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MU 1162
BEETHOVEN, L. van: Piano Concerto No. 5, "Emperor" / Piano Sonata No. 4 (Michelangeli) (1970)

BEETHOVEN, L. van: Piano Concerto No. 5, "Emperor" / Piano Sonata No. 4 (Michelangeli) (1970)

The Classical Shop
release date: August 2013

Originally recorded in 2013

Artists:

French National Orchestra

Orchestra

Jean Martinon

Conductor

Arturo Benedetti Michelangeli

Soloist

Venue:

Lausanne Festival, Switzerland

Venue

Bonn, Germany

Venue

Record Label
Music and Arts

Genre:

Orchestral & Concertos


Classical

Total Time - 74:39
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BEETHOVEN, L. van: Piano Concerto No. 5, "Emperor" / Piano Sonata No. 4 (Michelangeli) (1970)

     
Select Complete Single Disc for
 

LUDWIG VAN BEETHOVEN

     
 

Piano Concerto No. 5 in E flat major, Op. 73, "Emperor"

 
1 I. Allegro 20:29
2 II. Adagio un poco mosso 8:12
3 III. Rondo: Allegro - Piu allegro 10:37
4 Applause 1:20
 Jean Martinon Conductor
     
 

Piano Sonata No. 4 in E flat major, Op. 7

 
5 I. Molto allegro 9:52
6 II. Largo, con gran espressione 10:19
7 III. Allegro 5:51
8 IV. Rondo: Poco allegretto e grazioso 7:59
     
 Arturo Benedetti Michelangeli Soloist


Critic Jedd Distler writes in his note: "An aesthetic of fierce control and absolute accounting for every note governs Michelangeli’s way with Beethoven’s Sonata in E-flat Op. 7, his second to largest work in the genre, next to the mighty "Hammerklavier" Op. 106. Reviewing the pianist’s 1970 studio recording in High Fidelity, Harris Goldsmith accurately described ’the patiently coaxed detail and ultraclarity of partwriting’ where ’inner lines emerge from the fabric with a spatial immediacy, the result of endless hours of drudgery and experimentation. Yet is it really desirable for each strand of sound to come forth in glorious technicolor? Must every detail unsubtly pounce upon the unsuspecting listener like a fierce panther upon its prey?’ While the live performance from Bonn offered here substantiates some of Goldsmith’s quibbles, such as the third movement’s outsized accents, plus the pianist’s aforementioned ’breaking of hands,’ the recording itself cogently conveys how Michelangeli’s sonority penetrated and congealed in a first-rate concert hall, thereby creating a viable context for his so-called pianistic "effects." Could it be that Michelangeli, who arguably cancelled more concerts than he actually played, was first and foremost a public performer?"

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