Michelangeli began playing Mozart Concertos as early as 1947. His favorite concertos are No. 13, 15, 20, 23, and 25. One would be to assuming a 'classical' over 'romantic' in that the former ethos-oriented organization runs against the passion and freedom. But clearly what differs in this case the classical-pathos-ethos from romantic-pathos is the discipline Michelangeli is known to have brought to Mozart. Effects would vary but a central forci is of absence and aloofness associated with that ethos-oriented mode of expression. For instance the Concerts with Giulini in the 1950s is dry as lacking in all visible manifestation of emotions. An attempt disparate as two opposing elements are and desperate as trying to dismiss all possible emotional connections. What is so marvelous is the outcome ascending into ether never to be seen by human eyes. Michelangeli does this as if a performer completely out in the field, from time to time drop in for something here and there. If he is studious and is a student of sport in his studio recording with EMI (EMI References CDH 7 63819 2), Michelangeli here is someone extricating from every conceivable difficulties facing any technician. One could say it is the farthest distance ever run by any Olympian, without sacrificing sanity and integrity. Here ethos greets pathos without scolding at each other, in harmony. Yet the most eerie and unerring phenomenon would occur in June 21, 1956, in Lugano. Michelangeli gives concert on Mozart Concerto No. 15. The Concerto No. 15 here is played with so much speed and augur it flats out the impending phenomenon, withholding it from breaking into the present circumstances. With which speed and surgical accuracy calls only to inspire dread and justify supra-self? Whether he really cares or not, even this would be a harass and would have impact on his 15 with Ettore Cracis conducting, a studio recording, released by EMI (CDM 7692412), in ways it tilts firmest ground he...