Le compositeur Dinu Lipatti – à la croisée du langage moderne européen et de l’orientation roumaine

In Lipatti’s works we can detect a neo-romantic tendency (present in some of his piano pieces), a more distinct Romanian-oriented approach (adopted while under the guidance of his teacher Mihail Jora), a neoclassical line (as influenced by Bach’s music and by the pieces he comes in contact with thro...

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Bibliographic Details
Published in:Musicology Today: Journal of the National University of Music Bucharest 2017, Vol.8 (30), p.101-110
Main Author: Isăcescu, Monica
Format: Article
Language:eng ; fre
Subjects:
Music
Online Access:Get full text
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Summary:In Lipatti’s works we can detect a neo-romantic tendency (present in some of his piano pieces), a more distinct Romanian-oriented approach (adopted while under the guidance of his teacher Mihail Jora), a neoclassical line (as influenced by Bach’s music and by the pieces he comes in contact with through his Parisian experience) and a modern, European attitude, in keeping with his contemporaries Stravinsky and Bartók among others. The works I focused on are representative of a first, Romanian-oriented period in Dinu Lipatti’s oeuvre, and of a certain creative maturity, subsequent to his studies in Paris. I drew a parallel between the Sonatina for violin and piano and the Concerto for organ and piano in the light of the relationship Lipatti had with the distinguished musicians he dedicated these works to, Mihail Jora and Nadia Boulanger.
ISSN:2286-4717
2067-5364