Arturo Benedetti Michelangeli (1920-1995)

Students recall Arturo Benedetti Michelangeli during the Chopin Competition Echo Krakowskie , 26 March 1955 Participants of the Chopin Competition in Kraków Now we begin our journey through the castle, the oldest in Wawel [Royal Castle], the Rotunda of Felix and Adauctus, through a labyrinth of halls and cloisters, all the way to the Throne Room. The guides, who explain everything in Russian, French, German, and English, can't keep up with the dozens of questions. From the ca

Hamburg 2021

Financial Times 8 July 2011 Michelangeli confined himself to the G major concerto. How did he influence her during the 18 months she spent with him? “I don’t know. He was around most of the time but he wasn’t interested in us [pupils]. He only gave me four lessons. Later he told an interviewer: ‘I did a lot for that girl.’ When asked what he had done for me, he replied: ‘I taught her the music of silence’.” This is a joke, and we both laugh. She says Michelangeli was generou

'In 1950 ABM moved to the Bolzano Conservatory, where he taught until 1959, also holding a specialisation course in the castle of Appiano. His presence, however, due to his many concerts and also to his restless character, did not have the continuity that regular teaching required. Interviewed for the catalogue of the 1997 Bolzano exhibition, Vea Carpi, director of the Conservatory whose house – as a child – Michelangeli frequented (her father Giannino was a violinist, her mo

Francesco Ermini Polacci wrote in December 2025: Contrary to what has always been repeated, for example, Benedetti Michelangeli had a wide range of musical knowledge, and such as to belie his supposed unavailability for 20th-century music: few know of his studies of Bartok's Sonata for two pianos and percussion, tackled with Dinu Lipatti, his favourite pianist; and few know of his planned performance of Schönberg's Piano Concerto with Bruno Maderna on the podium. Anyone have

In an interview (2021) with Joe Sabia, Alan Walker, Emeritus Professor of Music at McMaster University in Hamilton, Ontario, and author of two important and authoritative biographies (of Liszt and of Chopin), said this: "The longer you live and the longer you look back, the more likely it is that you’ll have favourites that the modern generation don’t like or never heard of; so it becomes a generational thing as well. Whenever I’m giving public talks I often point out that fo