Khatia Buniatishvili - Récital à la Fondation Louis Vuitton (live)

[@CP-ms4kg]

PROGRAMME 0:00:00 Éric Satie, Gymnopédie n°1 0:03:28 Frédéric Chopin, Prélude n°4 op. 28, 0:06:05 Scherzo n°3 en ut dièse mineur op. 39 0:13:07 Jean-Sébastien Bach, Suite orchestrale n°3 BWV 1068, Air sur la corde sol 0:18:33 Franz Schubert, Impromptu n°3 en sol bémol majeur op. 90 0:24:45 Franz Liszt, Sérénade S.560/7 d’après Ständchen de Franz Schubert 0:32:48 Frédéric Chopin, Polonaise en la bémol majeur op. 53 / 0:39:08 Mazurka en la mineur n°4 op. 17 0:44:11 François Couperin, Les barricades mystérieuses 0:46:39 Jean-Sébastien Bach, Prélude et Fugue pour orgue BWV 543 (transcription pour piano de Franz Liszt) 0:58:02 Franz Liszt, Consolation n°3 1:02:46 Franz Liszt, Rhapsodie Hongroise n°2 ENCORE: 1:08:05 Jean-Sébastien Bach/Alessandro Marcello, Concerto en ré mineur BWV 974 2. Adagio 1:10:58 Claude Debussy, Suite Bergamasque 3. Clair de Lune 1:15:48 Serge Gainsbourg - La Javanaise

[@raulmofre5415]

Simplemente Maravillosa la escucho durante horas y horas...

[@TheRealGnolti]

What I love most about KB’s playing is that her musical conception of the music comes first, and she then draws on her breathtaking technique to make those concepts actually become real to the listener. I would love to hear her perform live.

[@georgescancan7503]

Alexander Boot Writer, critic, polemicist Sex sells - all of us short The other day I listened to something or other on KZbin, and a link to Chopin’s Fourth Ballade performed by the Georgian pianist Khatia Buniatishvili came up. The link was accompanied by a close-up publicity photo of the musician: sloe bedroom eyes, sensual semi-open lips suggesting a delight that’s still illegal in Alabama, naked shoulders hinting at the similarly nude rest of her body regrettably out of shot… Let me see where my wife is… Good, she isn’t looking over my shoulder, so I can admit to you that the picture got me excited in ways one doesn’t normally associate with Chopin’s Fourth Ballade or for that matter any other classical composition this side of Wagner or perhaps Ravel’s Bolero. Searching for a more traditional musical rapture I clicked on the actual clip and alas found it anticlimactic, as it were. Khatia’s playing, though competent, is as undeniably so-what as her voluptuous figure undeniably isn’t. (Yes, I know the photograph I mentioned doesn’t show much of her figure apart from the luscious shoulders but, the prurient side of my nature piqued, I did a bit of a web crawl.) Just for the hell of it I looked at the publicity shots of other currently active female musicians, such as Yuja Wang, Joanna MacGregor, Nicola Bendetti, Alison Balsom (nicknamed ‘crumpet with a trumpet’, her promos more often suggest ‘a strumpet with a trumpet’ instead), Anne-Sophie Mutter and a few others. They didn’t disappoint the Peeping Tom lurking under my aging surface. Just about all the photographs showed the ladies in various stages of undress, in bed, lying in suggestive poses on top of the piano, playing in frocks (if any) open to the coccyx in the back and/or to the navel up front. This is one thing these musicians have in common. The other is that none of them is all that good at her day job and some, such as Wang, are truly awful. Yet this doesn’t really matter either to them or to the public or, most important, to those who form the public tastes by writing about music and musicians. Thus, for example, a tabloid pundit expressing his heartfelt regret that Nicola Benedetti “won’t be posing for the lads’ mags anytime soon. Pity, because she looks fit as a fiddle…” Geddit? She’s a violinist, which is to say fiddler - well, you do get it. “But Nicola doesn’t always take the bonniest photo,” continues the writer, “she’s beaky in pics sometimes, which is weird because in the flesh she’s an absolute knock-out. “The classical musician is wearing skinny jeans which show off her long legs. She’s also busty with a washboard flat tummy, tottering around 5ft 10in in her Dune platform wedges.” How well does she play the violin though? No one cares. Not even critics writing for our broadsheets, who don’t mind talking about musicians in terms normally reserved for pole dancers. Thus for instance runs a review of a piano recital at Queen Elizabeth Hall, one of London’s top concert venues: “She is the most photogenic of players: young, pretty, bare-footed; and, with her long dark hair and exquisite strapless dress of dazzling white, not only seemed to imply that sexuality itself can make you a profound musician, but was a perfect visual complement to the sleek monochrome of a concert grand… [but] there’s more to her than meets the eye.” The male reader is clearly expected to get a stiffie trying to imagine what that might be. To help his imagination along, the piece is accompanied by a photo of the young lady in question reclining on her instrument in a pre-coital position with an unmistakable ‘come and get it’ expression on her face. The ‘monochrome’ piano is actually bright-red, a colour usually found not in concert halls but in dens of iniquity. Nowhere does the review mention the fact obvious to anyone with any taste for musical performance: the girl is so bad that she should indeed be playing in a brothel, rather than on the concert platform. Can you, in the wildest flight of fancy, imagine a reviewer talking in such terms about sublime women artists of the past, such as Myra Hess, Maria Yudina, Maria Grinberg, Clara Haskil, Marcelle Meyer, Marguerite Long, Kathleen Ferrier? Can you see any of them allowing themselves to be photographed in the style of “lads’ mags”? I can’t, which raises the inevitable question: what exactly has changed in the last say 70 years? The short answer is, just about everything. Concert organisers and impresarios, who used to be in the business becau ...

[@TheKittenonthekeys]

George. I will have that pleasure tomorrow. I am looking forward to it immensely.

[@kevinmaynord5416]

You are a gift and treasure for the world to experience. Thank you.

[@cherylhutchinson7769]

Khatia, 🖤🖤🖤🖤🖤. What more can I say!

