DINU LIPATTI

The complete Columbia recordings 1947–48 includes five unpublished tracks with cellist The complete Columbia recordings 1947–1948

COMPACT DISC 1 (79.38)

1. SCARLATTI Sonata in D minor Kk9 (L413) ...... (3.17) Recorded on 20 February 1947; matrix CA 20313-2 (Columbia LB113)

2. SCARLATTI Sonata in E major Kk380 (L23) ...... (2.42) Recorded on 27 September 1947; matrix CA 20504-2 (Columbia LB113)

3. BACH/HESS Jesu, joy of man’s desiring from Cantata BWV147 ...... (3.33) Recorded on 24 September 1947; matrix CA 20314-6 (Columbia LC30)

4. CHOPIN Nocturne in D flat major Op 27 No 2 ...... (5.44) Recorded on 20 February 1947; matrices CA 20315-1, 20316-2 (Columbia LB63)

5. CHOPIN Waltz in A flat major Op 34 No 1 ...... (4.34) Recorded on 24 September 1947; matrix CAX 10027-2 (Columbia LX1032) CHOPIN Sonata No 3 in B minor Op 58 6. Allegro maestoso ...... (8.49) 7. Scherzo: Molto vivace ...... (2.29) 8. Largo ...... (8.46) 9. Finale: Presto non tanto ...... (4.49) Recorded on 1 & 4 March 1947; matrices CAX 9838-1, 9839-1, 9840-2, 9841-2, 9842-1, 9843-2 (Columbia LX994/6)

10. LISZT Petrarch Sonnet 104 No 5 of Années de pèlerinage, 2e année – Italie, S161 ...... (6.16) Recorded on 24 September 1947; matrices CA 20498-2, 20499-1 (Columbia LB68) GRIEG in A minor Op 16 11. Allegro molto moderato ...... (12.23) 12. Adagio ...... (6.20) 13. Allegro moderato molto e marcato ...... (9.50) / Recorded on 18–19 September 1947; matrices CAX 10041-2, 10042-2, 10043-1, 10044-2, 10045-1, 10046-1, 10047-1 (Columbia LX1029/32)

2 COMPACT DISC 2 (64.49) SCHUMANN Piano Concerto in A minor Op 54 1. Allegro affettuoso (14.24) 2. Intermezzo: Andantino grazioso – (5.23) 3. Allegro vivace (10.01) PHILHARMONIA ORCHESTRA / Recorded on 9–10 April 1948; matrices CAX 10206-1, 10207-1, 10208-1, 10209-1, 10210-1, 10211-1, 10212-2, 10213-1 (Columbia LX1110/3) 4. CHOPIN in F sharp major Op 60 (8.31) Recorded on 17 April 1948; matrices CAX 10237-1, 10238-1 (Columbia LX1437) 5. RAVEL Alborada del gracioso No 4 of Miroirs (5.48) Recorded on 17 April 1948; matrices CA 20740-1, 204741-1 (Columbia LB70)

Zürich test recordings with Antonio Janigro () 6. BEETHOVEN in A major Op 69 – I. Allegro, ma non tanto (9.11) Recorded on 24 May 1947; matrix CZX 221, 222 7. J S BACH (arr. SILOTI) Andante in D major from Sonata for solo violin in A minor, BWV1003 (3.59) Recorded on 24 May 1947; matrix CZX 223 8. FAURÉ (arr. CASALS) Après un rêve Op 7 No 1 (3.30) Recorded on 24 May 1947; matrix CZX 225 9. RAVEL (arr. BAZELAIRE) Pièce en forme de habanera (2.45) Recorded on 24 May 1947; matrix CZX 226 10. RIMSKY-KORSAKOV Flight of the bumblebee (1.10) Recorded on 24 May 1947; matrix CZX 226

All published titles were recorded at Abbey Road Studios, the concertos in Studio 1, the solo items in Studio 3. The Columbia test matrices with Antonio Janigro were recorded in the Wolfbach Studio, Zürich.

