The Romanian pianist Dinu Lipatti, just thirty-three when he died, made his precious few recordings while suffering from leukaemia and searching with increasing desperation for emergent cures. Despite his condition, there is nothing of the sickbed about his performances. A student of the iconoclastic Alfred Cortot, who did much to advance his career by word of recommendation, Lipatti’s crisp, witty articulation overturns the image of Chopin himself as a morbid melancholic, not long for this world. … Lipatti’s energy and optimism made even the gloomier waltzes in minor keys sparkle and sway. The run of B minor, E minor and A minor in the middle of the series amounts in his hands to a kaleidoscope of subtly shifting moods within a Chekovian stage set, dramatic and irresoluble. Lipatti went on after the recording to play a concerto in Lucerne and a solo recital in Besancon, but the respite was short lived and he was gone by Christmas. The few discs he left behind-Mozart and Schumann concertos with Karajan; a recital of Bach, Mozart, Schubert and Chopin; and the Chopin waltzes and nocturnes-reveal a pianist of expressive genius who nonetheless allowed the music to speak for itself. Although Rubinstein and Horowitz were more celebrated in Chopin, Lipatti was the pianists’ Chopin pianist.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "The Romanian pianist Dinu Lipatti, just thirty-three when he died, made his precious few recordings while suffering from leukaemia and searching with increasing desperation for emergent cures. Despite his condition, there is nothing of the sickbed about his performances. A student of the iconoclastic Alfred Cortot, who did much to advance his career by word of recommendation, Lipatti’s crisp, witty articulation overturns the image of Chopin himself as a morbid melancholic, not long for this world. … Lipatti’s energy and optimism made even the gloomier waltzes in minor keys sparkle and sway. The run of B minor, E minor and A minor in the middle of the series amounts in his hands to a kaleidoscope of subtly shifting moods within a Chekovian stage set, dramatic and irresoluble. Lipatti went on after the recording to play a concerto in Lucerne and a solo recital in Besancon, but the respite was short lived and he was gone by Christmas. The few discs he left behind-Mozart and Schumann concertos with Karajan; a recital of Bach, Mozart, Schubert and Chopin; and the Chopin waltzes and nocturnes-reveal a pianist of expressive genius who nonetheless allowed the music to speak for itself. Although Rubinstein and Horowitz were more celebrated in Chopin, Lipatti was the pianists’ Chopin pianist." in the context of "Norman Lebrecht, The Life and Death of Classical Music (2007), Part II: Masterpieces: 100 Milestones of the Recorded Century" to mean that wisdom is timeless.