[@CamelliaHill]

I was supposed to hear Khatia perform LIVE for my first time, next weekend in Kansas City but she had to reschedule until next year due to ongoing pandemic concerns. I would wait an eternity to hear my favorite artist. Thank you so much for sharing this performance. I love Khatia's style, and her sound is unmistakable. Already one of the great pianists of our time, and still so young. Looking forward to her continued sucess. I'll be here for all of it.❤🌹

[@kathymckimm1819]

Thank you dearest darling especially for you from Egypt 🇪🇬 wishing you all a blessed blessed weekend

[@janeboulton4252]

I have long admired Khatia and have tickets for her recital in May at the Barbican in London. She is performing this programme and I am very excited about seeing her live for the first time.

[@BenoîtB-g7m]

C'est magique de vous écouter Kathia ! On voudrait que cela dure toujours... Interprétations expressives qui donne émotions et réflexion sur la vie, les choses..., le temps qui les anime. Unissant les âmes et les coeurs..., vous êtes une musicienne intemporelle... Quand on vous écoute, s'est ce que l'on a l'esprit, comme une évidence, comme un amour éternel qui émane ses sens... Tout ce que vous jouez nous emporte littéralement ! Merci de nous donner autant ! ❤ Kathia, étonnante, belle, parfois rebelle, au service d'un art qu'elle transcende pour son plaisir, pour celui de nous faire plaisir...! ❤ * Un réel ressentis, beaucoup de projets..., de pages à écrire... * ❤🌺🌞 Tout est possible !!!

[@raymondefouanon9930]

Sublime Khatia icône du piano mondial quel bonheur de te retrouver 🙏👏👏👏👏💟💟💟💟💟💟💟💟💟💟

[@Alix777.]

Icône des médias et du bling bling surtout, du piano certainement pas !!!

[@hdt.thoriel]

Chère Khatia, "Je vous souhaite, à vous et à votre famille, une bonne et heureuse année en bonne santé et en sécurité", et "Je vous souhaite le meilleur dans votre carrière musicale". Sincères amitiés thoriel P.S : Merci pour votre musique charmante et paisible

[@TheKittenonthekeys]

I have a ticket to hear this concert by wonderful Khatia tomorrow. I cannot wait!

[@kpokpojiji]

She is already one of the greats. incredible pianist.

[@elzbietawoznica1257]

Wielki talent i wyczucie, piękna gra której można słuchać bez końca ❤

[@JoseMedina-sv8uy]

Excelente pianista. Muchas Gracias por compartir. Saludos desde México.

[@israelorun]

Beautiful Playing. Top class artist.

[@hppsych.dr.theol.willemmaa1717]

The very first note... and you know something marvelous is going to happen. Thanks, Mrs. Buniatishvili, for your great contributions to music.

[@perrandavis9097]

I really enjoy Khatia Buniatishvili's style and interpretations. Bravo!

[@thomasmaze9156]

L'année commence bien ! Un tel programme, interprété par une des toutes meilleures pianistes de sa génération, j'ai cliqué sur "J'aime", avant même de voir et d'écouter le récital. Bonne année à vous Khatia, je vous souhaite le meilleur dans votre vie personnelle et musicale.

[@beverleymacdonald1352]

I love this programme and enjoyed every moment of this beautiful expressive performance!

[@easyreader8859]

It's a wonderful moment of music. Thank you so much for this share.

[@georgebrummel1280]

Great Artist

[@rubeningnaciorojasportillo5464]

Simplemente, bello!

[@haroldohumerez7780]

Kathia hat eine unverwechselbare Interpretationsgabe, mit so viel Reichtum an Gefühlsnuancen die sie durch ihre fantastische Technik auszuführen vermag. Ein wahrer Genuss sie zu hören. Einzigartig genial!!!!

[@raimundodantas1809]

Katia vc nasceu para brilhar, uma grande pianista , e uma linda mulher

[@paolocatalano3078]

Esecuzione magistrale di brani di assoluto valore lirico. Invidio gli spettatori||||||

[@ТатьянаКомкова-е9л]

Обожаю Вас, вы одно целое с музыкой, Хатия!

[@tonye4957]

Because I listen to Lord Vinheteiro, the KZbin algorithm introduced you to me. I will be for ever grateful. Truly sublime. Thank you for your dedication and talent.

[@michaelanthony1988]

Khatia hates being labeled a Wunderkind but I think that entirely envelopes her ever-widening sphere of influence... such talent and elegant percussion expressions!!

[@grabrielpeniche8585]

EXCELENTE PIANISTA Y LA FOTOGRAFIA MARAVILLOSA

[@tencipierluigi]

Khatia sei sempre una bravissima interprete dei Maestri compositori 👏

[@margherita2651]

Lei è una grande artista e straordinatria pianista, con una tecnica insuperabile, con un tocco magico e pensato ci fa dono della sua anima,

[@Desireyso58]

I've been following KHATIA since her Brahms 2. I hope to have a second rendition of those gifted Hands. KHATIA Will be remembered forever. So Talented and BEAUTIFUL Lady.

[@RaineriHakkarainen]

Khatia Buniatishvili her Schumann piano concerto no 2 Best Ever! Only Radu Lupu better than Khatia Buniatishvili! Brahms 2 concerto The Genius group 1:Grigory Sokolov 2: Sviatoslav Richter3: Edwin Fischer 4; Khatia Buniatishvili

[@georgescancan7503]

