Search - Arturo Benedetti Michellangeli :: Arturo Benedetti: Michellangeli, Vol. 2

Exceptional set!

Hiram Gomez Pardo | Valencia, Venezuela | 10/25/2007

(5 out of 5 stars)

"The first CD includes the entire recital given in, recorded in Teatro Colon, Buenos Aires, 21-07-49. And despite of the fact the poor sound quality, the recital well deserves praised comments.



The set of Chopin's Mazurkas is really outstanding. Performed in Brescia, 23-06-67, presnts us to Michelangeli totally owner of the magic spell of these pages: he gives them color, humor and warm freshness, with his well accustomed interpretative solvency. Beethoven's Third Sonata Op. 2 no. 3 is one of the most beloved works of this composer, and certainly was one the proffered of Michelangeli. Admirably phrased, the only flaw to my mind is related with tempo in the second movement; a mite fast and lightly inexpressive, but the astonishing pianism of Benedetti make us to forget this misconception. Then Chopin (almost inaudible) includes The Mazurka Op. 47 Op. 68 No. 2 and Mazurka No. 25 op. 33 No. 4: The second one was by far, richest in those delicate filigrees.



The Andante Spianato et Grand Polonaise Op. 22 is beautifully ornamented and exquisitely phrased, with admirable details of his well accustomed pianism.



CD 2 presents us a clash of two well different musical visions. Hermann Scherchen conducting Mozart in 1956 the most beloved Mozart's Piano Concerto by Michelangeli at least taking into account, he recorded it. Grace, stylistic refinement, imaginative audaciousness, permeated by this Dionysian scent of visible operatic nature, specially in the first and last movement. It sounds natural, fresh and flows with an impressive atmosphere of vitality, that I have only found it Geza Anda playing with in his well reminded set with Salzburg Camerata. The final cadenza owns a sweeping elegance and pristine lyric enthusiasm. Certainly this version really shocked me and I really hope you too.



CD 3 contains Emperor's Concert, finely played by Michjelangeli and directed by Mario Rossi. Recorded in Vatican City 28-04-60.



CD 4 is part of a recital made in Helsinki. He opened that recital with Domenico Scarlatti with the follong Sonatas K. 11, 159, K. 322, K. 9, and K. 27. They were performed with that pristine musicality and delicate transparency so typical of Michelangeli. Then came Robert Schumann `s Faschingsschawnk Op. 26. Sublimely and flawless performed. The second half had to be a real shock for the audience because of th sidereal approach given to Debussy's images I and II. The Italian master literally hypnotized the whole audience and even us the listeners with his bewitching performance, carefully phrased and minutely fingered: Provided of we might say eloquent minuteness.



CD 5 and CD 6 are part of a recital recorded in Vatican City 29-04-77. The CD 5 was the first part of that recital and presents Debussy's Preludes Book I were played with that aristocratic nuance and refined verve. The CD 6 is certainly one of the highest peaks of this formidable set. As you know , Brahms Ballades Op. 10 is by far, one of his most emblematic works, and were composed when Brahms was thirty years old, in 1854, and it's one of the most beloved pieces of the literature for piano. It might be said that Benedetti made his own this piece. No other pianist (including Katchen, Kempff Or Gilels) has been able to remark with such kaleidoscopic vision the countless visual landscapes, hovered by that introspective mood. Then, the master returns to other one of his definitive interpretations, an unique landmark : Chopin's Second

Sonata Op. 35. It's played with not only a romantic effluvium, but besides Michelangeli adds that that necessary mysterious atmosphere , in which we may aware the beating otherness, the vanishing consistency and that spelling touch that surpass all what it has been recorded previous or lately. He made of this piece, a personal patrimony.



CD 7 presents us the second book of his Preludes. If the first book constitutes an admirable example of exterior vision, this second one on the contrary would seem to focus around the unseen nature of the things, sensations, hovered by a sort of nocturnal visions, vaguely illuminated here and there by a very pale light. As a matter of fact Debussy makes an introspective journey and perhaps a backward glance respect his life. But if th3se pages are not so sensual and literally expressive respect the first book, gain a new nocturnal approach, completely unconcerned with the subject matter. To evoke but not describe. In this sense the first one might be regarded as Impressionist while the second one should be cited as Symbolist. It's useless to say how this master, since the first note makes us to engage into an universe totally different, where the Images had just been a marvelous preamble, a joyous lobby for the complete delight of these masterworks. The album ends with the Eglogue (Suisse) from Franz Liszt `s Années of Pélegrinague, carefully phrased and exquisitely performed. The recital took place in Stuttgart, 27.10.82



CD 8 is priceless. Recorded in Bregenz, 15.01.88 (How I `d wish to have been there) shows us in first place, the well known transcription Bach-Busoni Chaconne. No other pianist like him (not even the same Busoni got such level of radiant fulfillment. After having listened I decided to seek the celebrated of the forties; but the surprise was majuscule. This version of 1988 is miles away in what concerns maturity, supreme incandescence, radiant vitality and unfathomable mystery. And I would not hesitate we are in presence of one of the milestone recordings of the XX Century. The performance of Brahms Variations on a theme by Paganini are superbly played with sardonic gestures, evil sarcasm, full rounded pianism and well rounded melodic inspiration. His approach about Chopin's waltz No. 3 is loaded of autumnal visions. And the Fisrt Scherzo is vitally ignited of that visceral passion that would reappear in his Polonaises.



CD 9 is another exception document. Schubert's Piano Sonata D. 537 has really been one of the most expressive pages of this genial composer. This venerable artist recreates the work with his admirable musically, enraptured imagination and sublime phrasing, as just a few have been able to make it( (Kempff is the exception). Recorded in Lugano 07.04.81.But when we come to "Gaspard de la nuit" to my view the most pyramidal composition of Ravel), we may realize why he enjoyed of that mythic flame. Since the first bar, those spelling thrills literally dive us in that dreamy atmosphere, loaded of spectral visions and elusive landscapes. With the only exception of Samson Francois, you will never hear another level of performance for a long, long time I guess. Recorded in Vatican City, 13.06.87.



CD 10 gave us rewarding revelations. First at all, one of the dramatic and finely phrased and better played performances of Liszt Piano concerto No. 1 in years: Michelangeli erased the accustomed patina of decedent romanticism providing it of resplendent vigor and vigorous lyricism. Recorded in Tokyo and accompanied by Jindrich Rohan and the Yomiuri Symphony Orchestra in 04-04-65.

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