His Recitals Reviewed
Lipatti’s debut at the Romanian Athenaeum on February 10, 1933
was also reviewed, on the next day, in newspaper Adevărul:
“Being so well-prepared as he last evening proved himself to be, we feel sure that, in either of the leading Western music school he will choose to go to, there will not be very much young Lipatti would still have to do to complement his technique.”
Musicologist George Breazul wrote about Lipatti
in Cuvântul from February 13, 1933:
“Intensely poetic and of manly vigour – these are the gifts that adorned his rendition of Liszt’s concerto; joined with the same constant, serious thirst for knowledge and for improving his skills [that Lipatti shows], they will continue to develop and they will give even better shape to the virtuoso we foresee in [him].”
Romeo Alexandrescu reviewed a Lipatti recital at the Athenaeum
in Universul literar (May 3, 1941):
“Each of his performances brings up the legitimate question which anybody who followed his young but already superior career must ask themselves: just now, what more could he add to his playing, when from the very beginning he is at such a high level?”
Emanoil Ciomac speaks about Lipatti and about how a specific climate can influence, sometimes for the worse, an artist’s work
in Timpul, on April 30, 1941:
“He is a high-class pianist. Maybe the only one of international standards we have. We have the right to expect great things from him…”
On May 4, 1941, Madeleine Cantacuzino (soon to be Madeleine Lipatti) and Dinu Lipatti gave the first Romanian performance of Lipatti’s Symphonie concertante for two pianos and strings.
Romeo Alexandrescu wrote about in Universul literar from May 10, 1941:
“…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.”