How these Pianists memorize all this incredible music verbatim from all of these many composers, and then bring it to life like a sculptor with clay, just never ceases to absolutely amaze me.
I love Khatia's history and her dedication. Her touch of those keys is that of a Mother caring for her child, light and caring. I've never seen her with a sheet of music which also reflects her dedication and caring. She has a life outside of music, and per usual she shares that with us as well. Aside from her outward beauty, she has a good heart. Her interview with Ivry Gitlis in 2016, honored him in such a loving way.
i dont mean to be so offtopic but does any of you know of a method to log back into an instagram account..? I was stupid lost the account password. I would appreciate any tips you can give me
@@leonelkellan5289 I would happily tell you if I knew Leonel, but I am an old guy who stumbles onto answers, usually by accident. I know nothing of instagram. Sorry.
If Khatia had been around when this wonderful piece was composed, a writer, Anthony Trollope, say, could have written a whole book about her and this performance!
Clown!!! "Two things are infinite: the universe and human stupidity; and I'm not sure about the universe." Albert Einstein Financial Times Ltd 2014 Music Her performance is the pianistic equivalent of a society wedding photograph, with edges blurred and defining human characteristics removed June 6, 2014 by: Review by Andrew Clark Let’s get one thing clear. Khatia Buniatishvili, the 26-year-old Georgian pianist with a Sony recording contract and a high-profile career, is incapable of an ugly note. No matter how fast she plays, no matter what the character of the music, everything comes across the same way - the pianistic equivalent of a society wedding photograph, with edges blurred and defining human characteristics removed. That, at least, was the impression left by her latest London recital, embracing music by Brahms, Chopin, Ravel and Stravinsky. Her soft-focus style was best suited to the three Brahms Intermezzi that ended the first half: the lullaby element in Op.117 nos 1 and 2 and Op.118 no 2 was well served, the soothing intimacy of the music enhanced by the mirage of sound that Buniatishvili cast over it. In Ravel’s Gaspard de la nuit, which had opened the evening, she glossed over the darker, demonic elements that are crucial to its personality. “Ondine” had a surprisingly small expressive range and next-to-no dynamic contrasts. The desolation of “Le gibet” was airbrushed out in favour of zen-like meditation. As for “Scarbo”, there was an alarming lack of climax. But this was typical of the whole recital, which revealed Buniatishvili’s reluctance to explore depth and variety of sonority in the keys. After the interval she skated over the surface of Chopin’s Scherzo no 2, as if determined to make the contours sound mushy. Then, in Ravel’s La Valse - a rare outing for the single-piano version - her glitzy virtuosity came to the fore. Both here and in Stravinsky’s dazzling Three Movements from Petrushka, speed of dispatch constantly triumphed over clarity of articulation. Buniatishvili is neither careless nor ungifted. She is simply overhyped, immature and preoccupied with beauty of presentation - a poor example to the legions of young pianists who aspire to her fame and fortune. At no point did this recital reveal a shred of the musical temperament we expect of a scion of Georgian musical tradition.
THE GUARDIAN classical music Wigmore Hall, London Andrew Clements Thursday 2 April 2015 12.28 BST "The jury is out whether Buniatishvili can ever be a serious artist after a shapeless Pictures at an Exhibition and Liszt as a low - grade circus act." ... Her programme - Mussorgsky’s Pictures at an Exhibition and a sequence of Liszt - was clearly designed for effect, and to have her fans on their feet and cheering at the end; predictably, they obliged. Pictures, though, had no shape at all, with the slower movements ponderously slow - Il Vecchio Castello was interminable - and faster ones lightning fast, so that they became trivialised, and Buniatishvili kicked up such a storm in The Hut on Fowl’s Legs that the dramatic effect of the segue into the final Great Gate of Kiev, one of the clinching moments in the whole work, was fatally undermined. That tendency to extremes - the thinking that ever faster, ever louder, is automatically the best way to go - ran through the Liszt pieces too. Three studies from different sets, La Leggierezza, Feux Follets and La Campanella, at least allowed everyone to admire the pearly evenness of Buniatishvili’s fingering, but apart from a rather unconvincing Liebesträume to begin, around them were pieces that encouraged her to be as noisy as possible: the first Mephisto Waltz (not insidious, just rowdy), the Grand Galop Chromatique (turned into a low-grade circus act) and the second Hungarian Rhapsody - played, of course, in Vladimir Horowitz’s version, which adds tweaks and further elaborations to Liszt’s original. The good news is that the piano survived it all intact; the bad is that on the question of whether Buniatishvili can ever be a serious artist, the jury is very much still out.
I guess she is very proud of her body as well! Take your breath away with her wearing! Oh! Almost miss the focus of lovely music! A classical music DIVA! Way too hot to handel! Not my cup of tea for sure! 🥴🤭😎🎹 Colorful??! Different, maybe! 😁
Magnifique Katia et l'ensemble ...je vous adore !
Bravo! The best performance of Schumann's concerto.
She is such an outstanding musician! I love everything of her!
Especially hwr whole body
How these Pianists memorize all this incredible music verbatim from all of these many composers, and then bring it to life like a sculptor with clay, just never ceases to absolutely amaze me.
I love Khatia's history and her dedication. Her touch of those keys is that of a Mother caring for her child, light and caring. I've never seen her with a sheet of music which also reflects her dedication and caring. She has a life outside of music, and per usual she shares that with us as well. Aside from her outward beauty, she has a good heart. Her interview with Ivry Gitlis in 2016, honored him in such a loving way.
i dont mean to be so offtopic but does any of you know of a method to log back into an instagram account..?
