This is truly a wonderful performance. Anastasia uses her marvelous technical capabilities to provide a truly unique performance of this Bach Suite #6. I love it!
Amazing. Just amazing. I have listened to many of its recordings, from Mischa, Ma, Crawford to Massimiliano Martinelli. But this is the by far the best. Beautiful tonality, reflection, interpretation, energy, expression. Just love it.
I fully agree that this is a really outstanding performance. But I hate the word "definitive," because it suggests that there can be no other approach or interpretation which is equally valid.
@@fourstrings48 Agreed. I have heard quite a few "better" interpretations (performances I like more), though this one is really good because her ideas are definitive (in a sense that they're clear and logical).
Mal ganz abgesehen von Deiner außergewöhnliche Performance, ist es einfach eine Freude Dir zuzusehen. Selbst wenn ich taub wäre. Du spielst nicht, Du lebst es. Mit solcher Liebe und Hingabe. Du wunderschönes Geschöpf Du. Einfach WOW. Ich wünsche Dir und allen Menschen, dass die ganze Welt darin eintauchen und das genießen kann. Und ich wünsche Dir die stetige Weisheit dass Glückseligkeit nur aus wahrer Liebe erwächst.
Welche Leichtigkeit! Welche Eleganz! Viele andere Aufnahmen klingen dagegen sehr bemüht. Und der Ausdruck auf dem Punkt! Da geht einem das Herz auf und es ist zum Dahinschmelzen! Danke!!!
This is wonderful. You can hear in every note her understanding of its place in the whole architecture of the piece., present, past and future. Sublime.
Слышна юность в исполнении. С возрастом, эта одарённая виолончелистка будет играть ту же прелюдию с большим чувством, не спеша. Дорогу таким вот прекрасным исполнителям! Спасибо.
Gran interpretación de esta maravillosa y exigente partitura. Una verdadera maravilla musical, obra del mayor genio de todos los tiempos, correctamente asimilado y devuelto al exterior en forma de sonido. Bravo
I always adore that delightful tension juxtaposing the languorously wistful and the brazenly bright… It’s increasingly rare to find such performers who are fluent with their craft; such players, like Anastasia, they can freely incant us with that intangible feeling of completeness that often comes about when artists interpret courageously. … great players are never too far from the intimate introversions that tarry with the human condition.
@@markk164 As someone, like yourself, who’s clearly smitten with the culinary delicacies of “Italian homemade sun-dried tomatoes,” my praise for Anastasia’s interpretation of Bach’s Suite 6 Prelude was merely an advocate who is speaking up, with amorous affection, in the response to the performer’s perspicacious treatment of a master’s great work… I have been following Anastasia’s performances for some time. I am intrigued, specifically, by her stylistic approach to the cello instrument. She appears to be one of but a few players who is, perhaps on an instinctual level, deferentially aware of the composer’s overall subjective declaration - that being, the underlying qualia of the piece’s enchanting impression. Firstly, she honours the baroque ornamental sense of stoicism - commonplace with Bach’s austere dance suite - whilst auspiciously paying homage to the playfully bright and soul-searching theme of the piece. Additionally, she seamlessly adds her own personal idiomatic vernacular - it is an articulation that is married to clarity… its earthy, rounded, and, dare I say, somewhat stark and somber. Anastasia’s freed and loquacious parameters: her cadenzas; the accuracy of her intonation; the rhythmic cadences of her salient looping bow; and, simply, the overall Impression of her cello’s tone - When I said, “wistful,” possibly, I was referring to the viscerally kinetic tempo that evokes a certain humaneness of clipped melancholy to the suite… Anastasia has an inherent feel for coruscating, riveting harmony, like her predecessor Natalia Gutman (the gifted interpreter of Shostakovich). This sound that is synonymous with Anastasia’s name may be something to do with the granular texture and choice of string gauge, tuning, etc… but more so, it’s probably down to technique and heart. I’m sure I’d have ample to say, if we broke the proverbial bread together and ate some delicious, well-seasoned Italian dishes. P S Great players sight-read and memorize the composition, in anticipation for a given recital. But there are only but a few, limited number of classical players who are courageous and technically proficient enough to single-handily emote and meld their own heartfelt alchemical brand of plaintive feeling and devout passion into the psychodrama of the piece - awarding life and blood into the fleeting nature of its continuum facade. Players, like these, are gifted with enough artistry to carry over a captivating glimmer of verisimilitude, that’s worthy of inhabiting - if not, at least, awakening - the soul of the author who originally penned the piece in antiquity.
