For years after this 1950 recording of Mozart's beloved C major Piano Concerto was released, every pianist whom Herbert von Karajan condescended to accompany was beaten with the same stick: "Sure, he's good, but he's no Dinu Lipatti!" But what else could one say? Not only did Karajan choose to accompany some of the lesser lights in the international virtuoso circuit, even if he'd bothered to accompany the crème de la crème, whoever it was, he'd be no Dinu Lipatti. Lipatti was, of course, one of the greatest pianists of the ...
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For years after this 1950 recording of Mozart's beloved C major Piano Concerto was released, every pianist whom Herbert von Karajan condescended to accompany was beaten with the same stick: "Sure, he's good, but he's no Dinu Lipatti!" But what else could one say? Not only did Karajan choose to accompany some of the lesser lights in the international virtuoso circuit, even if he'd bothered to accompany the crème de la crème, whoever it was, he'd be no Dinu Lipatti. Lipatti was, of course, one of the greatest pianists of the twentieth century, yet one whose reputation hangs on so short a career and so few recordings. Nevertheless, in his handful of recordings, Lipatti demonstrated he had it all -- a technique so superlative that you never noticed it was there, a tone capable of infinite gradations of sound and inflection, and taste of such essential humanity and quintessential sublimity that Michelangeli seems vulgar by comparison. One of only four Lipatti concerto recordings -- the others are Grieg,...
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