3 Cover photo courtesy the late Liliana Pavelescu Photograph of Janigro and Lipatti courtesy the Nurock-Foëx Collection Photograph of concert programmes courtesy Matei Banica (Editura Muzicala Grafoart) Recording sheet Mark Ainley collection

The recording sheet for the missing Chopin Nocturne Lipatti and Janigro set down in Zürich 4 INU LIPATTI’s Columbia recordings are catalogue almost the entire piano of legendary status. Critically acclaimed repertoire, recorded by all the old artists Dbest-sellers even before the pianist died as well as the new, such that if I were to at the age of 33 in 1950, these performances propose this piece by Chopin or that piece have been reissued worldwide in the seven by X, they might be reluctant to accept, decades since they were made, consistently already having it in their catalogue, held up as desert-island interpretations of the sometimes with two pianists … whereas too-few works that this fabled artist put on disc. Columbia has only recorded orchestral The pianist produced only about three hours of works extensively, and for piano the field is published records for the label – far too few for virtually empty, as they have signed Egon a musician of his calibre – though these have Petri … and … no one else. So with them I fortunately been supplemented by a handful can record all that I want, without having of concert, broadcast, and private recordings. to consider HMV’s catalogue. Lipatti’s commercial discography – ‘small in Lipatti was clearly enthusiastic about embark- output but of the purest gold’, in the words of ing on a recording career, so it must have been his recording producer – has a disappointment that his first session only took anchored his place in the pantheon of pianists, place six months after he had signed his but the artist’s somewhat star-crossed relation - contract and resulted in no usable discs. In ship with the gramophone has been largely Zürich in July 1946, Lipatti recorded Chopin’s misunderstood and misrepresented. Waltz in A flat major, Op 34 No 1, and two works by Liszt, La leggierezza and Sonetto del Dinu Lipatti and Columbia Records Petrarca No 104. However, EMI was experi- Lipatti was signed to EMI’s Columbia label ment ing with new material at the time and the in January 1946 after their Swiss agent Paul masters warped en route to London; transfers Jecklin discovered that Decca hoped to add effected on 15 October revealed the records to the pianist to their roster. Armed with the be unsuitable for release. Prior to any discs knowledge that their competitor had plans to being issued, the pianist had begun publicizing arrange a tour in England and make a large his association with the label, a December 1946 number of recordings of the artist in a two-month Lausanne concert programme stating at the period, Columbia approached Lipatti and were bottom ‘Mr Dinu Lipatti records for “Columbia” successful in negotiating a contract. The pianist records’ [M. Dinu Lipatti enregistre sur disques may very well have been unaware of Decca’s “Columbia”]. With the failed attempts at Zurich interest (there is no evidence indicating other wise) behind him, he was no doubt enthusiastic to and he was delighted to be with Columbia, writing travel to London to finally produce some discs to his fiancée that this arrangement provided him and boost his standing as an international better opportunities than would EMI’s HMV label: pianist. His Master’s [Voice], some 20 years older Lipatti made only three visits to London that than Columbia, already has in its included sessions at Abbey Road Studios, the

5 first one being over a year after he had signed his contract. In February and March 1947, he recorded the D flat Nocturne (LB63) and the B minor Sonata (LX994/6) of Chopin and Scarlatti’s Sonata in D minor, L413 (LB113/LC30), in addition to making the first few of several attempts at the Bach-Hess Chorale Jesu, joy of man’s desiring. Septem- ber 1947 saw him record the Grieg Concerto in A minor with the Philharmonia under Alceo Galliera (LX1029/32), as well as the Sonetto del Petrarca No 104 (LB68), Chopin’s A flat Waltz, Op 34 No 1 (LX1032), Scarlatti’s Sonata in E major, L23 (LB113), and the Bach-Hess Chorale – the sixth of seven takes of the latter was issued along with one of the Scarlatti Sonatas (LC30). In April 1948, he recorded a tremendously successful Schumann Concerto in A minor, Op 54, with the Philharmonia with Herbert von Karajan (LX1110/3), the Chopin Barcarolle (LX1437), and his stupendous account of Ravel’s Alborada del gracioso (LB70). Lipatti’s widow Madeleine later re- counted a tale that the pianist had played the latter spontaneously at the end of a session and that the engineer had switched on the recording apparatus, but this is not the case: the recording had been scheduled and he made two takes of each side.