@@markk164 As someone, like yourself, who’s clearly smitten with the culinary delicacies of “Italian homemade sun-dried tomatoes,” my praise for Anastasia’s interpretation of Bach’s Suite 6 Prelude was merely an advocate who is speaking up, with amorous affection, in the response to the performer’s perspicacious treatment of a master’s great work… I have been following Anastasia’s performances for some time. I am intrigued, specifically, by her stylistic approach to the cello instrument. She appears to be one of but a few players who is, perhaps on an instinctual level, deferentially aware of the composer’s overall subjective declaration - that being, the underlying qualia of the piece’s enchanting impression. Firstly, she honours the baroque ornamental sense of stoicism - commonplace with Bach’s austere dance suite - whilst auspiciously paying homage to the playfully bright and soul-searching theme of the piece. Additionally, she seamlessly adds her own personal idiomatic vernacular - it is an articulation that is married to clarity… its earthy, rounded, and, dare I say, somewhat stark and somber. Anastasia’s freed and loquacious parameters: her cadenzas; the accuracy of her intonation; the rhythmic cadences of her salient looping bow; and, simply, the overall Impression of her cello’s tone - When I said, “wistful,” possibly, I was referring to the viscerally kinetic tempo that evokes a certain humaneness of clipped melancholy to the suite… Anastasia has an inherent feel for coruscating, riveting harmony, like her predecessor Natalia Gutman (the gifted interpreter of Shostakovich). This sound that is synonymous with Anastasia’s name may be something to do with the granular texture and choice of string gauge, tuning, etc… but more so, it’s probably down to technique and heart. I’m sure I’d have ample to say, if we broke the proverbial bread together and ate some delicious, well-seasoned Italian dishes. P S Great players sight-read and memorize the composition, in anticipation for a given recital. But there are only but a few, limited number of classical players who are courageous and technically proficient enough to single-handily emote and meld their own heartfelt alchemical brand of plaintive feeling and devout passion into the psychodrama of the piece - awarding life and blood into the fleeting nature of its continuum facade. Players, like these, are gifted with enough artistry to carry over a captivating glimmer of verisimilitude, that’s worthy of inhabiting - if not, at least, awakening - the soul of the author who originally penned the piece in antiquity.
@@markk164 As someone, like yourself, who’s clearly smitten with the culinary delicacies of “Italian homemade sun-dried tomatoes,” my praise for Anastasia’s interpretation of Bach’s Suite 6 Prelude was merely an advocate who is speaking up, with amorous affection, in the response to the performer’s perspicacious treatment of a master’s great work… I have been following Anastasia’s performances for some time. I am intrigued, specifically, by her stylistic approach to the cello instrument. She appears to be one of but a few players who is, perhaps on an instinctual level, deferentially aware of the composer’s overall subjective declaration - that being, the underlying qualia of the piece’s enchanting impression. Firstly, she honours the baroque ornamental sense of stoicism - commonplace with Bach’s austere dance suite - whilst auspiciously paying homage to the playfully bright and soul-searching theme of the piece. Additionally, she seamlessly adds her own personal idiomatic vernacular - it is an articulation that is married to clarity… its earthy, rounded, and, dare I say, somewhat stark and somber. Anastasia’s freed and loquacious parameters: her cadenzas; the accuracy of her intonation; the rhythmic cadences of her salient looping bow; and, simply, the overall Impression of her cello’s tone - When I said, “wistful,” possibly, I was referring to the viscerally kinetic tempo that evokes a certain humaneness of clipped melancholy to the suite… Anastasia has an inherent feel for coruscating, riveting harmony, like her predecessor Natalia Gutman (the gifted interpreter of Shostakovich). This sound that is synonymous with Anastasia’s name may be something to do with the granular texture and choice of string gauge, tuning, etc… but more so, it’s probably down to technique and heart. I’m sure I’d have ample to say, if we broke the proverbial bread together and ate some delicious, well-seasoned Italian dishes. P S Great players sight-read and memorize the composition, in anticipation for a given recital. But there are only but a few, limited number of classical players who are courageous and technically proficient enough to single-handily emote and meld their own heartfelt alchemical brand of plaintive feeling and devout passion into the psychodrama of the piece - awarding life and blood into the fleeting nature of its continuum facade. Players, like these, are gifted with enough artistry to carry over a captivating glimmer of verisimilitude, that’s worthy of inhabiting - if not, at least, awakening - the soul of the author who originally penned the piece in antiquity.
