Filme inperdível, apesar do péssimo som!

Bach-Busoni: toccata & fugue in d-minor – Michelangeli 1949

Esta é a melhor site que encontrei até agora  para a biografia e discografia do grande mestre!! Vale a pena ler.

He employed a great deal of what he earned for his concerts to maintain the studies of his best pupils, which in the sixties added up to a substantial income. His lessons and courses were free.

Music is a right for those who deserve it was one of his principle.

Ele não era só não querer cobrar pelas lições, era que sustentava a vida e os custos dos alunos. Dava~lhes uma bolsa completa às suas custas.

Arturo Michelangeli: Piano   Chopin, Berceuse, Op. 57

He could not believe that his concerts were worth so much money. After a concert, his wife reported that he gloomily said: –

“You see, so much applause, so much public. Then, in half an hour, you feel alone more than before.”

A deeply private man, he had a tendency to distort the truth during interviews, making it difficult for musicologists and historians to build an accurate portrait of his life; he will likely remain a fascinating, little-understood man.


Arturo Benedetto Michelangeli was born in Brescia in 1920.

After Liszt and Rachmaninov he is arguably the greatest pianist of all time. All the recordings I have of his, including broadcasts on various radio stations, are unequalled for the accuracy of his playing, the profound understanding he has of all the music he plays, his devotion to the composers intentions and a wonderful sound.

Michelangeli insisted that sound was a product of the mind. ….. He was one of the only pianists to travel with his own two Steinways and a personal technician. That did not guarantee that he would play. He was always concerned with the highest artistic standards. Consequently he had a small repertoire, playing in his lifetime what some jet-set pianists would now play in a single year. Quality rather than quantity was his maxim. He was into uncompromising quality, infinitesimal detail and observance of analytical details.

His point about performers bringing their own concepts to a work is a vital one. The performer’s responsibility is to realise the composer’s intentions not one’s own or that of the conductor.

Michelangeli’s recordings of the Debussy Preludes, the Grieg Piano Concerto, the truly magnificent Rachmaninov Piano Concerto no. 4 in G minor will never be bettered

Copyright David C F Wright 1998