Michelangeli
Michelangeli began playing Mozart Concertos as early as 1947. His favorite concertos are No. 13, 15, 20, 23, and 25. One would be to assuming a 'classical' over 'romantic' in that the former ethos-oriented organization runs against the passion and freedom. But clearly what differs in this case the classical-pathos-ethos from romantic-pathos is the discipline Michelangeli is known to have brought to Mozart. Effects would vary but a central forci is of absence and aloofness associated with that ethos-oriented mode of expression. For instance the Concerts with Giulini in the 1950s is dry as lacking in all visible manifestation of emotions. An attempt disparate as two opposing elements are and desperate as trying to dismiss all possible emotional connections. What is so marvelous is the outcome ascending into ether never to be seen by human eyes. Michelangeli does this as if a performer completely out in the field, from time to time drop in for something here and there. If he is studious and is a student of sport in his studio recording with EMI (EMI References CDH 7 63819 2), Michelangeli here is someone extricating from every conceivable difficulties facing any technician. One could say it is the farthest distance ever run by an
The Concerto No. 23 can be found in Rome 15 December 1951 and Naples November 1953. Assuming the 1953 performance (EMI Reference CDH 7 63819 2) to be the last recording it has all finality to its expedient end. It truly is remarkable in that it has the rhythm, relaxation, range in one package. An absolute consistency almost calling for a perfect event the rhythm never gets unsteady. Relaxation and control is almost too pure only a student of piano can be too distant from its ideal proportion and inherent rightness. Range is so overwhelming the entire scope extends easily to unspecified limits only to have contributed in Michelangeli legend. There is something so unadulterated and sincere to students of piano it is a version with incredible authority. A scope given to this authority is vast but so pure a direction seem almost utterly informative and instructive. It would be a major consideration to suggest the canonization in so pure a thought. It faces every hardship with sternest possible foreclosure and sum, facing directly at the score, never waver in confronting difficult passages. There is no addition nor diminution. It is quite overreaching as to see Vivaldi commanding natural harmony to methodical discipline and work, Bach's sheer humanity reappeared. A confident ethos spreads out pathos like eschatological phenomenon, thereby rendering heaven and paradise. * EMI CDH 7 63819 2, which also contains Mozart Concerto No. 20 and Mo. 23, would share the same train. Concerto No. 5 is as chromatic as having many condensed passages in one channel. There many incidents and thoughts are indicative to emotional reservations and containment. A theme surges in a manner contained but with all freedom alotted to its movement. The result of having such qualities would lead to constant surge and swell in the emotions. Having so chromatic a passage would lead to a dissolution of thematic lines where everything is blurred or cluttered. Although it is possible to apply techniques that is based on the traditional means and methods such as used in harpsichord and fortepiano the overall clarity and continuity would increase if it is used in the means of piano that is not slumbered by memory lapses or shrunk to mere academic pieces. Michelangeli delineates something different here at the concert given in Vienna 1979. It is extraordinary and come a long way from, for example, his Beethoven 5th Citta del Vaticano 28 April 1960. Although the latter would bear more resemblance to Michelangeli on the move, in Vienna 1979 the pianist has a lot to say beyond his usual manner of speaking. Given its athletic speed would lead to Olympia, the primary thought finding its chief importance in public almost diatonic, prevailing in sumptuous arena leading into a theme. There are at least eleven different dates Michelangeli leaves to his Emperor Concerto performances. In contrast, the No. 1, 3, 4 there are only one on each (live recordings; No. 1, 3, and 5 televised). The Piano Concerto No. 4 is hard to come by but the performance itself is very distinguished in manner it reveals and almost completely covers every ground of composer's thoughts. An intricate but complex, and the power more like natural phenomenon not an artificial coloring of that phenomenon, occurs frequently. It is extremely doubtful that anyone would come close to this interpretation as in nobility of its trial. Beethoven himself could not have had such luxury himself, afford an instrument at that level of playingfield. There is truly a 'seismological' event taking place here, not confine only to the service of the score. If one puts mind to it, this is, strikingly, strikingly, a coherent version would Beethoven himself approved of its way being tried, with magnificence and concision. There is no such trace of giving compliment to a laudable self but allows a breathing room and space to be filled instead with full of hope and triumphant response mixed with endless toil
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Approximate Word count = 2734
Approximate Pages = 11 (250 words per page double spaced)
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