My praise for Anastasia’s interpretation of “Bach’s Suite 6 Prelude” was merely an advocate who is speaking up, with amorous affection, in the response to the performer’s perspicacious treatment of a master’s great work… I have been following Anastasia’s performances for some time. I am intrigued, specifically, by her stylistic approach to the cello instrument. She appears to be one of but a few players who is, perhaps on an instinctual level, deferentially aware of the composer’s overall subjective declaration - that being, the underlying qualia of the piece’s enchanting impression. Firstly, she honours the baroque ornamental sense of stoicism - commonplace with Bach’s austere dance suite - whilst auspiciously paying homage to the playfully bright and soul-searching theme of the piece. Additionally, she seamlessly adds her own personal idiomatic vernacular - it is an articulation that is married to clarity… its earthy, rounded, and, dare I say, somewhat stark and somber. Anastasia’s freed and loquacious parameters: her cadenzas; the accuracy of her intonation; the rhythmic cadences of her salient looping bow; and, simply, the overall Impression of her cello’s tone - When I said, “wistful,” possibly, I was referring to the viscerally kinetic tempo that evokes a certain humaneness of clipped melancholy to the suite… Anastasia has an inherent feel for coruscating, riveting harmony, like her predecessor Natalia Gutman (the gifted interpreter of Shostakovich). This sound that is synonymous with Anastasia’s name may be something to do with the granular texture and choice of string gauge, tuning, etc… but more so, it’s probably down to technique and heart. I’m sure I’d have ample to say, if we broke the proverbial bread together and ate some delicious, well-seasoned Italian dishes. P S Great players sight-read and memorize the composition, in anticipation for a given recital. But there are only but a few, limited number of classical players who are courageous and technically proficient enough to single-handily emote and meld their own heartfelt alchemical brand of plaintive feeling and devout passion into the psychodrama of the piece - awarding life and blood into the fleeting nature of its continuum facade. Players, like these, are gifted with enough artistry to carry over a captivating glimmer of verisimilitude, that’s worthy of inhabiting - if not, at least, awakening - the soul of the author who originally penned the piece in antiquity.
One of the best I've heard; also the performer avoids the „romanticization” and personalization of the piece, a trend which is so common today (sadly, initiated by Casals).
0:06, 4:17, 4:23 - and other places. The breathing is actually refreshing to hear, either there is a very good microphone (regardless) and/or it shows how much effort is put into the playing. It is like tennis years ago, nobody breathed, now everyone can be heard a mile away hitting the ball. Why not classical music? Make it REAL for once and not so stoic.
![Twenty One Pilots - “The Line” (from Arcane Season 2) [Official Music Video]](http://i.ytimg.com/vi/E2Rj2gQAyPA/mqdefault.jpg)
This woman, Anastasia Kobekina, moves: weather; oceans; space; and, time. Such passion thrown forth; as rarely any other.
@cd fanto. No-one could put it more beautifully than this
What a pleasure it is to watch a truly gifted musician at the start of her career.
What a lovely, thoughtful thing to say!
