Michalangeli was one of the most colorful classical pianists

By David Amos

David Amos

SAN DIEGO — One of the most spectacular pianists of the Twentieth Century died in 1995. Arturo Benedetti Michelangeli. To most people he is, and was, not a household word, although his reputation in Europe far exceeded his recognition in the United  States. Nevertheless, he was one of the legendary greats.

Michelangeli was the very model of a star who behaved like one. Moody, eccentric, with an erratic personality, and for what he was most notorious, for cancelling concert and recital engagements at the drop of a piano lid.

He lived from 1920 to 1995. Once, in an interview, Time Magazine asked him, “Who are your favorite living pianists?” to which he answered, “They are all dead!”

Here are some basic biographical facts: Michelangeli was born in Brescia,Northern Italy, where he also received his early musical training. He first studied the violin and the organ, graduating with high honors in both. He was pressured by his parents to pursue a career in the diplomatic service, a family tradition; but instead, he left home and made his living as an organist. At the same time, he studied piano and medicine. His first important break as a pianist came in 1939, when he won first prize in an international music competition inG eneva. The distinguished jury included Paderewski and Cortot. This served as a springboard for tours in Europe, which were interrupted by World War II. Afterwards, he quickly re-established himself as Italy’s leading pianist.

Michelangeli’s longtime manager and one time San Diego resident Jacques Leiser, gives us the following reminiscences: “I represented Michelangeli exclusively throughout the world in the mid-sixties. I was responsible in arranging numerous appearances for him at the time in Western Europe, America and Japan, after many years of absence. These return performances were launched by an historic concert in Parisat the Theatre des Champs Elisees on January 20, 1965 with the Paris Conservatory Orchestra conducted by Georges Pretre. The program was the Grieg Piano Concerto and Liszt’s Totentanz. The tickets were sold out only a few hours after the concert was announced, and at the entrance, it is said that tickets were being snatched out of people’s hands. This was one of the most phenomenal, electrifying and inspired performances which I have witnessed in my entire life. The audience, which was driven by a state of frenzy, consisted of nearly as many pianists and musicians as general public, and they recalled Michelangeli for twenty curtain calls! News of this colossal triumph spread rapidly, and invitations soon poured in from the Berlin Philharmonic, The Philharmonia, the New York Philharmonic, Chicago Symphony, Carnegie Hall, the Salzburg Festival, as well as a tour of Japan”.

Jacques Leiser further recalls when he and Michelangeli first met in Brescia in 1964, Phillips Records sent Mr. Leiser to sign the pianist to a ten-record contract. Michelangeli asked, “Will my records sell?” to which Leiser answered “Yes, but they will sell a lot better if you played recitals in more countries than just Italy”. The conversation continued: “Can you get me concerts outside Italy?”, “Of course, just give me two months to organize them”.

This was the start of Leiser’s profession as an artists’ manager. Just to give you an idea of Michelangeli’s popularity (even though he was a recluse), when Leiser sent a mailing of sixty letters announcing the pianist’s availability, there were forty positive and immediate responses!

The mystique and legend behind Michelangeli’s personality was the source of many myths and anecdotes about him. It was said that he had a fetish for a black medicine bag that he tenaciously kept to his side the day of a recital. It was rumored that he was either a medic or a doctor during the war, and even that he was a prisoner of the Nazis. There were conflicting reports on the scope of his repertory, from just a few works to the range of Claudio Arrau, whose prodigious memory was legendary. Was there really a lawsuit filed against him in Italy in the 1960’s by a recording company and some students, when he was stripped of his assets?

Two of his students included Maurizio Pollini and Martha Argerich. They do not talk much about him, but he is rumored to have provided lodging in Europe at his own expense for many of his pupils.

There are stories of major rifts with conductors Carlos Kleiber and Von Karajan, no big surprise, considering how frequently he canceled concerts. He loved speed and cars, but he disdained fellow pianists such as Rubinstein or Horowitz for cultivating the media and their own popular images. Word had spread that Michelangeli was also a professional organist and harpsichordist. Were some or all of these stories true? I suppose it depends on to whom you talk. But one fact is obvious: Due to his mysterious nature combined with his outstanding pianistic skills, he was the frequent subject of gossip and legend.

But above all, what made Michelangeli such a great pianist? His technique was fabulous, but as we know, there are many (too many!) pianists with just good fingers. It was more than that. He possessed that something extra which elevated him above mere pianists; he was a true musician. The tone which he was able to bring out of the piano, combined with impeccably tasteful nuances and colors is what made him an artistic legend.

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Amos is conductor of the Tifereth Israel Community Orchestra in San Diego and has guest conducted orchestras around the world.  He may be contacte at david.amos@sdjewishworld.com