Michelangeli's "Southern" Mozart

In December 1968, New York Philharmonic, Carlo Maria Giulini:

Mozart: Divertimento No. 11 in D major, K.251; Piano Concerto No. 20 in D minor, K.466; Masonic Funeral Music, K.477 / 479a; Symphony No. 40 in G minor, K.550

Irving Kolodin wrote in Saturday Review (28 December 1968): 

'A different direction began to assert itself early in the D-minor Concerto, performed with fastidious artistry and superior insight by the orchestra as well as the invincibly facile Michelangeli. It was, in no small part, related to Giulini’s gravitation to another kind of Mozart, taking in the soul state that Cole Porter mused on in “how strange the change, from major to minor.” From the Concerto on, the works were the minor-major Mozart, embracing not only the Symphony No. 40, a major work in a minor (G) key, but also the Masonic Funeral Music, in C minor.​

'Michelangeli had a great, and deserved, success with the audience, which responded to the sparkle, brilliance, and, withal, penetration of his playing as audiences inevitably will to sparkle, brilliance, and penetration. It was, in a way, the Southern view of Mozart (somewhat akin to Iturbi’s), in which many intense things happened, not always with quite the relationship that the more thoroughgoing German (or Austrian) mind searches out and delights in conveying. This is meant in no sense as a disparagement, but merely to grant Michelangeli his area of cultivation, while reserving to others—such as Lili Kraus—theirs. I suppose the only thing they would have in common would be a preference for the Beethoven cadenzas.'