@@RaineriHakkarainen Alexander Boot Writer, critic, polemicist Sex sells - all of us short The other day I listened to something or other on KZbin, and a link to Chopin’s Fourth Ballade performed by the Georgian pianist Khatia Buniatishvili came up. The link was accompanied by a close-up publicity photo of the musician: sloe bedroom eyes, sensual semi-open lips suggesting a delight that’s still illegal in Alabama, naked shoulders hinting at the similarly nude rest of her body regrettably out of shot… Let me see where my wife is… Good, she isn’t looking over my shoulder, so I can admit to you that the picture got me excited in ways one doesn’t normally associate with Chopin’s Fourth Ballade or for that matter any other classical composition this side of Wagner or perhaps Ravel’s Bolero. Searching for a more traditional musical rapture I clicked on the actual clip and alas found it anticlimactic, as it were. Khatia’s playing, though competent, is as undeniably so-what as her voluptuous figure undeniably isn’t. (Yes, I know the photograph I mentioned doesn’t show much of her figure apart from the luscious shoulders but, the prurient side of my nature piqued, I did a bit of a web crawl.) Just for the hell of it I looked at the publicity shots of other currently active female musicians, such as Yuja Wang, Joanna MacGregor, Nicola Bendetti, Alison Balsom (nicknamed ‘crumpet with a trumpet’, her promos more often suggest ‘a strumpet with a trumpet’ instead), Anne-Sophie Mutter and a few others. They didn’t disappoint the Peeping Tom lurking under my aging surface. Just about all the photographs showed the ladies in various stages of undress, in bed, lying in suggestive poses on top of the piano, playing in frocks (if any) open to the coccyx in the back and/or to the navel up front. This is one thing these musicians have in common. The other is that none of them is all that good at her day job and some, such as Wang, are truly awful. Yet this doesn’t really matter either to them or to the public or, most important, to those who form the public tastes by writing about music and musicians. Thus, for example, a tabloid pundit expressing his heartfelt regret that Nicola Benedetti “won’t be posing for the lads’ mags anytime soon. Pity, because she looks fit as a fiddle…” Geddit? She’s a violinist, which is to say fiddler - well, you do get it. “But Nicola doesn’t always take the bonniest photo,” continues the writer, “she’s beaky in pics sometimes, which is weird because in the flesh she’s an absolute knock-out. “The classical musician is wearing skinny jeans which show off her long legs. She’s also busty with a washboard flat tummy, tottering around 5ft 10in in her Dune platform wedges.” How well does she play the violin though? No one cares. Not even critics writing for our broadsheets, who don’t mind talking about musicians in terms normally reserved for pole dancers. Thus for instance runs a review of a piano recital at Queen Elizabeth Hall, one of London’s top concert venues: “She is the most photogenic of players: young, pretty, bare-footed; and, with her long dark hair and exquisite strapless dress of dazzling white, not only seemed to imply that sexuality itself can make you a profound musician, but was a perfect visual complement to the sleek monochrome of a concert grand… [but] there’s more to her than meets the eye.” The male reader is clearly expected to get a stiffie trying to imagine what that might be. To help his imagination along, the piece is accompanied by a photo of the young lady in question reclining on her instrument in a pre-coital position with an unmistakable ‘come and get it’ expression on her face. The ‘monochrome’ piano is actually bright-red, a colour usually found not in concert halls but in dens of iniquity. Nowhere does the review mention the fact obvious to anyone with any taste for musical performance: the girl is so bad that she should indeed be playing in a brothel, rather than on the concert platform. Can you, in the wildest flight of fancy, imagine a reviewer talking in such terms about sublime women artists of the past, such as Myra Hess, Maria Yudina, Maria Grinberg, Clara Haskil, Marcelle Meyer, Marguerite Long, Kathleen Ferrier? Can you see any of them allowing themselves to be photographed in the style of “lads’ mags”? I can’t, which raises the inevitable question: what exactly has changed in the last say 70 years? The short answer is, just about everything. Concert organisers and impresarios, who used to be in the business because they loved music first and wanted to make a living second, now care about nothing but money. Critics, who used to have discernment and taste, now have nothing but greed and lust for popularity. The public… well, don’t get me started on that. The circle is vicious: because tasteless ignoramuses use every available medium to build up musical nonentities, nonentities is all we get. And because the musical nonentities have no artistic qualities to write about, the writing nonentities have to concentrate on the more jutting attractions, using a vocabulary typically found in “lads’ mags”. The adage “sex sells” used to be applied first to B-movies, then to B-novels, and now to real music. From “sex sells” it’s but a short distance to “only sex sells”. This distance has already been travelled - and we are all being sold short.

[@marcellefabre9894]

Une grâce !.... ce dimanche...

[@panettiereltda4063]

MERAVIGLIOSA KHATIA !!!!!!

[@jefferywilliams8895]

So beautiful and and lovely, Greatings from NOLA.

[@АндрейИльин-ч9д]

Потрясающая в своей гениальности грузинская пианистка.Харизматичная,артистичная,суперпрофессиональная,всего тебя захватывающая своим исполнением.Я не знаю,кто ещё сегодня из пианистов так может играть.

[@АндрейИльин-ч9д]

@@georgescancan7503 во всех этих статьях в бульварных газетёнках большое внимание уделяется платьям Хатии,и это неудивительно,ведь больше этим писакам написать нечего.Они понимают в музыке,как свинья в апельсинах.Ты похоже такой же знаток.

[@georgescancan7503]

