Maybe if the world would stop...and actually pause...and LISTEN to music like this, humanity would be reminded that peace and beauty and calm are supposed to be the norm in the world, not strife.
You can really tell she has her own interpretation and some sort of story. She is stone cold at the beginning and then so unexpectedly the middle is 10 times more intense and loud. I love it.
I always return to Katia, when beauty and sensitivity are needed. Of course one can find things to criticize. But in a way it makes it so organic, alive, like it is someone there who interprets.
From a gentle emotive introduction, to the steep strong swell of emotions in the middle, to the vulnerable soft ending.. I'm certain no other pianist have conveyed technically ability & emotive passion in this piece like this profound lady.
Started playing this piece 3 weeks ago with relatively moderate amount of practice. I’ve been playing the piano for 9 years now. I’ve already reached 2:50 (in reference to this video), the part right after 2:50 will probably take me some time to master but the ending looks really easy. Shouldn’t take me more than another 2-3 weeks to master the piece. It’s a beautiful piece, and at the same time not that challenging, I hope you have a good time playing it. I’m rooting for you!
Franz Liszts best piece! Wonderfully played with an orchestral feel connecting the most beautiful melody in a supreme and passionate rhythm it needs. The overall best interpretation of it I have heard excepting how she can slow the first cadenza down somewhat because the etherial beauty of that phrase is dependent upon savoring it a little more over time. Liszt had a very good musical feel of melody, evidenced in his love of Schubert's masterpieces so much he took special time to write out wonderful transcriptions of the best of his pieces for piano.
The awesome book, THE MASTERS AND THEIR RETREATS, states "The keynote of the Ascension Temple is "Liebestraum," by Franz Liszt, and the radiance of the Electronic Presence of Serapis Bey and his twin flame pour through the aria "Celeste Aida."
There is nobody like Khatia. She has it all!!! Her sister Gvantsa, also excellent and very refined pianist.both in Bachs piano concerto for 2 pianos for comparison.love them both.
It’s also the way the piece is written. It’s one of the most recognizable and popular classical pieces ever written and would appear on every top 10 most popular classical piano pieces ever published. But with that said although she played it beautifully and with extreme passion, there’s still not much she can vary from the way it was originally composed.
If she was ugly, I still would love her interpretation, however seeing this amazingly beautiful woman play in such a poetic yet powerful way, one has a hard time not staring while listening.
C est magnifique vous jouez très bien.j'ai lu votre commentaire sur cette oeuvre dans le livre pianiste numero 115 je ne suis pas d accord quand vous dites qu elle ne.presente pas beaucoup de difficulté c est quand même.pas la lettre a.élise ou le clair de lune de debussy en plus vous employez le.mot sperficialite et légèreté de l oeuvre je n ai.pas trop compris je la trouve pleine de poésie quand a la facilité ..bien sur ce n est pas la campanella mais pas tous les eleves jouent rêve d amour ayant joue la campanella et rêve d amour je trouve la deuxième plus facile mais ca reste quand même très technique et il faut avoir un très beau toucher de la force et de la légèreté dire que c est presque facile..bravo quand même sophie.pianiste classique et jazz.
Madaghdjian Sophie je pense qu’elle veut dire que dans le répertoire de Liszt, c’est sans doute la pièce la moins difficile a jouer. Vous trouvez clair de lune facile ?
A woman playing a piano like a goddess full of emotion... and in a sexy red dress. If im as powerful as Alexander the Great id use all my power to win her heart...
I hate being the guy to quote the game, but thanks to gt sport, i've grown really fond of this piece, thank god for good merchandising xp I just pity that more erudit kinds of music have a hard time reaching people's ears
@@Dtvangogh cmon it's not a reproach dude she still played wonderfully good. I'm impressed by the way she interprets the piece specially because she had to arpeggiate many left hand chords
les bruits dans le public sont insupportables, la prise de son aurait pu être meilleure... Mais quelle association incomparable, Liszt et Buniatischvili !
Im a pianist but i’m confused on how pianists who plays in a crowd look so uncomfortable like they have grease on and messy hair. No offense, just asking.
I wonder if all the ones who praise this, have ever listened to Horowitz. She’s a perfect sign of our times, maybe more than Lang Lang. Very sad. Very sad. For her (her useless gestures…), for Music, for all the people who happen to hear this and not, for example, Cziffra’s Variations symphoniques by Franck. That’s my opinion (even if not only mine), I had to witness it. Nothing more. And it’s quite self explained, so I hope no one will loose time to answer, I’ve not written this to argue with anybody. Bye.
I agree. The climax is just - and sometimes she doesn't even get the rhythm. Speaking about technique she's still an inspiration to me personally since I'm not as good a pianist yet.
I see now that my comment is now in evidence, so I want to be sure that it was not been misunderstood, but before writing this short precisation, I quote for the sake of everyone some things Sviatoslav Richter said about playing live in the wonderful Bruno Monsaingeon’s Documentary, “Sviatoslav Richter, The Enigma” which is available also here on yt, this is the precise point: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-iVhxqEN9j7k.html Bruno Monsaingeon: you play in the dark Sviatoslav Richter: “That’s for the sake of concentration, so that the audience listens better” Bruno Monsaingeon: One shouldn’t watch? Sviatoslav Richter: “Watch what?” Bruno Monsaingeon: “The performer?” Sviatoslav Richter: “His hands (and does a disgusted expression)? No” Bruno Monsaingeon: “The expression on his face?” Sviatoslav Richter: “What for? It expresses nothing but work, the work going into the music. Who needs to see that?” and towards the end of the documentary: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-iVhxqEN9j7k.html Sviatoslav Richter: “I find things disturbing. I’m talking about life in general, not music. Anything that is a distraction... whatever is superfluous. I don’t like myself. That’s it.” That said, I can say that I happened to see an entire concert by Khatia Buniatishvili because at that time, 2013, I was still working for the main classical festival in my city. I forced myself to listen to the whole concert even if at the end of the first piece I would have preferred to go out. Well, I didn’t hear a single note which touched me (and the concert was a Chopin recital!), instead, I saw a constant flow of useless gestures and pathetical expressions upon her face. I find her way of “being clothed” (not only hers of course) a shame. One should go on stage and perform immortal music to touch the souls of the audience, and not sexually arouse them. More over, nowadays there are so many, so many performers who have such a great technique, but that is not enough, better saying, that should not being enough, because, as the great Ferruccio Busoni (for those who do not know him, he was the greatest pianist after Liszt besides being also a great composer) said: “We should wonder where it begins the right to play in front of a public audience”. Note the way Richter presents himself for the interview: his clothes, the table, the wall behind him. Listen to the end of the documentary, the Schubert sonata… These are the times which the great poet Hoelderlin (already at his time) called “the time of poverty” in his elegy “Bread and wine”, it is the poverty of spirituality of course, the philosopher Martin Heidegger wrote a mirable essay upon it (“Why the poets”). In this sense I wrote "She’s a perfect sign of our times, maybe more than Lang Lang. Very sad. Very sad."
Your beautiful feminine nature comes out when you play this piece! However, I believe the masculine is more accurate. Liszt was an active pillar of human love.The dynamics you express in some places in this composition are the best, but overall I miss the dynamic ending that liszt wrote out at the end.
Anyone who thinks that's a good interpretation has never heard another, unless they have very very bad ears. Cette emphase dans la première partie est ridicule, la deuxième extrêmement plate... seule la 3eme partie est correcte
