"It is the level of a refined, cultivated, and sagacious musician, as well as an exceptional virtuoso, which the pianist demonstrated; to our mind, his affinities lie most with the 20^th-century and modern French music. When we say 18^th century, we hereby include grand Bach and Handel as well as infinitely poetic and graceful Scarlatti. The three composers featured in Lipatti’s recital: the first, with a chorale and a sicilienne (performed as encores, which we loved above all); the second, with a D minor suite, whose Prelude, Fugue, Allemande, Courante, Aria con variazioni and Presto were all written in the same tonality and character, consequently producing a certain monotony; the third, with three enchanting sonatas. […] In Ravel’s Le tombeau de Couperin, the Toccata was absolutely wonderful, highlighted as it was by the excellent digital mechanism, by the rising aural intensities of a crystal-like, incisive pianism, by an intense, clear-cut and bright performance. The same rare properties were present in the two etudes by Liszt (especially in La leggierezza), in the three Brahms intermezzi (the second one, in E flat major, enjoyed more inner feeling) and in the three Chopin etudes (just as brilliant in terms of technical display, but perhaps somewhat cooler in expression). Many encores followed, including two works by Bach, where the pianist obtains his most moving effects, by means of a serene simplicity and a quiet, focused atmosphere. The public, its animation growing by the minute, kept on wanting more supplements to the programme - which the pianist, still fresh after having performed with such transcendence, gave heartily and with that modesty which makes the charm of his young personality, today, finally, unchained.”