ฝัง
- เผยแพร่เมื่อ 9 ต.ค. 2008
- (Lugano, 1981)
Arturo Benedetti Michelangeli (January 5, 1920 June 12, 1995) was an Italian classical pianist. He has been regarded as among the most commanding and individual piano virtuosos of the 20th century, among names such as Horowitz and Richter. Along with Ferruccio Busoni, he is often considered the most important Italian pianist.
Born in Brescia, Italy, he began music lessons at the age of three, initially with the violin, but quickly switched to the piano. At ten he entered the Milan Conservatory. In 1938, at age eighteen, he began his international career by entering the Ysaÿe International Festival in Brussels, Belgium, where he placed seventh (a brief account of this competition, at which Emil Gilels took first prize, is given by Arthur Rubinstein, who was one of the judges. According to Rubinstein, Michelangeli gave "an unsatisfactory performance, but already showed his impeccable technique"). A year later he earned first prize in the Geneva International Competition where he was acclaimed as "a new Liszt" by pianist Alfred Cortot, a member of the judging panel, which was presided by Ignacy Jan Paderewski.
Michelangeli was known for his note-perfect performances. The music critic Harold Schonberg wrote of him: "His fingers can no more hit a wrong note or smudge a passage than a bullet can be veered off course once it has been fired...The puzzling part about Michelangeli is that in many pieces of the romantic repertoire he seems unsure of himself emotionally, and his otherwise direct playing is then laden with expressive devices that disturb the musical flow."[1] The teacher and commentator David Dubal adds that he was best in the earlier works of Beethoven and seemed insecure in Chopin, but that he was "demonic" in such works as the Bach-Busoni Chaconne and the Brahms Paganini Variations.
His repertoire was strikingly small for a concert pianist of such stature. Owing to his obsessive perfectionism relatively few recordings were officially released during Michelangeli's lifetime, but these are augmented by numerous bootleg recordings of live performances. Discographical highlights include the (authorized) live performances in London of Maurice Ravel's Gaspard de la Nuit, Chopin's Sonata No. 2 and Robert Schumann's Carnaval, Op. 9 and Faschingsschwank aus Wien, Op. 26. The Gaspard, as well as his playing of Ravel's Piano Concerto in G set standards for those works and his reading of Sergei Rachmaninoff's Piano Concerto No. 4 is comparable to that of Rachmaninoff himself. His Claude Debussy series for DG is something of a benchmark, if it is sometimes accused of being a little unatmospheric ("swimming in cool water," in Dubal's words). Several DVDs of live performances, and a master class, are also available.
As a composer, Michelangeli wrote 19 Folksongs a cappella for the SAT men's chorus from Trent (Italy).
Michelangeli was something of a hypochondriac, famous for last-minute cancellations of his concert recitals. His last concert took place on May 7, 1993 in Hamburg, Germany. After an extended illness he died in Lugano, Switzerland.
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I'll never forget seeing this same film on the TV about 40 YEARS ago (in black and white). He played the 4 Ballades and I'll never forget the way he played, specially this one. I remembered everything, the first plane of his left hand in the section B, that unbelivable multi metric theme, even the drop of sweat down his face. I was intoxicated with beauty and remember that my eyes got wet with tears. Just like now. I was 30 something years old! I'm so happy to find this again in my life. TH-cam is a miracle and "strav 0", whoever you are, you have my anonimous but full gratitude. I have been looking for other recordings of this Ballads Op.10 but none gets even near Michelangeli's. The one that I own that is closer (but no cigar) is Zimmerman's.
This is probably the zenith of piano performance on TH-cam. The only thing more remarkable than these performances of the Ballades Op.10 is that Brahms had written them before the age of 22.
You've never been so right, my friend!
Yeees
I CAN'T BELIEVE.THIS IS THE ZENITH
💜🌹
Uno dei pezzi pianistici più straordinari della storia della musica, un pezzo superbo come pochissimi. Michelangeli irraggiungibile. Versione che trascende nel divino
Non ho parole....bisogna solo chiudere gli occhi e ascoltare
this is a piece by Brahms that I will never forget. There is a nostalgic depth to this piece that is ineffable and yet unforgettable.
di una bellezza da togliere il fiato. Un capolavoro assoluto nell'antologia pianistica di tutti i tempi. Un interpretazione stupenda
Orgoglioso di essere cresciuto ascoltando le sue meravigliose interpretazioni. Maestro sei una Leggenda!
No matter how many times I listen to this, it tears at my soul.
This is the kind of piece you understand it's a masterpiece only when played by the greatest as in this case.
Not many (if any) able to attempt this repertoire these days...along with many other pieces by Brahms himself and also Schumann... deep feelings and imagination are very hard to find these days... The Ballades, "technically" sort of speaking, no problem for thousands of today's pianists, are nevertheless out of reach to about all of them...