Unfulfilled potential There were more recordings planned for what would be Lipatti’s final visit to London. An ‘Instructions for Recording’ sheet dated 15 April 1948 lists the Barcarolle and Alborada (mistyped Alborado, as it was on the label of some editions of the disc), as well as two Scarlatti sonatas, Debussy’s La soirée dans

6 Grenade, and Falla’s Ritual Fire Dance. Two (indeed, he had broadcast the ‘Waldstein’ for the of the four scheduled session dates are crossed BBC the day before his last Abbey Road session out, and it is not known if Lipatti made attempts on 21 April). After these sessions, Legge wrote at the Falla, Debussy, or Scarlatti works. No enthusiastically in a memo: ‘Lipatti has made individual recording sheets have been found a particular request to record the Schumann to indicate that he did, yet the chronological Études symphoniques. This does not exist recording log at EMI’s archive is missing six at all on Columbia and is one of the best of months’ worth of pages (quite inexplicably, they Schumann’s works for piano solo. No-one would were torn out), including those from this period. do it better than Lipatti, and de Jongh, to whom It is therefore impossible to know exactly what I have already talked, promises immediate and took place at these sessions. enthusiastic issue in .’ Handwritten notes The focus on shorter compositions at the indicate that the proposal was ‘approved by Abbey Road sessions has been perceived Repertoire Conference’, but the recording never as being due to Lipatti’s illness and has took place. In this case it is almost certain that contributed to his being seen as a ‘small-scale Lipatti’s illness was to blame, as his health took pianist’. However, there is a socio-economic a downturn the following month and he never factor that has often been overlooked: materials made it back to London. When recording were scarce in the post-War years and England equipment was sent to in July 1950 to had austerity measures in place, so it was more capture his playing in the final months of his commercially viable to produce more affordable life, Lipatti recorded his ‘less tiring programme’ single-disc offerings and fewer multiple-disc of Bach’s Partita No 1, Mozart’s A minor Sonata, sets. Cortot, Moiseiwitsch, Solomon, and other and Chopin’s waltzes; his performances are long-established artists also recorded primarily marvellous but the selection is somewhat shorter compositions at this time, usually with unfortunate given that he was experiencing only one larger-scale solo work and/or concerto increased vitality as a result of cortisone per year; this has often been overlooked injections and likely could have recorded the because these artists each have more larger-scale works in his repertoire. substantial discographies made over the course The belief that Lipatti’s small discography of decades. This is likely the main reason that was due solely to his illness and perfectionism Lipatti’s Abbey Road offerings consist primarily is a natural conclusion given statements made of shorter pieces, the Chopin B minor Sonata by Legge in a February 1951 Gramophone being the only multi-disc solo composition that magazine tribute. Inaccuracies from this piece he recorded there. were for many decades quoted in liner notes This is most unfortunate, as at the time accompanying reissues of the pianist’s recordings, of these sessions Lipatti was playing resulting in a distorted view of his artistry and Beethoven’s ‘Waldstein’ Sonata, Schumann’s mindset. Legge stated that he was able to offer Études symphoniques, and Ravel’s Le ‘a repertoire for recording for which many tombeau de Couperin in his recital programmes another pianist would have sacrificed his wife