Alexander Boot Writer, critic, polemicist Sex sells - all of us short The other day I listened to something or other on KZbin, and a link to Chopin’s Fourth Ballade performed by the Georgian pianist Khatia Buniatishvili came up. The link was accompanied by a close-up publicity photo of the musician: sloe bedroom eyes, sensual semi-open lips suggesting a delight that’s still illegal in Alabama, naked shoulders hinting at the similarly nude rest of her body regrettably out of shot… Let me see where my wife is… Good, she isn’t looking over my shoulder, so I can admit to you that the picture got me excited in ways one doesn’t normally associate with Chopin’s Fourth Ballade or for that matter any other classical composition this side of Wagner or perhaps Ravel’s Bolero. Searching for a more traditional musical rapture I clicked on the actual clip and alas found it anticlimactic, as it were. Khatia’s playing, though competent, is as undeniably so-what as her voluptuous figure undeniably isn’t. (Yes, I know the photograph I mentioned doesn’t show much of her figure apart from the luscious shoulders but, the prurient side of my nature piqued, I did a bit of a web crawl.) Just for the hell of it I looked at the publicity shots of other currently active female musicians, such as Yuja Wang, Joanna MacGregor, Nicola Bendetti, Alison Balsom (nicknamed ‘crumpet with a trumpet’, her promos more often suggest ‘a strumpet with a trumpet’ instead), Anne-Sophie Mutter and a few others. They didn’t disappoint the Peeping Tom lurking under my aging surface. Just about all the photographs showed the ladies in various stages of undress, in bed, lying in suggestive poses on top of the piano, playing in frocks (if any) open to the coccyx in the back and/or to the navel up front. This is one thing these musicians have in common. The other is that none of them is all that good at her day job and some, such as Wang, are truly awful. Yet this doesn’t really matter either to them or to the public or, most important, to those who form the public tastes by writing about music and musicians. Thus, for example, a tabloid pundit expressing his heartfelt regret that Nicola Benedetti “won’t be posing for the lads’ mags anytime soon. Pity, because she looks fit as a fiddle…” Geddit? She’s a violinist, which is to say fiddler - well, you do get it. “But Nicola doesn’t always take the bonniest photo,” continues the writer, “she’s beaky in pics sometimes, which is weird because in the flesh she’s an absolute knock-out. “The classical musician is wearing skinny jeans which show off her long legs. She’s also busty with a washboard flat tummy, tottering around 5ft 10in in her Dune platform wedges.” How well does she play the violin though? No one cares. Not even critics writing for our broadsheets, who don’t mind talking about musicians in terms normally reserved for pole dancers. Thus for instance runs a review of a piano recital at Queen Elizabeth Hall, one of London’s top concert venues: “She is the most photogenic of players: young, pretty, bare-footed; and, with her long dark hair and exquisite strapless dress of dazzling white, not only seemed to imply that sexuality itself can make you a profound musician, but was a perfect visual complement to the sleek monochrome of a concert grand… [but] there’s more to her than meets the eye.” The male reader is clearly expected to get a stiffie trying to imagine what that might be. To help his imagination along, the piece is accompanied by a photo of the young lady in question reclining on her instrument in a pre-coital position with an unmistakable ‘come and get it’ expression on her face. The ‘monochrome’ piano is actually bright-red, a colour usually found not in concert halls but in dens of iniquity. Nowhere does the review mention the fact obvious to anyone with any taste for musical performance: the girl is so bad that she should indeed be playing in a brothel, rather than on the concert platform. Can you, in the wildest flight of fancy, imagine a reviewer talking in such terms about sublime women artists of the past, such as Myra Hess, Maria Yudina, Maria Grinberg, Clara Haskil, Marcelle Meyer, Marguerite Long, Kathleen Ferrier? Can you see any of them allowing themselves to be photographed in the style of “lads’ mags”? I can’t, which raises the inevitable question: what exactly has changed in the last say 70 years? The short answer is, just about everything. Concert organisers and impresarios, who used to be in the business because they loved music first and wanted to make a living second, now care about nothing but money. Critics, who used to have discernment and taste, now have nothing but greed and lust for popularity. The public… well, don’t get me started on that. The circle is vicious: because tasteless ignoramuses use every available medium to build up musical nonentities, nonentities is all we get. And because the musical nonentities have no artistic qualities to write about, the writing nonentities have to concentrate on the more jutting attractions, using a vocabulary typically found in “lads’ mags”. The adage “sex sells” used to be applied first to B-movies, then to B-novels, and now to real music. From “sex sells” it’s but a short distance to “only sex sells”. This distance has already been travelled - and we are all being sold short.

[@ИринаНемсицверидзе]

Найдите в ютюбе мнение профессионалов на стиль игры Хатии. Стиль чтения музыкального текста называют фривольным . Исполнение больше напоминает развлекательной музыки в классической музыке. Большие профессиональные пианистки не сидят полуголые за роялем. Есть определенный аутфит, которому обязательно следуют. Выглядит все , конечно, эффектно, но здесь имеет место очень сильная пиаркомпания . Бизнес!

[@zdravkozdravkov2599]

That's marvelous, many thanks for uploading and sharing with us! 🙏🎹🌹

[@georgescancan7503]