Incredible phrasing, love how each note was appreciated
This is simply wonderful. It is hard to describe how wonderful, but
1 quality of sound and clarity - but depth - of tone
2 voicing; a complete understanding of all the layers and their placing in hierarchical order
3 a complete connection with the the soul
4 control, precision, discipline
5 professional elegance
understand the "distance" apparent, but this to me adds, rather than detracts, from the expressive depth of this extraordinary and- at least for me - profoundly moving playing.
Un fiume che scorre...dolcemente. Non c ' è tensione ,ma regna la dolcezza.
Incanto del Genio!
The great master Arturo Benedetti Michelangeli! A true artist ,sincere and unbelievably dedicated to his art. An angel from heaven to communicate the truth of the paradise in every musical phrase he has played.
No words...
Its beautiful...
I'm crying...
meraviglioso....da restare senza parole
You know, even if the world lasts another million years, the beuaty of this playing will never cease and also probably will never be surpassed! What an achievement for a human being (?)... I heard this live in London, coupled with his Schubert a minor Sonata! What unforgetable playing! Sometimes the notes pierce deeply your heart like arrows.... sometimes he seems to be painting in beautifull colours in a big screen in front of you... just absolutely unforgetable!
Il Maestro è in uno stato di grazia assoluta: che suono!
che tocco e che interpretazione! e poi Brahms ti tocca il cuore
This is so beautiful....so beautiful....so beautiful........................
Straordinaria eleganza e maestria di dosare le sonorità.
What is there to say?? I mean, this is just another level. The way each note is alive, the way every phrase moves, it's beyond words... I love 2:25, so Michelangeli. What a monster he was.
'[M]onster' as a compliment? Never heard that. No offense intended.
@@noblerkin Yep. «Monstrum», in Latin, means a prodigy.
Hahaha he just scratches himself in the middle of such a magnificent playing
@@vitesenzafine «Monster» in English, however, does not ;-)
@@Vingul Of course you can use "monster" in English as a compliment. However, I am not sure it is enough of a compliment for Michelangeli. Mephistophelian maybe.
my tears with Brahm's tears!
does anyone else feel how deeply personal this piece is? There is something that sets it apart from other Brahms.
TheJoyfulPianist I feel it too!
Maybe was the love for Clara Schumann
Meravigliosa! Pura bellezza! Sopra tutto, Brahms!
Conservo dentro me il prezioso ricordo di averlo conosciuto!
ANche io ...
How was he??
So powerful. That last deep chord at 9:37 is so moving. I'm glad you cut the applause out, it would destroy the ambiance.
This is an outstanding performance by an outstanding pianist who should not be overlooked. Very thoughtful and poetic reading of Brahms. It compelled me to buy the complete set of Michelangeli's extant recordings.
L ' immenso , l ' eccelso ABM !
Che dono l ' accarezzare le singole note, il legarle in un fiume di sensazioni .Solo lui.
The ignorance of these comments is staggering--MICHELANGELI DID NOT “SPLIT THE BEATS”--BRAHMS DID. The entire B section is a multi metric movement that features three against two, which naturally results in a rocking sensation. It is the RESPONSIBILITY of the pianist to make the audience hear the contrasting meters that BRAHMS composed. It’s SUPPOSED TO BE UNSTABLE. You people have absolutely no idea what you’re talking about. “Splitting” beats is not a thing
THANK YOU
I shall echo: THANK YOU. that had to have been one of the most cathartic TH-cam replies I’ve ever encountered.
Splitting it is indeed a piano tecnique,, an "old fashioned" way of playing... It consists on playing the melody just slightly later/sooner than the accompaniment, so you could highlight it more. And yes, Michelangeli it is using this technique, especially noticeable at the beginning of the piece. It is interesting that Brahms himself kind of "writes down" this splitting on bars 13-17 for example. However Michelangeli splits the melody since the very first note (very subtle). The melody notes are supposed to land exactly at the same time with the bassline on the first 12 bars and they are always "a tiny bit late". Hard to perceive it if you don't play it yourself, but it is pretty clear. Of course it is stupid to criticize this god of piano for doing that, as it was a very common tecnique and a legitimate resource, but it is true that he is splitting and that pianists tend not to do it anymore nowadays.