7 and family’ but that Lipatti ‘would not be In light of these internal memoranda, deflected from his devoted approach’, noting Legge’s assertion that ‘only his illness is to that he required three years to prepare blame for the comparatively small number of the Tchaikovsky Concerto and four for the records he made’ seems disingenuous at best. ‘Emperor’. The evidence indicates otherwise. There is no doubt that Lipatti’s illness limited In a memo dated 23 February 1948, Legge his travel to London to complete some projects; wrote that ‘Lipatti has his heart set on doing a however, Legge’s assertions have contributed Beethoven Concerto in 1949’. This led to a series significantly to a perception that Lipatti was of memos discussing which work to record a weak pianist who only played short works based on what was currently in Columbia’s and was reticent to record more substantial catalogue. It should be noted that Lipatti had com po sitions. This was not the case, and played the ‘Emperor’ twice in in the unfortunately it was both management and early 1940s, so the work wasn’t new to him and health issues that seemed not to align with his he would not have required years to prepare wishes. it: he quite quickly reworked the Schumann Concerto, which he had prepared in 1945 but Unreleased treasures not yet performed in public, once Legge What might be even more surprising than these asked him to record it on less than six months’ revelations is the fact that a set of records notice. that Lipatti actually did produce was never Even more surprising is a 7 June 1948 memo issued by Legge either during the pianist’s with the heading ‘Tchaikowsky Concerto for lifetime or afterwards. Lipatti was touring Columbia’ in which Legge wrote: ‘I have found with cellist Antonio Janigro in what I am sure you will agree is the ideal May 1947, playing recital programs of sonatas solution for this problem. Lipatti has agreed to by Bach, Beethoven, and Brahms to great record this work in 1949 in London with critical acclaim. On 24 May they went to the Karajan. That should be a best seller for ten Wolfbach Studio in Zürich to record six 78-rpm years.’ (One cannot criticize Legge for not discs, among them the first movement of the anticipating that Lipatti’s recordings would be Beethoven A major Sonata, Op 69. The session best sellers over half a century later, but the sheets for these records – matrix numbers CZX irony is rather striking.) Handwriting on the 221 through 226 – have at the top of each page memo shows why the project did not proceed: the words ‘Test for Mr. W. Legge’. ‘Discussed at Rep[ertoire] Meeting 8/6/48. It is surprising that the producer did not, at Decided not to record in view of [illegible] the very least, issue these discs posthumously, recording from America by Oscar Levant. Also, given the pianist’s great fame and the dearth of Legge had discussed doing this work with available recordings. One possible reason for . Małcuzynski.’ It was therefore Columbia and not his not having done so comes from a testimonial Lipatti that put an end to the possibility of his by , who studied with Janigro in recording the Tchaikovsky Concerto. the mid-1970s. The master cellist was speaking

8 mournfully to his student about the lost opportunity of making records with Lipatti and when asked why they had not, Janigro said with the utmost bitterness in his voice, ‘because Mister Walter Legge didn’t like the cello’. No correspondence by Legge or Lipatti discussing these recordings has been found so it is not known for certain how the session came to happen. However, a 1970 letter to EMI’s David Bicknell by Madeleine Lipatti states: ‘This was a private recording which was sent to Columbia by Lipatti’s wish, but this ‘test’ recording was not followed up.’ She added that she and the cellist wished to issue the recordings as part of a charity project for the 20th anniversary of Lipatti’s death that year and asked if ‘the matrix is still in Columbia’s archive’, but no reply was on file and her project never came to fruition. I became aware of the existence of these recordings in 1989 when Keith Hardwick of EMI responded to my inquiry about unpublished Lipatti recordings: he informed me that these discs had been borrowed from, but not returned to, the collection of the producer’s widow, . Investigations at EMI’s DINU LIPATTI and ANTONIO JANIGRO archive revealed that the masters no longer existed, but a few years later, pressings of two Germany: he had five of the six discs and had of the six sides were found in Dr Marc Gertsch’s in fact put the recordings out on a private collection in Bern, Switzerland, records he had cassette devoted to Janigro which had somehow received when Madeleine Lipatti died in 1983. never made its way into the hands of Lipatti My colleague Werner Unger and I issued these fans. He graciously shipped the original on Unger’s label archiphon as part of a 2-CD set acetates to Unger, who transferred and featuring unpublished Lipatti recordings largely issued them in a digital release in 2014 and culled from Gertsch’s collection. who has made them available for this present I finally made contact with Janigro’s set. daughter in in 2008 and she introduced The current release is the first published CD me to the cellist’s pupil Ulrich Bracher in of these recordings to be made, over 70 years