I was stupid lost the account password. I would appreciate any tips you can give me
@@leonelkellan5289 I would happily tell you if I knew Leonel, but I am an old guy who stumbles onto answers, usually by accident. I know nothing of instagram. Sorry.
Beautiful in person and in playing
If Khatia had been around when this wonderful piece was composed, a writer, Anthony Trollope, say, could have written a whole book about her and this performance!
I Love KHATIA! She's So Beautiful and TALENTED!!!
Clown!!! "Two things are infinite: the universe and human stupidity; and I'm not sure about the universe." Albert Einstein Financial Times Ltd 2014 Music Her performance is the pianistic equivalent of a society wedding photograph, with edges blurred and defining human characteristics removed June 6, 2014 by: Review by Andrew Clark Let’s get one thing clear. Khatia Buniatishvili, the 26-year-old Georgian pianist with a Sony recording contract and a high-profile career, is incapable of an ugly note. No matter how fast she plays, no matter what the character of the music, everything comes across the same way - the pianistic equivalent of a society wedding photograph, with edges blurred and defining human characteristics removed. That, at least, was the impression left by her latest London recital, embracing music by Brahms, Chopin, Ravel and Stravinsky. Her soft-focus style was best suited to the three Brahms Intermezzi that ended the first half: the lullaby element in Op.117 nos 1 and 2 and Op.118 no 2 was well served, the soothing intimacy of the music enhanced by the mirage of sound that Buniatishvili cast over it. In Ravel’s Gaspard de la nuit, which had opened the evening, she glossed over the darker, demonic elements that are crucial to its personality. “Ondine” had a surprisingly small expressive range and next-to-no dynamic contrasts. The desolation of “Le gibet” was airbrushed out in favour of zen-like meditation. As for “Scarbo”, there was an alarming lack of climax. But this was typical of the whole recital, which revealed Buniatishvili’s reluctance to explore depth and variety of sonority in the keys. After the interval she skated over the surface of Chopin’s Scherzo no 2, as if determined to make the contours sound mushy. Then, in Ravel’s La Valse - a rare outing for the single-piano version - her glitzy virtuosity came to the fore. Both here and in Stravinsky’s dazzling Three Movements from Petrushka, speed of dispatch constantly triumphed over clarity of articulation. Buniatishvili is neither careless nor ungifted. She is simply overhyped, immature and preoccupied with beauty of presentation - a poor example to the legions of young pianists who aspire to her fame and fortune. At no point did this recital reveal a shred of the musical temperament we expect of a scion of Georgian musical tradition.
@@mariodisarli1022so who did a good version in your mind?
Marcel Marceau, probably.
May I live admiring this diva ...
Gorgeous Khatia!
I'm in love.
Fabulous Khatia
Wonderful playing such a talent, beautiful.
Grande Khatia
I thoroughly agree especially the date. When is she coming to Australia ? 💕💕
It would be kind to name the conductor (it is Paavo Järvi), the orchestra and the date of the event.
It’s NHK symphony orchestra with Paavo. They play the best with him… It’s a shame the contract with him ended😢
I love to hear this piece played by Argerich and Khatia only!
Schumann typically bores me, but Khatia never bores!
THE GUARDIAN classical music Wigmore Hall, London Andrew Clements Thursday 2 April 2015 12.28 BST "The jury is out whether Buniatishvili can ever be a serious artist after a shapeless Pictures at an Exhibition and Liszt as a low - grade circus act." ... Her programme - Mussorgsky’s Pictures at an Exhibition and a sequence of Liszt - was clearly designed for effect, and to have her fans on their feet and cheering at the end; predictably, they obliged. Pictures, though, had no shape at all, with the slower movements ponderously slow - Il Vecchio Castello was interminable - and faster ones lightning fast, so that they became trivialised, and Buniatishvili kicked up such a storm in The Hut on Fowl’s Legs that the dramatic effect of the segue into the final Great Gate of Kiev, one of the clinching moments in the whole work, was fatally undermined. That tendency to extremes - the thinking that ever faster, ever louder, is automatically the best way to go - ran through the Liszt pieces too. Three studies from different sets, La Leggierezza, Feux Follets and La Campanella, at least allowed everyone to admire the pearly evenness of Buniatishvili’s fingering, but apart from a rather unconvincing Liebesträume to begin, around them were pieces that encouraged her to be as noisy as possible: the first Mephisto Waltz (not insidious, just rowdy), the Grand Galop Chromatique (turned into a low-grade circus act) and the second Hungarian Rhapsody - played, of course, in Vladimir Horowitz’s version, which adds tweaks and further elaborations to Liszt’s original. The good news is that the piano survived it all intact; the bad is that on the question of whether Buniatishvili can ever be a serious artist, the jury is very much still out.
Haha! Dont ever listen to Claudio Arrau, then...
Maybe try Sara Jay.
Do tell, who doesn't bore you? Does Bach? And Bach ever present in mid-late Schumann.
I am selected on this concerto 🇮🇶😍
Buena música clásica
Venus playing piano...
What a performance! Simply breast-taking! I'm udderly impressed!
It's amazing how she plays this piece, but it feels like a rush to me.
I agree, way too fast, and without much drama!!!
26:16 …🤔
I guess she is very proud of her body as well! Take your breath away with her wearing! Oh! Almost miss the focus of lovely music! A classical music DIVA! Way too hot to handel! Not my cup of tea for sure! 🥴🤭😎🎹 Colorful??! Different, maybe! 😁
It is haram in İslam fer women to dress like that wheb outside