J Rodríguez Michelangeli is not splitting anything. He’s playing the music exactly as it’s written. I studied this piece for a recital and analyzed and arranged it for a chamber ensemble for my capstone theory course. I already know what he’s doing
@@randykern1842 There are two concepts to distinguish here. One is the polyrhythm which, as you point out, is written in the score. However, what Michelangeli is also doing stylistically is not written in the score. In the second theme, for example, he is subtly delaying the top voice by a tiny fraction of a beat, so it sounds like a grace note or appoggiatura (rhythmically). It is quite apparent between 8:37-8:54, but he does it throughout the piece. It is clearly intentional as you can tell from the choral section, for example, where he hardly uses the technique from 6:18-7:19 at all, but then does so from 7:19-7:42. I think it is part of what his interpretation is so powerful.
probably the best ever interpretation of these ballades are michelangeli's
First time I listened to this piece of art was in Aachen Germany 15 ago. Since then it has been carved in my mind and I connect it with some of the sweetest deep golden-grey memories I have.
That was an incredible performance wow!
There is a profound sense of regret in this music which Michelangeli renders perfectly through his solemn, meditative account of this masterpiece. Did Michelangeli improvise upon the score to include that deep, dark harmony near the end of the piece? - if so, it was a brilliant artistic decision.
One of the finest interpretation of this true masterpiece... thanks for sharing.
A deep, intense and pianistically accomplished performance. ABM is writing the piece as he is performing it. Devastating...
Michelangeli was without a doubt one of the world's finest pianists. TY S
Utterly sublime, in every sense of the word.
Tears tears and again tears no one like you ABM
Yeah
There is nothing more divine than that Heavenly b-section...my god
If I could take only one recording to the desert island, this would be it
I would get a satellite phone.
Thanks so much for uploading this, it's a hypnotic performance...simply marvellous!!
Absolute perfection
Deep bow, Maestro Michelangeli!
così A.B. Michelangeli suonava il pianoforte sulla terra ed ora in paradiso dove spero di poterlo incontrare! grazie maestro !!!!!
I love everything Michelangeli does (Ravel Piano Concerto 2nd movement most of all), and I love this. I also love a version of Brahms Ballade No. 4 that is NOT on TH-cam, Paul Cantrell's version. Almost two minutes slower than this Michelangeli version, beautifully played, beautifully recorded. Google-ing "paul cantrell brahms" finds it easily. Again, Bravo Michelangeli!
No wonder the Schumann's were enthralled by this new kid.
Michelangeli = a god of the piano and of music.
THANK YOU for posting this. I did enjoy the Paulo Brasil version very much; it was probably the best version of this ballade on TH-cam until you posted Michelangeli. Though not on TH-cam, I also love a very slow version beautifully recorded and played by... I can't find it right now--I'll post later.
Quiet poetry. Ineffable mystery. Golden tone. Phrasing instructed by the most wise of pianistic instincts...
Simply perfect.
Michelangeli = God.
The greatest pianists of All Time Are really Artur Rubinstein ( THE GOD) Grigory Sokolov ( The TItan The Giant of The piano) Emil Gilels ( The King) Wilhelm Kempff Maurizio Pollini Vladimir Ashkenazy Mikhail Pletnev Sviatoslav Richter Vladimir Ashkenazy Alexei Lubimov Stanislav Igolinsky ( better than Lipatti) Radu Lupu Maria Grinberg Natalia Trull Solomon Cutner! ABM played The second-rated concertos like Mozart piano concerto no 15 Haydn concerto G major Liszt piano concerto no 1 Rachmaninov concerto no 4! ABM never played The Best piano concertos like Chopin 1-2 Brahms 1-2 Prokoviev 1-3 Rachmaninov 1-3 Mozart 24 Because ABM The Great machine player! ABM The Mechanical King!! ABM his Grieg concerto brutal accent after brutal accent
@@RaineriHakkarainen You don't really understand, poor you.
Once again regarding the thumbs down... it's very hard to figure what's there to dislike. Outsanting mastery.
Oh god, the goosebumps...
The atonalities sliding in, especially in the middle section, put this right on the cusp of Wagner. Amazing.
Is admirable that the mind of a 21-year-old can permeate a ballad in such a depth way. In the midst of chaos and torment you could continue to glimpse, admire and pursue beauty. It is not a song, but a lesson. 08:55
Tout simplement REMARQUABLE !
Absolutely marvelous and poignant.
Superbo!
Come un sogno ad occhi aperti, sulla riva di uno stagno su cui si riverbera la luce del sole.
Era un genio.
Dedos mágicos!
Inigualável.
Breathtaking...spellbinding...wow.
vorrei sapere se chi ha dato il parere negativo di questa esecuzione la ascoltata davvero. e' la perfezione assoluta!!!!!
Solo dei poveri dementi che non hanno la più pallida idea di cosa sia un pianista , in questo caso probabilmente il più grande di tutti i tempi .
stanno li solo ad aspettare di sentire una nota sbagliata. Qui siamo a livelli pianistici assoluti che solo una manciata di interpreti hanno raggiunto
Quando Qualcuno disse di non dare le perle ai porci, perché non saprebbero cosa farsene, aveva perfettamente ragione. Concordo!