9 after the studio sessions. Unfortunately, the Scarlatti was a key fixture in Lipatti’s Chopin Nocturne in C sharp minor (CZX 224) recitals, and he plays the Sonatas in E major that the artists recorded has not been located: and D minor with exquisite elegance and clarity. it wasn’t mentioned in Madeleine’s letter, so it His rhythmic pulse, deft articulation, and is possible that the disc was never pressed. The judicious use of the pedal provide an ideal artistry of both musicians here is stunning, balance of warmth and precision. ’s these records revealing, in the words of Isserlis, arrangement of Bach’s Jesu, joy of man’s ‘such wonderfully sensitive, imaginative playing, desiring is the work that has become syn- and such mastery. A truly magnificent duo!” onymous with Lipatti’s name, having been the These performances’ absence from the cata- first piece he played at his first recital in Paris logue both during the pianist’s lifetime and (in memory of his recently deceased teacher afterwards is most regrettable, but fortunately ) in 1935 and the last one played at they are now available – a significant addition his legendary final recital in Besançon shortly to the pianist’s discography. before his death in 1950. Lipatti was apparently not fully satisfied with this 1947 account but The performances consented to its limited release in France and This present collection of recordings is an Switzerland due to popular demand. The Abbey extraordinary tribute to the artistry of Dinu Road studio and Steinway supported a broader Lipatti, capturing him in solo, chamber, and resonance and range of tonal colours than can concerto repertoire while he was at the peak of be heard in the more famous July 1950 version. his powers. Conditions at the Abbey Road (Lipatti’s final recordings were made in a studios in particular were extremely supportive: Radio Geneva studio with a dry acoustic and Steinway No 299 was an exceptionally res- possibly on a sub-concert grand piano – he ponsive and well-regulated instrument and had two available for these sessions EMI technicians captured the pianist’s tone and it is not 100% clear which he used, but wonderfully. Unfortunately, reissues of these those recordings consistently have less bass recordings have restricted the pianist’s dynamic presence.) Particularly fascinating in this and tonal range – particularly on LP in the US earlier reading is his approach to the coda, with and worldwide on CD – which has hindered a beautifully voiced descending line in the upper listeners’ capacity to wholly recognize the grand register. nature of his playing. In these remasterings Lipatti is most known for his Chopin which have gone back to the original 78s, we can performances, though his highly acclaimed more readily appreciate the manifold qualities 1950 cycle of waltzes recorded in the afore- that have led to Lipatti being revered as a mentioned Geneva studio lacks the depth of supreme pianist: his rich array of colours, tone and power that are in full abundance in precise touch, refined dynamic gradations, his earlier recordings. The D flat major poised voicing, masterful pedalling, and Nocturne is a model of poise, his full singing impeccable timing. sound impeccably balanced with sensitivity of

10 phrasing. Melodic lines are flawlessly shaped, The first of Lipatti’s two Columbia recordings tempo shifts beautifully coordinated, dynamic with orchestra was the Grieg Concerto in A layering skillfully achieved. What a remarkable minor, Op 16, with the Philharmonia under the contrast is his heroic traversal of the Chopin baton of Alceo Galliera. Lipatti had been playing Waltz in A flat, Op 34 No 1, which served as the concerto since 1933 so by the time he put the ‘filler’ for the 78-rpm disc set of the Grieg it on disc in September 1947, he was very well Concerto. This was his most frequently acquainted with its subtleties. His massive programmed waltz, the one he was too weak to sonority, superbly balanced chords, and play at his last recital, and this earlier recording dramatic timing make for a truly majestic is a vibrant, vivacious reading that is radically reading, with the first-movement cadenza being different from the quainter traversal of 1950. strikingly powerful – another demonstration of With dashing runs and dramatic pauses, Lipatti’s tremendous strength and admirable sparkling tone and sumptuous phrasing, this use of transcendent virtuosity to serve the score. bold account is incredibly seductive. Rarely The Grieg Concerto recording was such a issued in long-play format, this performance at success that Lipatti was soon asked to record once shatters the image of Lipatti as a weak, the Schumann Concerto the following April. demure pianist and shows the grand nobility of Having learned the work in 1945 but not yet his pianism. played it in public, the pianist requested a The Chopin B minor Sonata was the only programme switch to an orchestral appearance large-scale solo work Lipatti recorded at Abbey in Basel in order to perform it prior to the studio Road and is justly celebrated as a reference sessions. The studio recording was made 9 & 10 recording. Awarded the Grand Prix du Disque, April 1948, with a Royal Albert Hall concert this towering performance showcases Lipatti’s performance taking place on 11 April. Lipatti fullness of tone, boldly forged phrasing, mastery wrote that he felt that the ‘super-classical’ of pedal, and remarkable clarity of texture, the Karajan’s brisk tempi held him back from some pianist’s transcendent technique and expansive more tender nuancing, and the story goes that vision creating a reading of extraordinary as Lipatti was leaving the studio on the first day, power. Equally impressive is Lipatti’s sole he said in a deliberate stage whisper something surviving Liszt disc, an impassioned Sonetto along the lines of ‘perhaps he’d like to try del Petrarca No 104 (the pianist unfortunately that tempo at the keyboard’. Nevertheless, the did not re-record La leggierezza after his failed performance has been critically acclaimed since attempt in Zürich, though a broadcast per- its release, Lipatti’s burnished phrasing and formance survives). Lipatti’s affinity with Liszt glistening sonority being especially captivating. is evidenced by his declamatory accents, Lipatti made two more recordings at Abbey atmospheric pedalling, and innate timing, Road after the Schumann: Chopin’s Barcarolle highlighting to perfection the stark contrast and Ravel’s Alborada del gracioso. The Chopin between the sensual and heroic moods of the was not approved for release (it came out soon work. after the pianist’s death), which is astonishing