Alexander Boot Writer, critic, polemicist Sex sells - all of us short The other day I listened to something or other on KZbin, and a link to Chopin’s Fourth Ballade performed by the Georgian pianist Khatia Buniatishvili came up. The link was accompanied by a close-up publicity photo of the musician: sloe bedroom eyes, sensual semi-open lips suggesting a delight that’s still illegal in Alabama, naked shoulders hinting at the similarly nude rest of her body regrettably out of shot… Let me see where my wife is… Good, she isn’t looking over my shoulder, so I can admit to you that the picture got me excited in ways one doesn’t normally associate with Chopin’s Fourth Ballade or for that matter any other classical composition this side of Wagner or perhaps Ravel’s Bolero. Searching for a more traditional musical rapture I clicked on the actual clip and alas found it anticlimactic, as it were. Khatia’s playing, though competent, is as undeniably so-what as her voluptuous figure undeniably isn’t. (Yes, I know the photograph I mentioned doesn’t show much of her figure apart from the luscious shoulders but, the prurient side of my nature piqued, I did a bit of a web crawl.) Just for the hell of it I looked at the publicity shots of other currently active female musicians, such as Yuja Wang, Joanna MacGregor, Nicola Bendetti, Alison Balsom (nicknamed ‘crumpet with a trumpet’, her promos more often suggest ‘a strumpet with a trumpet’ instead), Anne-Sophie Mutter and a few others. They didn’t disappoint the Peeping Tom lurking under my aging surface. Just about all the photographs showed the ladies in various stages of undress, in bed, lying in suggestive poses on top of the piano, playing in frocks (if any) open to the coccyx in the back and/or to the navel up front. This is one thing these musicians have in common. The other is that none of them is all that good at her day job and some, such as Wang, are truly awful. Yet this doesn’t really matter either to them or to the public or, most important, to those who form the public tastes by writing about music and musicians. Thus, for example, a tabloid pundit expressing his heartfelt regret that Nicola Benedetti “won’t be posing for the lads’ mags anytime soon. Pity, because she looks fit as a fiddle…” Geddit? She’s a violinist, which is to say fiddler - well, you do get it. “But Nicola doesn’t always take the bonniest photo,” continues the writer, “she’s beaky in pics sometimes, which is weird because in the flesh she’s an absolute knock-out. “The classical musician is wearing skinny jeans which show off her long legs. She’s also busty with a washboard flat tummy, tottering around 5ft 10in in her Dune platform wedges.” How well does she play the violin though? No one cares. Not even critics writing for our broadsheets, who don’t mind talking about musicians in terms normally reserved for pole dancers. Thus for instance runs a review of a piano recital at Queen Elizabeth Hall, one of London’s top concert venues: “She is the most photogenic of players: young, pretty, bare-footed; and, with her long dark hair and exquisite strapless dress of dazzling white, not only seemed to imply that sexuality itself can make you a profound musician, but was a perfect visual complement to the sleek monochrome of a concert grand… [but] there’s more to her than meets the eye.” The male reader is clearly expected to get a stiffie trying to imagine what that might be. To help his imagination along, the piece is accompanied by a photo of the young lady in question reclining on her instrument in a pre-coital position with an unmistakable ‘come and get it’ expression on her face. The ‘monochrome’ piano is actually bright-red, a colour usually found not in concert halls but in dens of iniquity. Nowhere does the review mention the fact obvious to anyone with any taste for musical performance: the girl is so bad that she should indeed be playing in a brothel, rather than on the concert platform. Can you, in the wildest flight of fancy, imagine a reviewer talking in such terms about sublime women artists of the past, such as Myra Hess, Maria Yudina, Maria Grinberg, Clara Haskil, Marcelle Meyer, Marguerite Long, Kathleen Ferrier? Can you see any of them allowing themselves to be photographed in the style of “lads’ mags”? I can’t, which raises the inevitable question: what exactly has changed in the last say 70 years? The short answer is, just about everything. Concert organisers and impresarios, who used to be in the business because they loved music first and wanted to make a living second, now care about nothing but money. Critics, who used to have discernment and taste, now have nothing but greed and lust for popularity. The public… well, don’t get me started on that. The circle is vicious: because tasteless ignoramuses use every available medium to build up musical nonentities, nonentities is all we get. And because the musical nonentities have no artistic qualities to write about, the writing nonentities have to concentrate on the more jutting attractions, using a vocabulary typically found in “lads’ mags”. The adage “sex sells” used to be applied first to B-movies, then to B-novels, and now to real music. From “sex sells” it’s but a short distance to “only sex sells”. This distance has already been travelled - and we are all being sold short.

[@franciscoconceicao3378]

Pianista admirável !... è um prazer escutá-la ...

[@georgescancan7503]

Alexander Boot Writer, critic, polemicist Sex sells - all of us short The other day I listened to something or other on KZbin, and a link to Chopin’s Fourth Ballade performed by the Georgian pianist Khatia Buniatishvili came up. The link was accompanied by a close-up publicity photo of the musician: sloe bedroom eyes, sensual semi-open lips suggesting a delight that’s still illegal in Alabama, naked shoulders hinting at the similarly nude rest of her body regrettably out of shot… Let me see where my wife is… Good, she isn’t looking over my shoulder, so I can admit to you that the picture got me excited in ways one doesn’t normally associate with Chopin’s Fourth Ballade or for that matter any other classical composition this side of Wagner or perhaps Ravel’s Bolero. Searching for a more traditional musical rapture I clicked on the actual clip and alas found it anticlimactic, as it were. Khatia’s playing, though competent, is as undeniably so-what as her voluptuous figure undeniably isn’t. (Yes, I know the photograph I mentioned doesn’t show much of her figure apart from the luscious shoulders but, the prurient side of my nature piqued, I did a bit of a web crawl.) Just for the hell of it I looked at the publicity shots of other currently active female musicians, such as Yuja Wang, Joanna MacGregor, Nicola Bendetti, Alison Balsom (nicknamed ‘crumpet with a trumpet’, her promos more often suggest ‘a strumpet with a trumpet’ instead), Anne-Sophie Mutter and a few others. They didn’t disappoint the Peeping Tom lurking under my aging surface. Just about all the photographs showed the ladies in various stages of undress, in bed, lying in suggestive poses on top of the piano, playing in frocks (if any) open to the coccyx in the back and/or to the navel up front. This is one thing these musicians have in common. The other is that none of them is all that good at her day job and some, such as Wang, are truly awful. Yet this doesn’t really matter either to them or to the public or, most important, to those who form the public tastes by writing about music and musicians. Thus, for example, a tabloid pundit expressing his heartfelt regret that Nicola Benedetti “won’t be posing for the lads’ mags anytime soon. Pity, because she looks fit as a fiddle…” Geddit? She’s a violinist, which is to say fiddler - well, you do get it. “But Nicola doesn’t always take the bonniest photo,” continues the writer, “she’s beaky in pics sometimes, which is weird because in the flesh she’s an absolute knock-out. “The classical musician is wearing skinny jeans which show off her long legs. She’s also busty with a washboard flat tummy, tottering around 5ft 10in in her Dune platform wedges.” How well does she play the violin though? No one cares. Not even critics writing for our broadsheets, who don’t mind talking about musicians in terms normally reserved for pole dancers. Thus for instance runs a review of a piano recital at Queen Elizabeth Hall, one of London’s top concert venues: “She is the most photogenic of players: young, pretty, bare-footed; and, with her long dark hair and exquisite strapless dress of dazzling white, not only seemed to imply that sexuality itself can make you a profound musician, but was a perfect visual complement to the sleek monochrome of a concert grand… [but] there’s more to her than meets the eye.” The male reader is clearly expected to get a stiffie trying to imagine what that might be. To help his imagination along, the piece is accompanied by a photo of the young lady in question reclining on her instrument in a pre-coital position with an unmistakable ‘come and get it’ expression on her face. The ‘monochrome’ piano is actually bright-red, a colour usually found not in concert halls but in dens of iniquity. Nowhere does the review mention the fact obvious to anyone with any taste for musical performance: the girl is so bad that she should indeed be playing in a brothel, rather than on the concert platform. Can you, in the wildest flight of fancy, imagine a reviewer talking in such terms about sublime women artists of the past, such as Myra Hess, Maria Yudina, Maria Grinberg, Clara Haskil, Marcelle Meyer, Marguerite Long, Kathleen Ferrier? Can you see any of them allowing themselves to be photographed in the style of “lads’ mags”? I can’t, which raises the inevitable question: what exactly has changed in the last say 70 years? The short answer is, just about everything. Concert organisers and impresarios, who used to be in the business because they loved music first and wanted to make a living second, now care about nothing but money. Critics, who used to have discernment and taste, now have nothing but greed and lust for popularity. The public… well, don’t get me started on that. The circle is vicious: because tasteless ignoramuses use every available medium to build up musical nonentities, nonentities is all we get. And because the musical nonentities have no artistic qualities to write about, the writing nonentities have to concentrate on the more jutting attractions, using a vocabulary typically found in “lads’ mags”. The adage “sex sells” used to be applied first to B-movies, then to B-novels, and now to real music. From “sex sells” it’s but a short distance to “only sex sells”. This distance has already been travelled - and we are all being sold short.