Master! Sublime!
Words are surplus to requirements here, simply close your eyes and let Michelangeli take you on a transcendental journey.
Bravo ! I love this piece.
Impressive,so natural
Un`altra Dimensione.
I can hear what others say about excessive splitting of the beats, and he does it a lot, but I liked it for the clarity in the sections where the rhythm is a constant 3 against 2. There's the long, at times nearly atonal passage beginning at 3:57 that I think is much better negotiated than Gould's recording. Here I could hear how the harmony moved with much more ease; he separates the parts better. I think it's a thrilling and deeply felt performance.
he’s not doing anything that’s not written on the page. If you have issues with the “splitting of the beat” you have to take that up with Brahms, that’s how he wrote it. If you hear other renditions of this piece and don’t hear any rocking back and forth in the B section, it’s fundamentally incorrect
I adore Gould. There's no one I love more than Gould. But this performance by ABM makes Gould look like a child. For me, ABM is like the depth of Richter with a Gouldian technique and he is really only comparable to the greats, Kleiber, Boulez, Furtwangler --- the profound talents of the art. The b section here is simply one of the most profound things I've heard, ever
Gracias por compartir!!! Excelente!!
Looks so magisterial on the piano. Tye technique is fully developed and only concentrating on the interpretation
I read somewhere although he had a fairly small repertoire his playing was of the highest order and least mistakes
Uno splendore, dispiace quando finisce.
Perfect.
beyond inspired right now..
I listen to the whole piece just for the glory starting at about 8:50.
mumps59 absolutely. So beautiful I almost cannot take the pain. Some of the greatest music making I’ve ever heard
Wonderful performance of ABN !
A lot of thanks
for all time...
Godlike.
This is so beautiful! I don't know if Michelangeli's playing is "correct" or not, and I must admit that I don't care because this is such deeply soulful playing. I'd like to think that Brahms would be moved by this performance.
It’s very “correct”
@@randykern1842 Michelangeli was always a note-perfect pianist, to be sure. But in this case it's his deeply felt performance that is so touching.
P.S. I wasn't aware that you had responded to my response 8 months ago! I would've responded right away if I'd known--the notifications seem to be working these days, but there was a period when I wasn't getting them. Thank you for your response in any case!
Magique !
Magnifique interprétation pour cette ballade marquant une écriture en brouillard entre Schumann et Fauré suggérant des hésitations et incertitudes, ponctuées d'inquiétudes franckistes. Cette dernière ballade de l'opus 10 rappelle fortement Schumann par ses harmonies et frottements, son accompagnement scandé puis le deuxième épisode plus sombre à lugubre évoque Schubert dans ses longueurs alternant majeur mineur accompagnées de triolets.
Bravo.
Me caso con esta tonada ♥
This is what being in love sounds like.
Composers are often the biggest egotists of all which is a good thing or they wouldn't be composers. They put the detailed instructions in there mostly to keep the hack players from butchering the music. A great performer, on the other hand, teaches the composer how to mine extra nuances that he didn't even suspect were deeply buried in his own subconscious. A succesful revision of the work is transferred to another human through the music & feeds back to the composer's positive approval.
i will never play this piece, because it's too beautiful....
Oui,vous avez raison.
De cette hauteur d'interprétation ,que dire?
Guilels m'est cependant plus proche,-avec Michelangeli on a l'impression de voir l'étendue de l'éternité!
Thank you for uploading this - priceless. But you know I just can't help seeing old Mr Brahms jumping up at the penultimate (love that word) bar and shouting "No!" But what with the long decay, I think it paid off. And shame on the poster for cutting it off before the end
Linda
What was going on the 19th century that a composer so young (22) could write such a mature work, like he was 60, were people smarter or more mature back then?
E qui si palesa la bellezza dell`animo umano, che riconosce se stesso nella luminosità sorta dalla profondità, sempre pronta a rispondere al richiamo del suono sacro.
Ma quelli che mettono il pollice verso che problema hanno?
i cannot decide whether this spiritual slow version or gilels "amiable" version is more to my taste. i am playing these ballades now-- and am torn, as is my teacher!
La bellezza!
Michelangeli es magnífico
SUBLIME, INEGUAGLIABILE.
Michelangeli's recordings of the Ballades from concerts in 1973 and 1977 are perhaps even more sublime than this one a few years later.
@wwwTOBEINGnet exactly. very touching...it reached deep into my soul
💖🌹👏
Brahms in Vollendung.
Not too "distant" for me. In fact, the opposite.
@skryabyn no sweat
O,ja ! Brahms und wieder Brahms....
Non plus ultra.