Look forward to her one day doing a recording of all of the Bach cello suites. 👍👍👍
This is truly a wonderful performance. Anastasia uses her marvelous technical capabilities to provide a truly unique performance of this Bach Suite #6. I love it!
Amazing. Just amazing. I have listened to many of its recordings, from Mischa, Ma, Crawford to Massimiliano Martinelli. But this is the by far the best. Beautiful tonality, reflection, interpretation, energy, expression. Just love it.
Pretty much a definitive performance. Exactly how I aspire to play it, in my dreams. I imagine that Bach is looking down from heaven with enjoyment.
I fully agree that this is a really outstanding performance. But I hate the word "definitive," because it suggests that there can be no other approach or interpretation which is equally valid.
@@fourstrings48 Agreed. I have heard quite a few "better" interpretations (performances I like more), though this one is really good because her ideas are definitive (in a sense that they're clear and logical).
Bach for ever . . . .
Mal ganz abgesehen von Deiner außergewöhnliche Performance, ist es einfach eine Freude Dir zuzusehen. Selbst wenn ich taub wäre. Du spielst nicht, Du lebst es. Mit solcher Liebe und Hingabe. Du wunderschönes Geschöpf Du. Einfach WOW.
Ich wünsche Dir und allen Menschen, dass die ganze Welt darin eintauchen und das genießen kann. Und ich wünsche Dir die stetige Weisheit dass Glückseligkeit nur aus wahrer Liebe erwächst.
Anastasia Kobekina! ♡ You are amazing, you fill the room with the spirit of the great S. Bach!
Welche Leichtigkeit! Welche Eleganz! Viele andere Aufnahmen klingen dagegen sehr bemüht. Und der Ausdruck auf dem Punkt! Da geht einem das Herz auf und es ist zum Dahinschmelzen! Danke!!!
The spirit of Jacqueline du Pré has returned as the grandiose Anastasia Kobekina , Bravo Anastasia
my favorite suite 6 prelude interpretation. i'll always come back to this video
The best version I've heard, lightness, virtuosity, speedness... Bravo Anastasia !!!
Congratulations Anastasia Kobekina. For me this is one of the best interpretation that I have seen.
This is the best performance I've heard of this piece on a 4-string, and the cleanest! Beautiful performance, and very inspiring!
Beautiful, she plays with feeling and great phrasing. Already so accomplished!
Fantastic performance! Maestro Rostropovich would be very proud!
ohhhh…………….. my ..................….goodness…..
what a heart, soul and performance...
wow. you put such emotions into me i cannot describe.
This is wonderful. You can hear in every note her understanding of its place in the whole architecture of the piece., present, past and future. Sublime.
Had another listen....still FABULOUS!!!
Un grande violoncelliste virtuose , une interprète sensible, frisson garantie lorsqu'elle joue
Excellent! And the dynamics - wow!
This is a really great performance! The tempo is perfect and the reverb is quite nice.
Слышна юность в исполнении. С возрастом, эта одарённая виолончелистка
будет играть ту же прелюдию с большим чувством, не спеша. Дорогу таким вот прекрасным исполнителям!
Спасибо.
Thank you, it was amazing
Such a vivid and warm playing! Bachs music is benefiting on this more than one ever could expect. My deepest compliments!
The best version 🫶🏻 love this!
🤯amazing! 😁
You are just incredible!! This is my favorite interpretation. You are so musical! :D
Gran interpretación de esta maravillosa y exigente partitura. Una verdadera maravilla musical, obra del mayor genio de todos los tiempos, correctamente asimilado y devuelto al exterior en forma de sonido. Bravo
Breathtaking!
Love your performance,lyrical and great articulation
I am in tears...
This is such a fine performance,perfect balance and so beautifully played.Thank you for such a fine performance.
absolute gas. thank you, this makes me happy
Incredible performance!!! 🎉❤
As good as it gets Anastasia - wonderful commitment to your art.
Красиво !!!!!!!
Excellente interprétation par cette jeune artiste douée et pleine d'enthousiasme !
