It is unbelievable that even the program of the mere two or three concerts given in Japan by a man who could rightly be called the greatest pianist in human history does not appear anywhere.

When I wrote “this is the end for now,” YouTube, incredibly, suddenly brought up what may well be the very greatest pianist ever—Michelangeli’s performance of Chopin’s Ballade No. 1.

During my senior year of high school, I spent every single day listening to classical music on NHK FM—simply to get through the year.
There was no way that I, who was already living in Osaka at the time, would fail to rush to Kyoto Kaikan when he came to Japan for a recital.

Even now, I remember his playing that day with absolute clarity.
Everything was on a different level.
The resonance he produced was the resonance of a supremely exceptional genius.
It is an undeniable fact that Pollini became “Pollini” precisely because he studied thoroughly under Michelangeli.

Anyone with even a slight interest in classical music—especially piano—would surely feel struck by lightning the moment they watch this live performance.
And the conductor was Celibidache—with the London Symphony Orchestra.
(There was a period when I believed Celibidache was the greatest conductor of all.)

And surely anyone would think the same:
Ah… this is Michelangeli.
Before Michelangeli there was no Michelangeli, and after Michelangeli there is no Michelangeli.
(Pollini existed, of course, but Michelangeli was so extraordinary—so immeasurably beyond all norms—that comparison is impossible.)

That night, when I left Kyoto Kaikan and looked up at the sky on my way home, a brilliant full moon was shining.
The full moon seemed to declare that being able to hear Michelangeli at Kyoto Kaikan had been a miracle.

I searched online thinking he had played two pieces for the encore, but even the program of the Kyoto Kaikan concert does not appear.
The internet is still remarkably hollow.
A man who could be called the greatest pianist in human history came to Japan, and yet not even the repertoire of his mere two or three concerts can be found.

I am fairly certain the two encore pieces were “Jesu, Joy of Man’s Desiring” and the “Moonlight Sonata.”

Note: Isn’t the Godzilla theme basically stolen from the second movement of this sonata?
Well, considering how overwhelming the piece is, it must have engraved itself powerfully in someone’s mind.