[@SilvioNobre]

Ela é tão maravilhosa! Muito obrigado por compartilhar. Feliz ano novo! 🙏🥂🍾

[@bernardbog5808]

Vous devriez jouer encore plus mu, quel bonheur !

[@미미-p1d]

롯데 콘서트홀에서 뵈었어요. 자연스럽게 흐르는음악이 너무 멋집니다♡

[@destincrain8546]

Hello my dear sweetheart darling. Amazing solo good music. Warms my heart to hear your performance

[@albot1942]

.......CARISSIMA KHATIA , SEI L’UNICA CHE ASCOLTARTI MENTRE SUONI IL PIANOFORTE MI TOGLI IL RESPIRO , TALMENTE MI EMOZIONI. UN INFINITO ABBRACCIO JO ALBOT

[@albot1942]

CARISSIMA KHATIA , QUANDO SUONI IL PIANOFORTE MI BLOCCHI IL RESPIRO , TALMENTE MI EMOZIONI. UN INFINITO ABBRACCIO JO ALBOT

[@maartenvanderlek8955]

Non quello. Corro 'Labyrinth' su CD-ROM quando non riesco a dormire. Ogni tanto sogno di Khatia...♥

[@josehernandezpineda4264]

Thanks a lot

[@lfre]

Soon in São Paulo. And I already have my tickets!!!

[@anitaanderson4392]

I need to find more adjectives to describe your extreme talent! 🤔 👏 🌹. . .🎶🎺

[@elifasgurgel]

Espetacular!!!

[@sangyi3551]

I've been listening to her performance only here, and I finally listen to her performance live today. I can't get rid of my lingering feelings. All the performances were so good, but personally Polonaise was really shocking.

[@israelorun]

I do not know what you are talking about. Her playing is precise.

[@catharinegriffin2507]

Love the performance, Unfortunately can't forget the dancing puppies video whenever I see her name!

[@L.M1792]

I love slow stuff, in moderation of course. This beginning is a wonderful and thoroughly felt accomplishment.

[@georgescancan7503]

Alexander Boot Writer, critic, polemicist Sex sells - all of us short The other day I listened to something or other on KZbin, and a link to Chopin’s Fourth Ballade performed by the Georgian pianist Khatia Buniatishvili came up. The link was accompanied by a close-up publicity photo of the musician: sloe bedroom eyes, sensual semi-open lips suggesting a delight that’s still illegal in Alabama, naked shoulders hinting at the similarly nude rest of her body regrettably out of shot… Let me see where my wife is… Good, she isn’t looking over my shoulder, so I can admit to you that the picture got me excited in ways one doesn’t normally associate with Chopin’s Fourth Ballade or for that matter any other classical composition this side of Wagner or perhaps Ravel’s Bolero. Searching for a more traditional musical rapture I clicked on the actual clip and alas found it anticlimactic, as it were. Khatia’s playing, though competent, is as undeniably so-what as her voluptuous figure undeniably isn’t. (Yes, I know the photograph I mentioned doesn’t show much of her figure apart from the luscious shoulders but, the prurient side of my nature piqued, I did a bit of a web crawl.) Just for the hell of it I looked at the publicity shots of other currently active female musicians, such as Yuja Wang, Joanna MacGregor, Nicola Bendetti, Alison Balsom (nicknamed ‘crumpet with a trumpet’, her promos more often suggest ‘a strumpet with a trumpet’ instead), Anne-Sophie Mutter and a few others. They didn’t disappoint the Peeping Tom lurking under my aging surface. Just about all the photographs showed the ladies in various stages of undress, in bed, lying in suggestive poses on top of the piano, playing in frocks (if any) open to the coccyx in the back and/or to the navel up front. This is one thing these musicians have in common. The other is that none of them is all that good at her day job and some, such as Wang, are truly awful. Yet this doesn’t really matter either to them or to the public or, most important, to those who form the public tastes by writing about music and musicians. Thus, for example, a tabloid pundit expressing his heartfelt regret that Nicola Benedetti “won’t be posing for the lads’ mags anytime soon. Pity, because she looks fit as a fiddle…” Geddit? She’s a violinist, which is to say fiddler - well, you do get it. “But Nicola doesn’t always take the bonniest photo,” continues the writer, “she’s beaky in pics sometimes, which is weird because in the flesh she’s an absolute knock-out. “The classical musician is wearing skinny jeans which show off her long legs. She’s also busty with a washboard flat tummy, tottering around 5ft 10in in her Dune platform wedges.” How well does she play the violin though? No one cares. Not even critics writing for our broadsheets, who don’t mind talking about musicians in terms normally reserved for pole dancers. Thus for instance runs a review of a piano recital at Queen Elizabeth Hall, one of London’s top concert venues: “She is the most photogenic of players: young, pretty, bare-footed; and, with her long dark hair and exquisite strapless dress of dazzling white, not only seemed to imply that sexuality itself can make you a profound musician, but was a perfect visual complement to the sleek monochrome of a concert grand… [but] there’s more to her than meets the eye.” The male reader is clearly expected to get a stiffie trying to imagine what that might be. To help his imagination along, the piece is accompanied by a photo of the young lady in question reclining on her instrument in a pre-coital position with an unmistakable ‘come and get it’ expression on her face. The ‘monochrome’ piano is actually bright-red, a colour usually found not in concert halls but in dens of iniquity. Nowhere does the review mention the fact obvious to anyone with any taste for musical performance: the girl is so bad that she should indeed be playing in a brothel, rather than on the concert platform. Can you, in the wildest flight of fancy, imagine a reviewer talking in such terms about sublime women artists of the past, such as Myra Hess, Maria Yudina, Maria Grinberg, Clara Haskil, Marcelle Meyer, Marguerite Long, Kathleen Ferrier? Can you see any of them allowing themselves to be photographed in the style of “lads’ mags”? I can’t, which raises the inevitable question: what exactly has changed in the last say 70 years? The short answer is, just about everything. Concert organisers and impresarios, who used to be in the business because they loved music first and wanted to make a living second, now care about nothing but money. Critics, who used to have discernment and taste, now have nothing but greed and lust for popularity. The public… well, don’t get me started on that. The circle is vicious: because tasteless ignoramuses use every available medium to build up musical nonentities, nonentities is all we get. And because the musical nonentities have no artistic qualities to write about, the writing nonentities have to concentrate on the more jutting attractions, using a vocabulary typically found in “lads’ mags”. The adage “sex sells” used to be applied first to B-movies, then to B-novels, and now to real music. From “sex sells” it’s but a short distance to “only sex sells”. This distance has already been travelled - and we are all being sold short.

