Dinu Lipatti - His last recital, 16 septembre 1950, Besançon
JS Bach Partita No.1 In B Flat Major, Bwv825
0:00 : I. Prelude
2:20 : allemande
4:52 : courante
7:44 : sarabande
12:22 : menuetto 1&2
15:13 : gigue
WA Mozart Piano Sonata No.8 In A Minor, K.310
17:52 : allegro maestoso
23:35 : Andante cantabile con espressione
29:34 : presto
Franz Schubert
32:33 : Impromptu No.3 In G Flat Major, D.899-3
37:34 : Impromptu No.2 In E Flat Major, D.899-2
Frédéric Chopin 13 Valses
41:27 : Waltze No.5 In A Flat Major, Op.42 -Grande Valse
45:15 : No.6 In D Flat Major, Op.64-1 -Petit Chien
46:50 : A Flat Major, Op.69-1 -L`adieu
50:01 : Waltze No.7 In C Shrp Minor, Op.64-2
51:54 : Waltze No.11 In G Flat Major, Op.70-1
53:17 : Waltze No.10 In B Minor, Op.69-2
56:15 : Waltze No.14 In E Minor, Op.Posth
58:25 : Waltze No.3 In A Minor, Op.34-2 -Valse Brillante
Waltze No.4 In F Major, Op.34-3 -Valse Brillante-
Waltze No.12 In F Minor, Op.70-2
Waltze No.13 In D Flat Major, Op.70-3
Waltze No.8 In A Flat Major, Op.64-3
Waltze No.1 In E Flat Major, Op.18 -Grande Valse
An "impromptu" is an instrumental composition supposedly written "in promptu" (improvised), first coined by Jan Vaclac Vorisek in his Impromptus, Op. 7 of 1822.
There is, however, nothing improvisatory in Schubert's 2 sets of impromptus (D899 and D935). Each is a structured short keyboard piece, that could have been titled Marche (D899/1), Variationen (D935/3), Minuetto (D935/2), or whatever.
Yet perhaps, Schubert chose the title "Impromptus" to hint at the impetuosity and freedom with which a pianist may risk playing these pieces with.
The Impromptu in G flat major D899 No.3 was written in the style of a Lied ohne Worte ("Song Without Words"), and indeed Lipatti plays the languid melody in his own simple elegant voice, contrasting it with a busy sextuplet accompaniment in the middle register, like a white lily floating gracefully above gently rippling waters, his steady bass chords resonating the depths of the lake.
The mud gets stirred up and the lake turns into a swirl of dark foreboding as the minor key creeps in first with sextuplets and then with trills in the bass, but calm returns with a reprise of the melody and Lipatti lets it float to the final gentle chord.
