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Beethoven: Piano Concertos Nos. 1 & 3 / Michelangeli, Giulini

Ludwig van Beethoven , Giulini , Vienna Symphony Orchestra , Arturo Benedetti Michelangeli Audio CD
4.7 out of 5 stars  See all reviews (12 customer reviews)

Price: $11.97 & FREE Shipping on orders over $35. Details
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MP3 Music, 6 Songs, 1998 $9.49  
Audio CD, 1998 $11.97  

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Samples
Song Title Time Price
listen  1. Beethoven: Piano Concerto No.1 In C Major, Op.15 - 1. Allegro con brio - Cadenza: Ludwig van Beethoven18:35Album Only
listen  2. Beethoven: Piano Concerto No.1 In C Major, Op.15 - 2. Largo10:35Album Only
listen  3. Beethoven: Piano Concerto No.1 In C Major, Op.15 - 3. Rondo. Allegro - Cadenza: Ludwig van Beethoven 8:53Album Only
listen  4. Beethoven: Piano Concerto No.3 In C Minor, Op.37 - 1. Allegro con brio - Cadenza: Ludwig van Beethoven17:24Album Only
listen  5. Beethoven: Piano Concerto No.3 In C Minor, Op.37 - 2. Largo11:15Album Only
listen  6. Beethoven: Piano Concerto No.3 In C Minor, Op.37 - 3. Rondo (Allegro) 9:35Album Only


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Beethoven: Piano Concertos Nos. 1 & 3 / Michelangeli, Giulini + Mozart: Great Piano Concertos Vol. 1, Nos. 19 20 21 23 24
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Product Details

  • Performer: Arturo Benedetti Michelangeli
  • Orchestra: Vienna Symphony Orchestra
  • Conductor: Giulini
  • Composer: Ludwig van Beethoven
  • Audio CD (January 27, 1998)
  • Number of Discs: 1
  • Label: Deutsche Grammophon
  • ASIN: B000001GXL
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #151,147 in Music (See Top 100 in Music)

Editorial Reviews


Customer Reviews

Most Helpful Customer Reviews
30 of 34 people found the following review helpful
5.0 out of 5 stars Greatest performance of Beethoven's first piano concerto September 19, 1999
Format:Audio CD
Nobody plays Beethoven C major concerto like Arturo Benedetti Michelangeli!
He leaves his competitors lagging far behind. Mostly because ABM's approach is totally Beethovenian, it is the first and only time this concerto is played with all the bravura, heroism, dramatism, sincerely conveying Beethoven's passionate feelings.
Most pianist approach the first three piano concertos as if they were sort of Mozartian. Plenty of examples: Maurizio Pollini, Vladimir Ashkenazy, Martha Argerich, Vladimir Horowitz, Emil Gilels, even the great Sviatoslav Richter. They believe that all compositions classified as belonging to Beethoven's early compositions are to be seen as rather immature, and consequently bearing the stamp of 18th century classicism. The C major concerto is Op. 15. The Pathetique piano sonata is Op.13. Now has anybody ever heard the Pathetique has been labelled immature?
Or Mozartian, or even Early? Nonsense. Beethoven was 28 when he finished Op. 15, a wholly mature composer. And so does ABM understand: he plays it as a grand concerto; he is right, it is a great piano concerto, one of the greatest.
All the approach is incredible: scales sound so breathtakingly as if you were in a roller-coaster or skiing down the Monte Bianco (let's remember, in passing, ABM was a ski champion). Trills are also so giddy you wonder how ABM manages to keep his balance. His tempo, few rallentandi, are fascinating, his expression incomparable, his sound loudness control marvelous, he sounds colourful, deep, in total mastery. In my opinion it is not only by far the best rendition of the C major piano concerto, it is also high quality music. I rank this CD as the best music I have in my collection.
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16 of 19 people found the following review helpful
5.0 out of 5 stars A landmark in the history of recorded music December 28, 1999
Format:Audio CD
Such is the popularity of Beethoven's piano concertos that one is offered awfully many high quality recordings of them. Michelangelis account of the 3rd is brilliant and second to none. But the tresure is found in the 1st. The live athmosphere makes you feel the performers very close to you and this magnificent concert is recreated in your'e own livingroom. Many things have been said about Michelangelis share here, it's simply superb. But I must say that I found Giulinis share not less noteworthy. The sound of the orchestra opened a new world in the 1st one for me, expecially in the rondo. Giulini doesn't rush through it but keeps it very lively at the same time. I must come to the conclusion that this must bee the best recording of the 1st avaliable.
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15 of 19 people found the following review helpful
5.0 out of 5 stars Best performance of Concerto 1&3 I've ever heard March 21, 1999
By A Customer
Format:Audio CD
I don't know a thing about classical music but happen to have several CD's with different performances of Beethoven's piano concertos, this is by far the best. The technical skill and emotion of Michelangeli's playing has yet to be surpassed. From a technical (recording) point of view this CD is also superb.
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4 of 4 people found the following review helpful
5.0 out of 5 stars Michelangeli is in full command September 25, 2006
Format:Audio CD
From the moment he apeared on the scene after WW II, through periods of great acclaim, retirement, re-emergence, notorious cancellations, and final deification, Michelangeli created an aura around himself. He was so aloof, patrician, and unapproachable that audiences felt privileged if he even showed up--and then there was his demand for strict silence and a darkened hall before he would play the first note. Remembering all that is easy thanks to these magisterial readings of the Beethoven First and Third concertos.

