Johannes
Brahms: 4 Balladen, op.10
Franz Schubert: Pianosonata, A-minor, D.537
Ludwig van Beethoven: Pianosonata no.4, E-flat major, op.7
Arturo Benedetti Michelangeli, piano
1971/81. Deutsche Grammophon (The Originals) 457 762-2 G OR (midprice)
How should I describe these recordings in a single word, if so was required? Luckily it isn't , but I would not hesitate in taking the word Majesty in use. I have rarely heard recordings more deserving of such characterization. Arturo Benedetti Michelangeli is the aristocrat of the piano par excellence, and his selfassuring extrovert manner saturates these diverse and magnificent works.
I have a profound and longlasting loveaffair with Brahms' four Ballades, op.10. In my universe it has been the deeply felt recording of Emil Gilels that have been the natural choice. Gilels' introspective and pondering visions still strike me as essential in the ballades, but however different the Michelangeli recording is now one I wouldn't be without, for the world. The readings of these two titans of the piano are in many respects contrary to eachother, in their diverse expressions. Gilels' is a dark and brooding vision luring the listener towards the depths with hypnotic persistence. The introverted expression leaves one with a feeling of witnessing a deeply psychological yet quiet drama. Michelangeli's vision is one accentuating less of the immesurable depths of the Gilels universe, concentrating perhaps more on surface, on a greater variety in tempi and sonorance. And by goodness Michelangeli is shining in the ballads - or rather he makes them shine, in all their glory. He is presenting us with an account of unusual authority, making one believe in alternative visions a hard task. The Brahms ballades have rarely if ever been presented in a more radiating manner.
The Schubert sonata in A-minor, D.537, one of the lesser known siblings of the Schubert sonata family, where the composer employs the theme we know from the finale of his penultimale sonata D.959. Apart from this theme, here to be found in the middle movement, there are few things reminding us of the great Schubert sonatas to come. This rather lighthearted work recieves a fine and powerful performance by Michelangeli. His is an approach not concerned with the very broad tempi chosen by some Schubertians, nor with the desire to penetrate some profound human truth in the depths of the music. His is a fresh execution, almost regal in posture, driving the music unsentimentally forward. This drive gives room for my only reservation as this disc is concerned. Michelangeli's Schubert is surely alluring in its tremendous presence, but I sometimes find him forcing the music somewhat, burying the elements of beauty most fragile, so often present in the sonatas of Franz Schubert. But as an alternative to other established Schubertians, Michelangeli makes a worthwhile choice.
There have been suggestions that Arturo Benedetti Michelangeli never managed to find a true alliance with the music of the great master - don't you believe it. This recording of Beethoven's sonata op.7, is among the finest I've heard. A work of youth is given a performance radiating with the limitless selfassurance of a young composer, portrayed with tremendous poise and elegance. Michelangeli is offering us a reading portraying the young romantic hero, with such elegance and sensitivity, never trading it's wonderful youthfullness, for added pathos, or undue pondering. Bethoven's first "giant" sonata (only the Hammerklavier is bigger) is given a rendering of a lifetime. The four movements bring us through emotional tableaux most diverse, yet connected with the everpresent youthfullness. This is vintage Beethoven from a pianist not so out of touch with the great master after all.
One often hears that the post 60's Michelangeli is an artist allready past the peak of glory. He certainly produced some treasureable moments in the 50's and 60's, resulting in legendary recordings such as Rachmaninov's fourth, and Ravel's G-major concerto. However the experience of the mature artist shouldn't be disregarded. The great Debussy recitals (on DG) are from the 70's, as the superb Beethoven on this disc. Michelangeli's Schubert and Brahms are from 1981. All in all there are moments here one wouldn't expect from many an artist on top of his career, let alone from one past his prime.
The image is taken from the DG cd-booklet
