There is absolute genius in this performance. In my opinion it ranks among the highest I have so far heard. The expression on Mariam's face as she plays shows how deeply she understand s Liszt's music .
I've heard this sonata hundreds of times. Thank you Mariam for making it feel like the first time again. seemed possesed... and then when the feminin theme comes in at 3 mins a breath of fresh air... i could go on: amazing. never been so moved since Avdeeva and jarrett... merci enormement ! bravo !!!
I actually like the rubato and the dynamics. She did it very well to show her expression for this Sonata. People are also writing about her facial expressions...Liszt was ridiculed for his facial expressions too lol. She's a true fan if he's one of her favorite composers. This was brilliant.
Excellente pianiste , elle joue superbement bien avec finesse elle est très belle profonde , Franz Litz est un compositeur très difficile à interpréter, elle le joue profondément avec émotions elle dépasse la technique pour aller plus loin dans la partition ont l'écoute et ont n'est dedans avec elle sans décrocher. Magnifique Tank you very much merci beaucoup muchas gracias et merci à TH-cam
A truly romantic era performance of this amazing sonata, it seemed a bit Cortot like with beautiful expression and fragile brilliance...she may have channeled a bit of Lisztomania even... imho...Extraordinary performance!
Me ha impresionado!. Una maravilla cómo interpreta a Liszt. Roza la perfección. Enhorabuena Mariam y gracias por el regalo que nos haces escuchándote. Espero hacerlo muchas veces.
Love this very human interpretation. I could care less about all of the memory lapses and wrong notes. Much more refreshing than all of the other "beta-blocker pianists" with their calculated, stale performances.
Her sound reminds me of Maurizio Pollini's. Compare this performance to Pollini's historic record with Deutsche Grammophon (th-cam.com/video/qS0gxhktEuY/w-d-xo.html). Although the interpretation is quite different, the sound is as noble, as heroic, as Pollini's, if not more. Mariam, you are simply amazing and I look forward to hearing you live soon.
Yes, she is very talanted and musical, has her own performing personality. But the octaves in the left hand are rather weak...Her small finger technique is brilliant, but the large one is worse... but anyway, she's very good pianist
Sorry to demur from the opinions expressed below, but I find this a disturbingly superficial and empty performance of this masterpiece. At times, Batsashvili makes Liszt sound like Clementi (amazing!?). She simply skates over the notes; there is no depth or weight to her tone, and where, oh where, is the emotion, let alone the passion, in this most passionate of works? The "prayer" at 22.33 is ludicrously banal. It isn't even an accurate performance: there's a sorry mess at 5.31 (Batsashvili completely loses it for 10 seconds and it takes her another 10 to get fully back on track) and memory lapses at 9.46, 13.44, 18.24 and 21.57, too. For everything this performance lacks, and then some, listen to Khatia Buniatishvili's incandescent Sony recording; it will leave you wanting a cold shower. After this one, I need defrosting! Thanks for posting.
I tend to agree, although I see the bobble at the 5:30 mark as not very problematic. She won't make that mistake again. However, I've listened to this and then to the Buniatishvili version. There is indeed a world of difference to my ear. Buniatishvili erupts. There's fire in her playing that I don't hear here. Of course, all interpretation is subjective. A lot of people don't care for the verve Buniatishvili puts into hers. All that said, I admire anyone who can get through the monument that is the B-minor sonata. Many a virtuoso has foundered on the rocks off the shore of that continent. Batsashvili is a fine young pianist. Her interpretations will evolve. I'd like to hear her again in five years.
Yes, she makes errors at your marked times. Did you come armed with a pen and pencil to note her errors? This is a "live" performance. We've become far used to listening to recorded performances which are all too quick to edit out each imperfection. As far as Buniatshvili's performance is concerned, I thought I'd do an apple to apple comparison. Namely, the video of her live performance on this piece. She's rushing through the notes, her hair is covering her face (if you watch enough of her videos, the hair "shtick" happens alot), and of course she's "broadcasting" too much of what should be further inside her dress. Some performers are like current baseball stadiums. If the game doesn't interest you, there's also the concession stands and other "prettiness" to concern yourself with. My point is her performance relies on the cheap thrills of playing superfast and turning the performance into an overblown Hollywood experience. Talk about shallow. I think the Liszt sonata is one of those pieces a performer is better off trying a little later in life, after they've experienced more things and can bring that maturity to their performance.. It makes me alot more interested in listening to how MB's career progresses than several other younger pianists who are too interested in insinuating themselves into the performance. Performing should be about the performer, in a way, stepping aside, and allowing the composer to speak as clearly as he/she can. Not to say that Ms. Batsashvili is on the same level, but Alfred Cortot made his share of errors, but his performances were unique and incredible. Some people didn't like Brendel's Liszt. Compare it to, say, Horowitz, and they'd find it wanting. But Brendel's view of Liszt was of a more subtle nature. Again, not to say they're comparable (yet), but I think that's what the present pianist is aiming at. Buniatshvili's approach was quite a bit different. Again, not comparing apples to apples.