Late in his career, Michelangeli found a soul mate in Giulini, both committed to old-fashioned, intense, personal musicmaking. The First concerto starts off broadly, and one imagines this will be an exercise in patience, but the minute Michelangeli enters, you can't help but be riveted. It's not that he employs fireworks a la Horowitz--if anything, the playing is fairly relaxed. It's all in the pianist's total command of each note, thanks to his legendary touch. The simplest scale is completely captivating. (It was a regular habit of Michelangeli's to choose 'simple' music like this concerto, which even a good student can manage, just to hypnotize the audience with his artistry.)

The Third concerto is cut form the same cloth. It's soulful, reticent, and deeply felt. Since the keyboard writing is more difficult in this work, we get to hear the magic he could pull off in terms of balance and tone. I don't know how many listeners exist for this kind of music-making, but I'm very grateful that it has been preserved on records.
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6 of 7 people found the following review helpful
5.0 out of 5 stars SHEER DELIGHT July 21, 2006
Format:Audio CD|Verified Purchase
One man's view: I feel I've never heard these pieces before when I put this CD on. ABM's approach is magical to me. He's forceful yet somehow graceful and fluid. Assured. Precise. I find I want to play his CDs just to hear his touch on the piano. It's like a swim in healing tropical waters. Highly recommended!
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3 of 4 people found the following review helpful
5.0 out of 5 stars Magisterial, defining rendition of Beethoven's concerti. February 25, 2011
Format:Audio CD
This legendary performance is one of three concerti that Michelangeli and Giulini performed at the Musikverein in Vienna in 1979 (the other 2 were op.15 & op.73). The orchestra is the Wiener Symphoniker and though they are not the Wiener Philharmoniker, they play magnificently under Giulini's masculine, noble baton; these are defining performances.

Concerto n.1: Perhaps the best of the set, this reading is completely Beethovenian and highlights the composer's idiosyncrasies, which Haydn--quite surprisingly--disliked in his pupil's first set of piano sonatas (op.2). Michelangeli's sound and dynamic control are magisterial. There are plenty of moments to cherish throughout; and any reviewer would have a hard time deciding which points to highlight. Nevertheless, the first movement's cadenza, the phrasing of the entire second movement, and the lilt and gaiety of the third--especially the bounce of the theme of the rondo, which most pianists play slovenly, disregarding Beethoven's careful phrasing markings, which confer a characteristic 'bounce' to the theme--cannot but remain engraved in any listener's minds. Under Giulini's baton, the orchestra is perfectly paced and is both thrilling and immensely expressive.

Concerto n.3: The tempo of the concerto is appropriately slower than usual: the cut time on most printed scores score is a misprint, for it is not contained in the manuscript. Consequently, this reading is highly tragic and elegiac. Michelangeli, as often was the case in live performances, is in supreme form, with a sound whose suggestive beauty is unique. The first movement is permeated by a looming gravity that is both solemn and hovers impeccably--stylistically--between Classical and Romantic. The concerto op.
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