Magnificent! Thank you for sharing your gifts and hard work. What a thrill it must be for you to perform such beautiful music!
I loved the echoes ❤👌🏻 the texture...excellent performance ❤👌🏻
I always adore that delightful tension juxtaposing the languorously wistful and the brazenly bright…
It’s increasingly rare to find such performers who are fluent with their craft; such players, like Anastasia, they can freely incant us with that intangible feeling of completeness that often comes about when artists interpret courageously.
… great players are never too far from the intimate introversions that tarry with the human condition.
but what does it all mean?
@@markk164
As someone, like yourself, who’s clearly smitten with the culinary delicacies of “Italian homemade sun-dried tomatoes,” my praise for Anastasia’s interpretation of Bach’s Suite 6 Prelude was merely an advocate who is speaking up, with amorous affection, in the response to the performer’s perspicacious treatment of a master’s great work…
I have been following Anastasia’s performances for some time.
I am intrigued, specifically, by her stylistic approach to the cello instrument.
She appears to be one of but a few players who is, perhaps on an instinctual level, deferentially aware of the composer’s overall subjective declaration - that being, the underlying qualia of the piece’s enchanting impression.
Firstly, she honours the baroque ornamental sense of stoicism - commonplace with Bach’s austere dance suite - whilst auspiciously paying homage to the playfully bright and soul-searching theme of the piece.
Additionally, she seamlessly adds her own personal idiomatic vernacular - it is an articulation that is married to clarity… its earthy, rounded, and, dare I say, somewhat stark and somber.
Anastasia’s freed and loquacious parameters: her cadenzas; the accuracy of her intonation; the rhythmic cadences of her salient looping bow; and, simply, the overall Impression of her cello’s tone -
When I said, “wistful,” possibly, I was referring to the viscerally kinetic tempo that evokes a certain humaneness of clipped melancholy to the suite… Anastasia has an inherent feel for coruscating, riveting harmony, like her predecessor Natalia Gutman (the gifted interpreter of Shostakovich).
This sound that is synonymous with Anastasia’s name may be something to do with the granular texture and choice of string gauge, tuning, etc… but more so, it’s probably down to technique and heart.
I’m sure I’d have ample to say, if we broke the proverbial bread together and ate some delicious, well-seasoned Italian dishes.
P S
Great players sight-read and memorize the composition, in anticipation for a given recital.
But there are only but a few, limited number of classical players who are courageous and technically proficient enough to single-handily emote and meld their own heartfelt alchemical brand of plaintive feeling and devout passion into the psychodrama of the piece - awarding life and blood into the fleeting nature of its continuum facade.
Players, like these, are gifted with enough artistry to carry over a captivating glimmer of verisimilitude, that’s worthy of inhabiting - if not, at least, awakening - the soul of the author who originally penned the piece in antiquity.
@@markk164
As someone, like yourself, who’s clearly smitten with the culinary delicacies of “Italian homemade sun-dried tomatoes,” my praise for Anastasia’s interpretation of Bach’s Suite 6 Prelude was merely an advocate who is speaking up, with amorous affection, in the response to the performer’s perspicacious treatment of a master’s great work…
I have been following Anastasia’s performances for some time.
I am intrigued, specifically, by her stylistic approach to the cello instrument.
She appears to be one of but a few players who is, perhaps on an instinctual level, deferentially aware of the composer’s overall subjective declaration - that being, the underlying qualia of the piece’s enchanting impression.
Firstly, she honours the baroque ornamental sense of stoicism - commonplace with Bach’s austere dance suite - whilst auspiciously paying homage to the playfully bright and soul-searching theme of the piece.
Additionally, she seamlessly adds her own personal idiomatic vernacular - it is an articulation that is married to clarity… its earthy, rounded, and, dare I say, somewhat stark and somber.
Anastasia’s freed and loquacious parameters: her cadenzas; the accuracy of her intonation; the rhythmic cadences of her salient looping bow; and, simply, the overall Impression of her cello’s tone -
When I said, “wistful,” possibly, I was referring to the viscerally kinetic tempo that evokes a certain humaneness of clipped melancholy to the suite… Anastasia has an inherent feel for coruscating, riveting harmony, like her predecessor Natalia Gutman (the gifted interpreter of Shostakovich).
