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Jacques Chapuis, author of some of the most touching pages on his teacher Lipatti,

remembered in Hommage à Dinu Lipatti (Labor et Fides: Geneva, 1952):
“I had the revelation of Chopin at the same instant I had the revelation of Lipatti; it was as if, at that concert in Bern and through the E minor piano concerto followed by a charming and poetical bouquet of etudes, one revealed me the other. I had never heard the piano played with such plenitude and such diversity of colour.”

Biography / Writings / His Recitals Reviewed




"I had the revelation of Chopin at the same instant I had the revelation of Lipatti; it was as if, at that concert in Bern and through the E minor piano concerto followed by a charming and poetical bouquet of etudes, one revealed me the other. I had never heard the piano played with such plenitude and such diversity of colour. I had never experienced such artistic perfection, such human, musical and instrumental excellence manifested with such powerful nobility. The most beautiful instrument in the world translated music with a beauty, a simplicity, a smoothness and a breath of life coming from far away, from the vast spaces of affect and intuition. I instantly felt Lipatti was an exceptional being, animated by a profound and authentic musical feeling,«visionary witness», and a «poet», of that mysterious Universe of the Art of Sounds […]

 

The years I spent in his class are unforgettable. As exacting with his students as with himself, the Maestro asked for detailed, ample work. He would not be shy to criticise and he wanted his students to amend their playing immediately according to his judicious remarks.

 

Even though Lipatti had his ideas on the interpretation of the various composers, he would never cease to repeat to what an extent it is necessary to go deeper, to keep on exploring what their works are and what they mean. Gifted with perfect pitch, unusually perceptive, Lipatti heard everything, from the smallest off-balance keyboard touch to the tiniest instances of sloppy performance. He liked the gestures accompanying piano playing to be sober, relaxed, natural and efficient. He immediately noticed the slightest of uptight attitudes spoiling the beauty of the harmonies. But if the Maestro thought artisanal and technical work to be of capital importance, it was because such approach was meant to improve as much as possible the tool which served for expressing the music. He required that his students have towards that music the same attitude that guided him - "Music is not your servant, but it is you who must be the servant of music”.