How deeply she feels the special world of Bach...his attitude of past and future of that world... God bless 🙏 😇❣️ your hands Dear Khatia Buniatishvili!
I've heard many interpretations and arrangements of this piece... this is the best !! Khatia is such a brilliant arranger & performer.. the world is a much better place because of her.
This interpretation of Bach’s ‘Sheep may safely graze’ for piano has to be right up there as one of the most finest ever performed. Thank you Kathia. Loved it.
2:45 Magnificent modulation from JS Bach. She plays faster and with simpler spirit than at Fondation Vuitton in October 2016. Both renditions are superb.
While I agree with you that this is a very nice piece played very beautifully, it is not a SONG (which is a musical piece which is sung), but a piano PIECE. Since pianos do not sing, they do not play songs but pieces. And secondly this piece was not composed by Bach. Bach actually composed a song, see link below, and the quite famous pianist Egon Petri rearranged it for the piano in the first half of the 20th century. This makes this a Petri piece more than a Bach piece IMHO. This is the original, and yes, this is a song: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-STWtdOTmqus.html
@@Kref3 Thorsten, when someone swoons for poetry, they’re not in need of a lecture on the alphabet. Furthermore, “songs without words” are quite a venerated phenomenon, so you’re not even technically correct. So yes, perhaps a composer shares the source of a melody with a previous imagination, and perhaps another musician then transforms the amalgamation. Busoni’s transcription of “Wachet auf” is an even more majestic example of such collaboration, as was Handel’s “Ombra mai fu.” And there are so many more . . . Orff’s “Carmina Burana,” Gounod’s “Ave Maria,” . . . but these are gifts of alchemical genius, not embarrassments of plagiarism. The salient fascination should be this-How did Bach wring such forbidding beauty out of three polyphonic lines navigated by one musician educated in contrapuntal motion and tonal harmonic architecture using two hands commanding several dozen keys carved from wood striking wire strung in tension? Is this a miracle of evolution, neurons, sentience, synergy or sheer inexplicability? Our problem is not one of taxonomy, provenance or appropriation, but of sublimity, ineffability and imponderability.
@@Kref3 Technically, music is not physical material, nor is it a 'piece' of anything, so 'piece' logically doesn't have anything going for it. It's just a silly custom - here, listen to this 'piece' of nothing, which is in fact a song played on the piano. Moreover, one may say that a good player should make the piano sing. Chopin himself instructed all his pupils to imagine the right hand as the voice of a bel canto singer. He never said to make 'pieces' using the right hand or the left, as the term is utterly illogical, absurd, and unromantic. I'm fine with accepting custom, but it is sheer pedantism to argue about it and attack the notion of 'singing' with the piano. Especially when the music in question was a song to begin with.
@@Kref3 No. It’s Bach. An arrangement is never considered to be a “new” work of the arranger. This happens all of the time. How many melodies by Chopin do you hear played on violin? Or by an orchestra? It’s still Chopin isn’t it? Chopin composed almost exclusively for the piano, on the piano. But given the right arrangement, his works sound pretty good on other instruments. Bach is the same, maybe even more so, because that’s the way he himself composed his music-for a variety of instruments, mixed and matched, according to what was available at the timek. I’m sure Petri wrote this arrangement because he wanted to perform this lovely tune at a solo recital. Nothing wrong with that. If you were to buy the score, which I have, you would see that Bach is named as the composer. And if you were to compare the notes, you would see that there’s nothing in Petri’s version that is not in Bach’s. In modern parlance, I suppose you could say that Petri “covered” Bach. But it’s still Bach.
Kathia la magie de la musique opère en vous, l'esprit de J. S. Bach s'exprime à travers vous, mieux qu'avec quiconque... On est conquis dès les premières notes, un grand moment d'émotion ! Prenez soin de vous, on vous aime tant...! Bravo, merci beaucoup ! Les dieux de la musique vous garde, ils sont tous avec vous, comme nous tous ! £ 🙂 ❤
Yes-isn’t it amazing? Busoni’s transcription of “Wachet auf” is also sublime, perhaps in even more profound measure. And there are so many more . . . How Bach wrung such forbidding beauty out of three polyphonic lines navigated by one musician educated in contrapuntal motion and tonal harmonic architecture using two hands commanding several dozen keys carved from wood striking wire strung in tension is a miracle of evolution, neurons, sentience, synergy and inexplicability.
Magical interpretation! Greatest esthetical delight!! Khatia creates an effect of the "distant sound", as if really sheeps graze in the mountains valleys. If they compare this performance with other, even of very distinguished pianists ( Fleisher, Perahia), Khatia's superiority is evident.
I found it flat and filled with pointless theater. I listened to Leon Fleisher before that. He is simple, the decor too, no suit, no posture, no gesture, no "God is in me" face. But the superiority is everywhere in his work.
Khatia, Du bringst einen weißen alten Mann zum Weinen. Bachs Musik und Du beweisen, daß es einen behütenden Herrgott gibt. Wenn er doch überall auf der Welt für Frieden sorgen würde.
Lese die Bibel das Wort GOTTES dann wirst du deine Antwort darauf bekommen wie das Leid und der Tod in die Welt gekommen ist und was GOTTES Plan ist, wie du dich mit ihm versöhnen, mit ihm in eine persönliche und lebendige Beziehung kommen und erettet werden kannst, und GOTT diese Welt in Gerechtigkeit richten, sein ewiges Friedensreich errichten und alles neu machen wird.
@@edewolf1351How sad your reasoning is. "The fool says in his heart, there is no God" those are the words in God's holy Word inspired and breathed by Himself to the Psalmist chapter 14 verse 1.
Here Michel PUISSANT (countertenor): U are the Most ENOURMOUSLY exiting beautiful in the Word.U Got it ALL dear Kathia, Am sending ,let hear ur performances to professionals (who still didńt know u),but also to Young poeple Not Into classic,….
Wow, her voicing ability is pretty amazing actually. I play this piece from time to time, and trying to get some of those notes to ring out over the others is quite challenging.
Agreed. The first video I saw of her, I thought maybe it was the quality of the recording, but it comes out in all of her videos, so it must be her. I will have to hear her live some day. RU-vid videos aren’t sufficient
does making such a disturbed and suffering face make you a better piano player? Indeed, after learning to make such grim faces my piano playing sounds much different!
You can get the music here: petruccimusiclibrary.ca/files/imglnks/caimg/0/01/IMSLP353819-PMLP127032-Bach-Petri_-_Cantata_208_Sheep_May_Safely_Graze.pdf
This is however nearly 30 seconds faster than Polina Osetinskaya's version. There's nothing wrong with this per se but I wonder how much is nerves that is causing this and not a deliberate intention to play the piece faster?