[@humbertofernandez902]

Beautiful Poweful Delicate Sensitive Exellent

[@loving-everyone-equally]

Good to hear you again.😻

[@scratchy45s23]

I always wondered what the name of that melody was. I knew it was by Eric Satie, but I couldn't match it up with the title. It was actually used in a tv commercial, long ago

[@nickcastle9201]

Dommage qu'il n'y ait pas les images car Khatia c'est aussi un corps qui vit la musique qu'elle interprète !

[@김경이-x2g]

감사합니다

[@nickcastle9201]

Elle s'est faite plaisir sur certains tempos... Pas toujours avec bonheur !

[@destincrain8546]

Much love D

[@tonyli9249]

Beautiful music and woman, a wonderful combination!!!

[@valeriysakov1410]

Красавица...

[@valeriysakov1410]

Интересно!

[@frankdecember2743]

So DELICATE, So Beautiful. So Serene , MAGNIFICENT. BRAVA,BRAVISIMA

[@juligrlee556]

lovely

[@kathymckimm1819]

I am just wondering if you are still working at this time today? Thank you dear darling for sharing your thoughts and prayers and hugs and kisses with mama 🌙💘 for always my amazing Khatia of years and years ago because of my mama’s mind & music , once more mama before you leave & Hilda across the road, imagine. 🤟Show me too..💕

[@CABELLO34]

Al fin, vuelvo a escuchar esa joya de Chopin: la Mazurka en La menor. Poco frecuentada por los interpretes...

[@kathymckimm1819]

I am just wondering if you are still working at this time today? Thank you dear darling for sharing your thoughts and prayers and hugs and kisses with mama 🌙💘

[@benblumenstein7656]

OH MY GOD!!!!!! !

[@eugenegauggel1000]

La Javanaise by Serge Gainsbourg, c'est mervelleux, comme elle l'a joué. Serge aurais aimer la version d'elle.

[@skrawberrries]

im ngl I always thought Gymnopédie n°1 was something cooked up for Studio Ghibli, didn't know its been a classic for ages

[@zoltan5200]

Az, igazi csodàhoz, làtnom is kell Õt . Làtni, ahogyan eggyèvàlik a zenèvek, hangszerèvel.

[@blscksholz]

🎵

[@안성준-i7j]

😄👏👏👏👍🙏🌷💐

[@kathymckimm1819]

Thank you dear darling for sharing your thoughts with me this morning sweetheart and wishing everyone a blessed blessed & merry Christmas filled with beautiful blessings & memories for you and your beautiful daughters & family Amen 🙏 dear darling darling friend from your adoring mamas moon princess 🌙🤟💘Shabbat Shalom dear Sir & beautiful princess amen 🙏 princess merry merry Hanukkah blessings to everyone from me wishing you all a beautiful blessed blessed day dear darling mama mommy mama moon 🌙 princess moon 🌙

[@nanadejour3231]

[@eugenegauggel1000]

Ao vivo en France, n'est-ce pas?

[@kathymckimm1819]

Congratulations dear darling for your beautiful blessings amen & amen dear darling & Shabbat Shalom sending much love & hugs and prayers kisses hugs king kisses mama mommy merry Christmas darling &blessed blessings dear darling merry Christmas blessings and prayers for your family Amen 🙏

[@leonardoiglesias2394]

Ah, Vuitton!!!!!!!! Great!!!!!! Expensive!!!! Very classy….like Satie…hahahaha!

[@kathymckimm1819]

Wishing you all ablessed blessed beautiful day dear darling for your amazing family and happiness dear dear darling mama mommy merry Christmas greetings to heaven for Caroline mommy mama see you in twenty years my dearest dear darling mommy & Hilda too. Shabbat Shalom to you all are blessed with beautiful family blessings amen & merry Christmas greetings 🖖 from mark & princess Pricilla thank you for sharing this beautiful evening with me and your beautiful dearest darling darling mama mommy moon 🌙 merry merry Hanukkah blessings amen 🙏 Shabbat Shalom love you dear darling dear friend & thank you dear mama mommy mommy me and blessings to everyone wishing you all a beautiful blessed blessings amen 🙏 & amen to you all FFOZ beautiful princess mama mommy mama Khatia & King kisses mark & Princess Priceless Pricilla love you mama mommy mama hugs & kisses mommy mama love you sweetheart thank you for sharing your beautiful family photo with me thank you dear darling for sharing your photos with me and wishing you all a blessed blessed Christmas and blessed blessed blessings amen merry Christmas greetings to heaven & blessed blessings to everyone Shalom & amazingly beautiful & beautiful blessed blessed day to everyone of you in the heaven blessed blessings to you all dear darling a beautiful blessed day Amen 🙏 🙏💘✡️🤘🌙💘🖖

[@xabbbbdp]

Bonjour, pourriez-vous me dire d'où vous avez tiré l'audio de la vidéo s'il vous plaît ? Merci beaucoup !

