On the polar side of interpretative tradition of Beethoven sonatas Hans von Bülow should be mentioned at this point. He proposed another model of recital programs, approaching the historical concerts from the intellectual structure line and defining the performance as an eloquent pianist.
Bülow strictly disapproved elementary recital programs with short piano pieces, rather he wanted to develop such an encyclopedic design of the presented works. His performance of the last five piano sonatas by Beethoven on a single concert evening produced enthusiasm and rejection at the same time. He simply caused this kind of reaction because he intended to “educate” the audience to achieve a higher intellectual perception and understanding of Beethoven’s musical message.

The quintessence of Beethoven interpretation probably remains a matter of taste. The reception of Beethoven’s music by the audience has been mostly influenced by the personality of the pianist and his own execution of the works.
Nevertheless the unavoidable question of choosing between a faithful reading of the score and a more creative, even inventive and inspiring interpretation still characterizes the main concern.

By paying attention to the concert scene, I notice that today’s concert pianists seem to follow the musical text adherence as a rule for the interpretation of Beethoven sonatas.
Text adherence does not necessary mean to express the intrinsic being of Beethoven.
The creator of a masterwork is greater than his creation, the mental form of his work contains more than the written indications using notes, dynamic instructions, pedal signs and tempi.
I truly believe that pianists who are seeking for the right interpretation of Beethoven sonatas should try to discover the truth in between the written notes. This truth may appear hidden at first glance, but understanding Beethoven is nothing but a work in progress…

What characterized the particular style of playing and interpretation that made Arturo Benedetti Michelangeli so unforgettable?
He was obsessed with technical perfection and totally exact reproduction of the score.
His devotion to the music was incredibly deep, it is known that he spent hours and hours on his practicing sessions.
I had my first impression of Benedetti Michelangeli when I was a student at the music conservatory of my home town Cagliari. My father told me a lot about this pianist, trying to motivate me to practice more like he did.
I first listened to some of his recordings, I remember to be quite impressed about his Brahms-Paganini Variations and Bach-Busoni Chaconne. Later I literally admired his recording of Ravel Piano Concerto G Major and Rachmaninoff Piano Concerto G Minor No.4 Op.40.

I thought first that his interpretations were too polite, or even unemotional, because of the exact technique and perfection. But I was able to discover soon his real signature: his beautiful and incomparable singing tone.
When playing a melodic phrase or a cantilena he let sing the piano, with his noble touch and his high-class art of making music.

Don´t forget that Benedetti Michelangeli had a deep knowledge of the instrument, he knew every detail about the piano action and he was rigorous in demanding a perfect calibration of the keyboard as well as accurate voicing. Those requirements about the piano are always necessary to grant a professional performance to a pianist, and that is what he also consequently did.

I wish I would have had the opportunity to hear him live, but it didn’t come to it, unfortunately. I can imagine how powerful and hypnotizing his performances have been for the audience. He was certainly an influential personality as a pianist and musician.
By all means his spirit of total sacrifice to the music was exemplary and his being a pianist was more than a profession, it was his life.