Composer: Frédéric Chopin
Works: Piano Concerto No. 1 in E minor, Op. 11; Etudes, Op. 10/5, Op. 25/5
Performers: Dinu Lipatti (pianoforte), Zurich Tonhalle Orchestra/Otto Ackermann (Piano Concerto); Philharmonia Orchestra/Alceo Galliera (Etudes)
Recording: Tonhalle, Zurich, 7 Feb. 1950 (Piano Concerto); No. 1 Studio, Abbey Road, London, 18-19 Sep. 1947 (Etudes)
Label: EMI Classics CDZ 5748022
Frédéric Chopin’s music, with its intricate emotional landscape and virtuosic demands, has long been a cornerstone of the piano repertoire, inviting interpretations that range from the deeply poetic to the exuberantly flamboyant. Dinu Lipatti, a luminary of the mid-20th century, represents a significant voice in this dialogue, his performances imbued with a distinctive lyrical quality and a profound understanding of Chopin’s nuances. This recent CD reissue captures Lipatti’s artistry in two seminal works: the Piano Concerto No. 1 in E minor and a pair of his Etudes, both of which continue to resonate with pianists and audiences alike.
The performance of the Piano Concerto No. 1 under the direction of Otto Ackermann presents a vivid portrait of Lipatti’s interpretative choices. The opening Allegro maestoso unfolds with a sense of youthful vigor, yet it is Lipatti’s exquisite touch that commands the listener’s attention. The orchestral introduction, while lacking the robustness one might expect, allows Lipatti’s delicate phrasing to emerge as a focal point. However, Ackermann’s conducting can feel indifferent, particularly in the second subject, where the orchestral support seems to gloss over the thematic material’s inherent beauty. Lipatti’s entrance is marked by a clarity and buoyancy that contrasts sharply with the orchestra’s lackadaisical approach, revealing a tension between the pianist’s intent and the conductor’s vision.
Lipatti’s interpretation is characterized by a lyrical intensity that finds its fullest expression in the slow movement, Larghetto. Here, he achieves a sublime balance between expressiveness and restraint, crafting a melodic line that ebbs and flows with a natural grace. The engineering, however, presents challenges; the sound quality is somewhat compromised, suggesting a vintage recording with noticeable distortion during the climaxes. This detracts from the overall impact, yet Lipatti’s artistry shines through, particularly in the way he imbues the melodic phrases with a sense of longing and introspection.
The accompanying Etudes, recorded in 1947, showcase Lipatti’s technical prowess and interpretative depth. The Op. 10 No. 5 in G-flat major, often referred to as the “Black Key Etude,” is executed with a lightness of touch that belies its technical demands. Lipatti dances through the rapid passages with remarkable ease, employing a rhythmic vitality that enlivens the work. The Op. 25 No. 5, on the other hand, reveals a darker, more introspective side of Lipatti’s artistry, where he navigates the shifts in mood with a captivating delicacy. The interplay between the hands is particularly well-articulated, showcasing his dexterity and musicality.
In evaluating this reissue, it is essential to consider how Lipatti’s interpretations stack up against contemporaneous performances. While there are notable recordings by the likes of Arthur Rubinstein and Martha Argerich that may outshine these renditions in terms of technical brilliance and orchestral synergy, Lipatti’s performances offer a unique perspective colored by his own experiences and sensibilities. His ability to convey deep emotional undertones in Chopin’s works grants these interpretations a timeless quality, even amid their sonic limitations.
Lipatti’s recording of Chopin remains an essential historical document. Despite the technical failings of the recording quality, his insights into the music’s emotional core and his poetic phrasing resonate powerfully. The juxtaposition of Lipatti’s artistry with the orchestral performances offers fertile ground for reflection on the nature of interpretation itself. This reissue serves not only as a reminder of Lipatti’s exceptional talent but also as an invitation to engage with the music of Chopin through the lens of one of its most eloquent interpreters.
