I cannot listen to this without balling my eyes out... what you are doing for world culture, for Lipatti, for beauty, is the most beautiful gift I could ever imagine
Nel 1947 aveva 30 anni...suonava così a 30 anni...a 33 anni ha seguito il suo onnipotente Maestro. Nessuno come Lui ne prima né dopo... davvero nessuno...
Absolutely marvellous and interesting enough I just played this 78 over my equipment to some friends and they were just bowled over of the beautiful sound and the radiant playing!! Pure bliss!
Always the pianist I love the most. Thank you for sharing these recordings. A great gift. I can never (as I’m sure like many others) hear enough of his playing. Thank you!
What a Chopin! Elegance and bravura at the same time. And of course this Bach-Hess, fenomenal... the recording that started this craving of mine for Lipatti's interpretations. Your contribute to piano culture deserves so much distinction! Thank you
If you read the notes in detail, you'll find that this 1947 Bach was never on LP so you surely have the 1950 version; and the Chopin Waltz was only on LP twice ... the Liszt, however, was much more available. All great performances!
This has been widely available in Europe over the years but was on LP in North America only once in the mid-50s and then again in a box set in the 1980s... and then regularly on CD - but a whole lot of people missed it because of its relative scarcity in the vinyl years.
@@ThePianoFiles Hi. A bit of a random question, but a significant point of interest for me, so if you could help I would be eternally grateful. Namely, do you have any anecdotes/accounts of Lipatti's use of the una corda? I'm pretty certain I saw some photos (from the last concert, I think) where his left foot is over the top of it, i.e. he was clearly using it or about to use it in that very moment. I'm fascinated to know what his philosophy was and what he would have instructed his students regarding the use of the una corda. For example, what was his opinion on correct use, was he keen to apply it or used it sparingly, what did he consider to be it's true function on the modern piano etc. etc.? Also, I'm pretty sure during his lessons he would've spoken regarding the sustaining pedal, but that's a lot easier to discern from the recordings (at least to my ears), thus I think I have a fairly clear idea of his sensibilities there. However, it would of course still be great to know his exact opinion on the use of that, too. Thank you so much for all and any information on this.
I cannot listen to this without balling my eyes out... what you are doing for world culture, for Lipatti, for beauty, is the most beautiful gift I could ever imagine
The perfection is achieved by genius only. Bach with Lipatti is unbelievably unique.
何度聴いても、涙が止まらなくなります。あまりにも早く天国に旅立たれてしまいましたね😭😭😢😢😢
Nel 1947 aveva 30 anni...suonava così a 30 anni...a 33 anni ha seguito il suo onnipotente Maestro. Nessuno come Lui ne prima né dopo... davvero nessuno...
If you have lost your faith listen to this.
Благодарю!
Мне,так,жаль,что он так рано ушёл из земной жизни.
Но его душа,запечатлённая
в звуках музыки, продолжает его жизнь.
Absolutely marvellous and interesting enough I just played this 78 over my equipment to some friends and they were just bowled over of the beautiful sound and the radiant playing!! Pure bliss!
Always the pianist I love the most. Thank you for sharing these recordings. A great gift. I can never (as I’m sure like many others) hear enough of his playing. Thank you!
Such exquisite fluidity
A treasure chest for 75 years.
we owe you so so much Mark for your work on this , and bringing the amazing artistry of so many pianists to our attention!
What a Chopin! Elegance and bravura at the same time. And of course this Bach-Hess, fenomenal... the recording that started this craving of mine for Lipatti's interpretations. Your contribute to piano culture deserves so much distinction! Thank you
удивительный пианист.
столько нежности в звуке..и неба
безмерно жаль, что так рано ушел..
Habe ich auf LP. Schöne Erinnerung hier. 💕
If you read the notes in detail, you'll find that this 1947 Bach was never on LP so you surely have the 1950 version; and the Chopin Waltz was only on LP twice ... the Liszt, however, was much more available. All great performances!
I really like this! Great!
Liszt? Interesting! Thanks for sharing!
This has been widely available in Europe over the years but was on LP in North America only once in the mid-50s and then again in a box set in the 1980s... and then regularly on CD - but a whole lot of people missed it because of its relative scarcity in the vinyl years.
J. S. Bach. Choral Jesus bleibet meine Freude aus der Kantate Herz und Mund und Tat und Leben.
fabelhaft
Thanks for a beautiful upload!
Bravissimo
Thank you very much for your interesanting explanations.
I like the fuller bass in this recording of "Jesu, Joy of Man's Desiring."
Extraordinary session! Thank you for this wonderful rendition!
Thanks!!!
Talentul face diferența!❤️
fielen dank Dinu
sensacional
The inner voices in the Bach seem to come out more clearly here than in the 1950 version.
The Chopin is more hectic here than in 1950.
fire
L'ETERNO ci volle aiutare e fu il nascituro di Eisenach, e fu l'angelo di Bucarest
How different this Jesu is from the 1950!!!
Abbey Road existed in 1947?
Since 1931!
@@ThePianoFiles Hi. A bit of a random question, but a significant point of interest for me, so if you could help I would be eternally grateful. Namely, do you have any anecdotes/accounts of Lipatti's use of the una corda? I'm pretty certain I saw some photos (from the last concert, I think) where his left foot is over the top of it, i.e. he was clearly using it or about to use it in that very moment.
I'm fascinated to know what his philosophy was and what he would have instructed his students regarding the use of the una corda. For example, what was his opinion on correct use, was he keen to apply it or used it sparingly, what did he consider to be it's true function on the modern piano etc. etc.?
Also, I'm pretty sure during his lessons he would've spoken regarding the sustaining pedal, but that's a lot easier to discern from the recordings (at least to my ears), thus I think I have a fairly clear idea of his sensibilities there. However, it would of course still be great to know his exact opinion on the use of that, too.
Thank you so much for all and any information on this.