This sound that is synonymous with Anastasia’s name may be something to do with the granular texture and choice of string gauge, tuning, etc… but more so, it’s probably down to technique and heart.
I’m sure I’d have ample to say, if we broke the proverbial bread together and ate some delicious, well-seasoned Italian dishes.
P S
Great players sight-read and memorize the composition, in anticipation for a given recital.
But there are only but a few, limited number of classical players who are courageous and technically proficient enough to single-handily emote and meld their own heartfelt alchemical brand of plaintive feeling and devout passion into the psychodrama of the piece - awarding life and blood into the fleeting nature of its continuum facade.
Players, like these, are gifted with enough artistry to carry over a captivating glimmer of verisimilitude, that’s worthy of inhabiting - if not, at least, awakening - the soul of the author who originally penned the piece in antiquity.
@@markk164
As someone, like yourself, who’s clearly smitten with the culinary delicacies of “Italian homemade sun-dried tomatoes,” my praise for Anastasia’s interpretation of Bach’s Suite 6 Prelude was merely an advocate who is speaking up, with amorous affection, in the response to the performer’s perspicacious treatment of a master’s great work…
I have been following Anastasia’s performances for some time.
I am intrigued, specifically, by her stylistic approach to the cello instrument.
She appears to be one of but a few players who is, perhaps on an instinctual level, deferentially aware of the composer’s overall subjective declaration - that being, the underlying qualia of the piece’s enchanting impression.
Firstly, she honours the baroque ornamental sense of stoicism - commonplace with Bach’s austere dance suite - whilst auspiciously paying homage to the playfully bright and soul-searching theme of the piece.
Additionally, she seamlessly adds her own personal idiomatic vernacular - it is an articulation that is married to clarity… its earthy, rounded, and, dare I say, somewhat stark and somber.
Anastasia’s freed and loquacious parameters: her cadenzas; the accuracy of her intonation; the rhythmic cadences of her salient looping bow; and, simply, the overall Impression of her cello’s tone -
When I said, “wistful,” possibly, I was referring to the viscerally kinetic tempo that evokes a certain humaneness of clipped melancholy to the suite… Anastasia has an inherent feel for coruscating, riveting harmony, like her predecessor Natalia Gutman (the gifted interpreter of Shostakovich).
This sound that is synonymous with Anastasia’s name may be something to do with the granular texture and choice of string gauge, tuning, etc… but more so, it’s probably down to technique and heart.
I’m sure I’d have ample to say, if we broke the proverbial bread together and ate some delicious, well-seasoned Italian dishes.
P S
Great players sight-read and memorize the composition, in anticipation for a given recital.
But there are only but a few, limited number of classical players who are courageous and technically proficient enough to single-handily emote and meld their own heartfelt alchemical brand of plaintive feeling and devout passion into the psychodrama of the piece - awarding life and blood into the fleeting nature of its continuum facade.
Players, like these, are gifted with enough artistry to carry over a captivating glimmer of verisimilitude, that’s worthy of inhabiting - if not, at least, awakening - the soul of the author who originally penned the piece in antiquity.
My praise for Anastasia’s interpretation of “Bach’s Suite 6 Prelude” was merely an advocate who is speaking up, with amorous affection, in the response to the performer’s perspicacious treatment of a master’s great work…
I have been following Anastasia’s performances for some time.
I am intrigued, specifically, by her stylistic approach to the cello instrument.
She appears to be one of but a few players who is, perhaps on an instinctual level, deferentially aware of the composer’s overall subjective declaration - that being, the underlying qualia of the piece’s enchanting impression.
Firstly, she honours the baroque ornamental sense of stoicism - commonplace with Bach’s austere dance suite - whilst auspiciously paying homage to the playfully bright and soul-searching theme of the piece.
