"The Symphonie concertante bears witness of a richly inspired art. The imaginative themes blend with the resourceful harmony and counterpoint that creates a great aural mobility, a permanent aural dynamism; thus, from its most unpredictable to its most contemplative moments, the music knows no suspension, no monotony, no stillness. Even while, in the second movement, a delicate, elegy-like melody unfolds, Lipatti’s music remains active, progressive, alive, always moving and always coming up with something new (as well as with the proper means to do it), using the most varied polyphonic and instrumental processes. […] Lipatti’s ability to exploit the multiple, boundless resources of the modern piano is ahead of its time. The pianos’ outbursts of passion or soft droplets, the orchestral veil and the strings’ way of promptly and distinctly answering or suggesting rhythmic patterns are born out of a great sensibility and out of a confident intention which leads to the existence of logical coherence even in the wildest of moments. […] The Symphonie was played with éclat and assurance, Mrs Madeleine Cantacuzino and Mr Lipatti having executed all that the composer had intended and being, therefore and by rights, extremely well received. Likewise, in Bach’s Concerto for two pianos in c minor they demonstrated an elevated understanding of the Baroque composer’s style as well as an excellent technique.”