Anna Kislitsyna is a concert pianist and harpsichord, winner of multiple international competition. Anna holds two doctorate degrees in music. Her daily life includes performing solo and chamber music concerts, as well as teaching students. Getting inspired by Anna, her students participate in many competitions and concerts. On this RU-vid channel Anna shares her most recent recordings as well as performances of her students. You can learn more about Anna on www.kislitsyna.com
This is really beautiful! Would you ever consider playing Sursum Corda? Not sure where to ask this, so here goes: Would you ever consider playing Bartok folk music arrangements? I think "For Children" ("A Gyermekeknek") is his best, but for some reason it does not receive the attention that Microcosmos does.
Ugh it's as if Mozart and Nanerl are playing right in front of me like at a family gathering or private event! Amazing! <3 Also I see the love that Mozart has for is his sister by giving her all these fun scales and ornamentation. Bravi!
He lived a good part of his life in London. He took for almost a year the great responsability to teach a little boy coming with his father, also a musician, from Salzburg. It is absolutely evident to me, the inmense influence he had on little Mozart.
"What comprises good performance? The ability through singing or playing to make the ear conscious of the true content and affect of a composition." CPE Bach. Brava dear Anna, Brava. When I was young, I got to meet Aldo Ciccolini and sit 15 feet from him as he played. I was so thrilled. This is the way I feel every time I hear one of your performances. Thankyou.
Marvelous! As I look at your faces while you perform this, it comes to mind that many people like music, some people even love music, however, you two are "in love" with music.
This is the best, most perfectly paced and timed performance of JC Bach’s little sonata. Bach’s instruction/working title, however, did NOT specify that the piece should be performed by one pianoforte and one harpsichord, right? It indicated only that the sonata was “pour deux clavecins,” I think… I recently heard a version of this in which TWO CONCERT GRAND STEINWAYS played the two parts. It was dreadfully cold, formalistic, mathematical , and it felt DISTANT. Your version preservrs the intimacy, warmth, and seeming immediacy that *had* to be the case in the 18th century, when the differing venues at which such a piece would have been performed had “lords and ladies” with particular preferences (and one must please a patron), and sometimes one simply had to use the instruments that were AVAILABLE at a particular venue. That’s prob why JC Bach’s instructions were so vague about “which KINDS of keyboard were to be used. TERRIFIC CHOICE! I especially enjoy the “spirited” play of Ms Kislitsyna!!!
The first English edition published by John Welcker in London described Opus 15 as ‘Four sonatas and Two Duets for Pianoforte or Harpsichord’; this was a common description in the later 18th century and can also be found on publications of the sonatas of Haydn,and even in those of Beethoven as it helped sales to those whom had bought a new-style piano as well as those who still had an older harpsichords.
I *love* this cute little sonata. Each time I listen to it, though I cannot help noticing just how much more powerfully resonant the pianoforte is as an instrument than the harpsichord is. I enjoy harpsichord music, yet when it plays *with* the piano, one can truly hear how much expressive *power* the dampers on a piano give it: here the harpsichord almost sounds like “accompaniment” for the piano