11 considering the fact that this reading is widely of lightness of touch and depth of tone. The considered to be the standard by which all cellist’s burnished phrasing, rich singing others are assessed. Lipatti’s weighting of sonority, and dynamic control are also remark- chords, attention to the decay of tones within ably beautiful here, as they are in the Bach- the phrase, elegant rubato, and delicate Siloti Andante, which finds Lipatti’s textured dynamic nuancing are all admirably achieved. chords and dynamic balance providing wonder- His astonishing account of Alborada del ful support. In Fauré’s Après un rêve and gracioso is rightly considered peerless, standing Ravel’s Pièce en forme de habenera, Janigro’s apart from all other Lipatti recordings for its emotively forged phrasing is complemented by stunning display of transcendent technique and Lipatti’s evocatively pedalled accompaniment, musical creativity: it is apparently the only disc while Rimsky-Korsakov’s Flight of the bumble- with which he was fully satisfied and is certainly bee features exquisite lightness of touch and one of the greatest piano performances ever impressive dexterity from both musicians. recorded. If his rapid-fire repeated notes, incredible buoyancy, and orchestral tonal Conclusion palette weren’t impressive enough, the hair- Every recording featuring the playing of raising graduated double-note glissandi are so Dinu Lipatti is of tremendous artistic value, masterfully controlled, with a breathtaking his musical integrity bringing insight and decrescendo on the final one, that they reveal in inspiration to each performance. The pianist’s an instant Lipatti’s stature as among the most earliest Columbia recordings are especially technically proficient and musically inspired satisfying for their combination of youthful pianists to have been recorded. vitality and mature musicality, having been The surviving recordings from 24 May 1947 made while the artist was both experienced as of Lipatti accompanying Antonio Janigro give a concert artist and in a more robust state of us a greater understanding of the pianist’s health than in his final two years. In Lipatti’s musical sensibilities while also showcasing playing we hear a musician not only serving the cellist’s glorious artistry at its best. As a the score and the but music itself, collaborative musician, Lipatti truly plays with which infuses his playing with a sublime quality the soloist, never taking centre stage yet also that continues to fascinate listeners of all not simply remaining in the background. The generations. In his recordings, we can hear, in existence of the first movement of Beethoven’s the words of Herbert von Karajan, ‘no longer the A major Cello Sonata, Op 69, provides a sound of the piano, but music in its purest form’. tantalizing glimpse into the pianist’s approach Mark Ainley © 2020 in that composer’s oeuvre – it is the only Mark Ainley would like to thank Beethoven recording of Lipatti to have been Bryan Crimp, Grigore Barguanu, Werner Unger, found thus far – with metrical precision Ulrich Bracher, Damir Janigro and Nicole Janigro, tempered by beautiful rubato, a glistening the late Dr Marc Gertsch and family, sonority (his trills are exquisite), and a balance Orlando Murrin, Matei Banica, Philippe Roger

12 Executive Producer: Michael Spring Mastering and transfers (except those noted below): Andrew Hallifax Transfers, disc 1: Bryan Crimp Transfers, disc 2 tracks 6–10: Werner Unger Special thanks to King’s College Sound Archive for the supply of original discs for tracks 1–5 of CD 2 and to Ulrich Bracher and Mark Ainley for the supply of the Janigro test pressings on tracks 6–10 13 14 www.aprrecordings.co.uk