Additionally, she seamlessly adds her own personal idiomatic vernacular - it is an articulation that is married to clarity… its earthy, rounded, and, dare I say, somewhat stark and somber.
Anastasia’s freed and loquacious parameters: her cadenzas; the accuracy of her intonation; the rhythmic cadences of her salient looping bow; and, simply, the overall Impression of her cello’s tone -
When I said, “wistful,” possibly, I was referring to the viscerally kinetic tempo that evokes a certain humaneness of clipped melancholy to the suite… Anastasia has an inherent feel for coruscating, riveting harmony, like her predecessor Natalia Gutman (the gifted interpreter of Shostakovich).
This sound that is synonymous with Anastasia’s name may be something to do with the granular texture and choice of string gauge, tuning, etc… but more so, it’s probably down to technique and heart.
I’m sure I’d have ample to say, if we broke the proverbial bread together and ate some delicious, well-seasoned Italian dishes.
P S
Great players sight-read and memorize the composition, in anticipation for a given recital.
But there are only but a few, limited number of classical players who are courageous and technically proficient enough to single-handily emote and meld their own heartfelt alchemical brand of plaintive feeling and devout passion into the psychodrama of the piece - awarding life and blood into the fleeting nature of its continuum facade.
Players, like these, are gifted with enough artistry to carry over a captivating glimmer of verisimilitude, that’s worthy of inhabiting - if not, at least, awakening - the soul of the author who originally penned the piece in antiquity.
Wieder eine sehr begabte junge Cellistin
unglaublich, extraordinary, inmenso, fantástico, прекрасно, semplicemente geniale....
Brava! So clean, so resonant, so musical. Gorgeous performance.
magistral. Wundervoll!
Pure beauty (I mean the music). Extraordinary. Please, please have your agent organising a concert in Munich soon.
Breathtaking!!!!
Your Bach is the BEST!! Chapeau chapeau!!
amazing! made me clap after the video!
My compliments for your interpretation!
Epoustouflant ! Magnifique !
Simplesmente excelente👏🏻👏🏻👏🏻
One of the best I've heard; also the performer avoids the „romanticization” and personalization of the piece, a trend which is so common today (sadly, initiated by Casals).
Increíble. Absolutamente Perfecto y hermoso a la vez. Gracias 🙏
Magnifique .....
Your song calms me down. This is a gift! Keep playing your cello with love !
Such thoughtful phrasing and sooooo clean! Pardon me while I go console my ego...
Очень чисто!
Спасибо
0:06, 4:17, 4:23 - and other places. The breathing is actually refreshing to hear, either there is a very good microphone (regardless) and/or it shows how much effort is put into the playing. It is like tennis years ago, nobody breathed, now everyone can be heard a mile away hitting the ball. Why not classical music? Make it REAL for once and not so stoic.
Ohh!!👏👏👏👏👏👏
Sencillamente maravilloso!!
Grazie, Anastasia 🌹🌹
Brava! Love how you played it. 👏👏
beautiful!!!
¡Maravillosa!
Brava! Sounds great!!
Excellent.!
Stunning!
We could understand everything. Beau discours ❤👌🏻💥
amazing Anastasia Kobekina!♡
A goddess playing the music of a god!
It puts a bright beam of warm, radiant, joyful light into my soul watching her perform this wonderful music.
Anastasia is a real young artist!
perfection meets perfection...
FANTASTICA!
Schön gespielt
Bravo
love how you release the tension at 3:26. It's all in the bow. Also I think you're so beautiful!
Standing ovation!
magnifique, j'aimerai tellement savoir jouer comme elle...
Блестяще!
Congratulations. As it should be!
Sublime interprétation
Анастасия очень хороша!
amazing!
Fabulous!!!
Des frissons !!! C'est tellement beau !!!
Superb!
Bach for ever!
Omg! I love this! Amazing job. Keep it up :)
Beautiful
Great energy!
Bravo!!!
누님 너무 잘해요😍
Really gorgeous!
Godlike!
Wonderfull....
Maravilhosa interpretacao!!!!!Nice nice nice nice nice
That was masterfull
Incredible