special - for Lipatti and for the listener
Unfortinatly no my dear. Fot the good reason that when he plaid it at the end of the performance , the man who was in charged off the recording had forgoten to record it. So that's why the last piece of Dinu's last show is lost for ever..
you are missing my point and i wish you better aim from now on.
I am talking about how confidently lipatti handles the melody. when you hear a grown up sing they will start to add vibrato, shape the phrase, with a more or less pleasing result, but either way to show their awareness of the technical qualities of the music. again, it can be good or bad. it's the same....
...with pianists and the use of rubato or affected dynamics. the point is to develop the phrase but needless complication can be the result. pretty much all pianists are occasionally guilty of this as you need a god-like personality to do it all right.
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Close your eyes
I feel a big sensation listening to this - the compositor and the player were kongenial.
The fact that Lipatti was in his last days/months, knowing about his death still makes the piece very special - for Lipatti and for the listener
I am talking about how confidently lipatti handles the melody. when you hear a grown up sing they will start to add vibrato, shape the phrase, with a more or less pleasing result, but either way to show their awareness of the technical qualities of the music. again, it can be good or bad. it's the same....