[@xabbbbdp]

Please would it be possible to know where you got the audio from? Thank you!

[@mance02]

Where can I WATCH this performance?

[@janicezany]

I would I like to do the same Mance!

[@やんマサ-r3s]

これすごくいいけど、CD化はされてないみたいなんですねえ、残念😥

[@georgescancan7503]

Alexander Boot Writer, critic, polemicist Sex sells - all of us short The other day I listened to something or other on KZbin, and a link to Chopin’s Fourth Ballade performed by the Georgian pianist Khatia Buniatishvili came up. The link was accompanied by a close-up publicity photo of the musician: sloe bedroom eyes, sensual semi-open lips suggesting a delight that’s still illegal in Alabama, naked shoulders hinting at the similarly nude rest of her body regrettably out of shot… Let me see where my wife is… Good, she isn’t looking over my shoulder, so I can admit to you that the picture got me excited in ways one doesn’t normally associate with Chopin’s Fourth Ballade or for that matter any other classical composition this side of Wagner or perhaps Ravel’s Bolero. Searching for a more traditional musical rapture I clicked on the actual clip and alas found it anticlimactic, as it were. Khatia’s playing, though competent, is as undeniably so-what as her voluptuous figure undeniably isn’t. (Yes, I know the photograph I mentioned doesn’t show much of her figure apart from the luscious shoulders but, the prurient side of my nature piqued, I did a bit of a web crawl.) Just for the hell of it I looked at the publicity shots of other currently active female musicians, such as Yuja Wang, Joanna MacGregor, Nicola Bendetti, Alison Balsom (nicknamed ‘crumpet with a trumpet’, her promos more often suggest ‘a strumpet with a trumpet’ instead), Anne-Sophie Mutter and a few others. They didn’t disappoint the Peeping Tom lurking under my aging surface. Just about all the photographs showed the ladies in various stages of undress, in bed, lying in suggestive poses on top of the piano, playing in frocks (if any) open to the coccyx in the back and/or to the navel up front. This is one thing these musicians have in common. The other is that none of them is all that good at her day job and some, such as Wang, are truly awful. Yet this doesn’t really matter either to them or to the public or, most important, to those who form the public tastes by writing about music and musicians. Thus, for example, a tabloid pundit expressing his heartfelt regret that Nicola Benedetti “won’t be posing for the lads’ mags anytime soon. Pity, because she looks fit as a fiddle…” Geddit? She’s a violinist, which is to say fiddler - well, you do get it. “But Nicola doesn’t always take the bonniest photo,” continues the writer, “she’s beaky in pics sometimes, which is weird because in the flesh she’s an absolute knock-out. “The classical musician is wearing skinny jeans which show off her long legs. She’s also busty with a washboard flat tummy, tottering around 5ft 10in in her Dune platform wedges.” How well does she play the violin though? No one cares. Not even critics writing for our broadsheets, who don’t mind talking about musicians in terms normally reserved for pole dancers. Thus for instance runs a review of a piano recital at Queen Elizabeth Hall, one of London’s top concert venues: “She is the most photogenic of players: young, pretty, bare-footed; and, with her long dark hair and exquisite strapless dress of dazzling white, not only seemed to imply that sexuality itself can make you a profound musician, but was a perfect visual complement to the sleek monochrome of a concert grand… [but] there’s more to her than meets the eye.” The male reader is clearly expected to get a stiffie trying to imagine what that might be. To help his imagination along, the piece is accompanied by a photo of the young lady in question reclining on her instrument in a pre-coital position with an unmistakable ‘come and get it’ expression on her face. The ‘monochrome’ piano is actually bright-red, a colour usually found not in concert halls but in dens of iniquity. Nowhere does the review mention the fact obvious to anyone with any taste for musical performance: the girl is so bad that she should indeed be playing in a brothel, rather than on the concert platform. Can you, in the wildest flight of fancy, imagine a reviewer talking in such terms about sublime women artists of the past, such as Myra Hess, Maria Yudina, Maria Grinberg, Clara Haskil, Marcelle Meyer, Marguerite Long, Kathleen Ferrier? Can you see any of them allowing themselves to be photographed in the style of “lads’ mags”? I can’t, which raises the inevitable question: what exactly has changed in the last say 70 years? The short answer is, just about everything. Concert organisers and impresarios, who used to be in the business because they loved music first and wanted to make a living second, now care about nothing but money. Critics, who used to have discernment and taste, now have nothing but greed and lust for popularity. The public… well, don’t get me started on that. The circle is vicious: because tasteless ignoramuses use every available medium to build up musical nonentities, nonentities is all we get. And because the musical nonentities have no artistic qualities to write about, the writing nonentities have to concentrate on the more jutting attractions, using a vocabulary typically found in “lads’ mags”. The adage “sex sells” used to be applied first to B-movies, then to B-novels, and now to real music. From “sex sells” it’s but a short distance to “only sex sells”. This distance has already been travelled - and we are all being sold short.

[@valeriysakov1410]

Ох...

[@villalobos1981]

DID YOU LIKE, LOVE, MY LAST PERFORMANCE ? YOU ARE THE ULTIMATE UTOPIA. I LOVE YOU !

[@marcostefanoboietti6013]

Sì, ti sto pensando né morto né vivo, nel disinganno intreccio di voci. Torno a morire ogni volta sul tuo viso, torno sempre lì 🌿 da Notte di quattro lune Poesie d'amore Edizioni Polistampa