@@jeremyberman7808 Interesting, thank you. And I agree with you about Brendel's Liszt; his disc of late works is one of the great piano recordings (of any composer) of all time.
I wish contemporary pianists wouldn't make so many strange faces while performing. It very much distracts from the musical experience and is not at all necessary. Music whould be carried inside, in the heart, and not ouside, in the face. A real shame.
music sometimes leaks out of every good pianist in their faces whether a hundred years ago or not, i admit some newer pianist egg it a bit but they are not typing in an accountants they are living the music most pianist show some form of expression even rubinstein michelangeli and horowitz etc
It is not because music shines throughout the body that it does not come from the heart. The thing is it takes time and experience to get this overflow of emotion more and more controlled. However, Liszt would not have disapproved such a physical expression of the emotions his music conveys to those who play it. In fact, I like to believe that any time Liszt would play, it had to be such a performance.
There is absolute genius in this performance. In my opinion it ranks among the highest I have so far heard. The expression on Mariam's face as she plays shows how deeply she understand s Liszt's music .
Agreed, I love to look at her face when she plays, I discovered her when she was playing the Chiaconne bach-Buisoni. What a moment!
Just saw her play this in London. The performance was so rich with emotion, at the end tears were visible in the corners of her eyes. Stunning!
I've heard this sonata hundreds of times. Thank you Mariam for making it feel like the first time again. seemed possesed... and then when the feminin theme comes in at 3 mins a breath of fresh air... i could go on: amazing. never been so moved since Avdeeva and jarrett... merci enormement ! bravo !!!
Oh my! This is a rare treasure indeed. Liszt is smiling!
Wow, Mariam's sound definition is actually so exquisite
Absolutely astounding virtuosity and color. She's arguably one of the greatest pianists of her generation.
incredible performance. She is a gift to mankind
Bravo Mariam! Superbe interprétation de cette magnifique sonate de Liszt!
Extraordinary! Never tire of listening to this particular version of this sonata.
Magnificent rendition of the Liszt Sonata. Thanks for sharing this.
I actually like the rubato and the dynamics. She did it very well to show her expression for this Sonata. People are also writing about her facial expressions...Liszt was ridiculed for his facial expressions too lol. She's a true fan if he's one of her favorite composers. This was brilliant.
She carries Liszt, existentially.
A free style performance of Liszt! Although some listeners may dislike her tempo rubato and dynamics, her performance has its own magical charm.
notaire2 It was well done!
And at the same time, rare!
notaire2 Yes! Indeed !
Excellente pianiste , elle joue superbement bien avec finesse elle est très belle profonde , Franz Litz est un compositeur très difficile à interpréter, elle le joue profondément avec émotions elle dépasse la technique pour aller plus loin dans la partition ont l'écoute et ont n'est dedans avec elle sans décrocher. Magnifique Tank you very much merci beaucoup muchas gracias et merci à TH-cam
An enchanting and mind blowing performance that to me was almost Cziffra-like.
Beautiful
A truly romantic era performance of this amazing sonata, it seemed a bit Cortot like with beautiful expression and fragile brilliance...she may have channeled a bit of Lisztomania even... imho...Extraordinary performance!
Whoa, she is around 22 in this performance and gives such a stunning interpretation. Really looking forward to seeing how she develops!
Me ha impresionado!. Una maravilla cómo interpreta a Liszt. Roza la perfección. Enhorabuena Mariam y gracias por el regalo que nos haces escuchándote. Espero hacerlo muchas veces.
Excellent!!!
anybody thought that her face somewhat resembles that of Liszt himself?
Totally agree ... uncanny ?
The haircut I guess...
Best of all!
Love this very human interpretation. I could care less about all of the memory lapses and wrong notes. Much more refreshing than all of the other "beta-blocker pianists" with their calculated, stale performances.
she is very good
She gets it.
Una técnica fenomenal y, aparte unas manos bellísimas !!!!! Besos !!!
She is incredible. For some reason i like her playing the sonata more than Zimerman.
I'd like to compare with Valentina Lisitsa, but is it more sensitive to her fingers than her? It is wonderful.
Linda demais..
Of all that I've heard it's the 3rd top version (1rst and 2nd are horowitz and argerich)
What is wrong with you at 5:30? forgot the note?
5:31 😭😭
Thrilling, so far from the jaded hackneyed, note-perfect drivel so often presented by the latest whizz kid
Her sound reminds me of Maurizio Pollini's. Compare this performance to Pollini's historic record with Deutsche Grammophon (th-cam.com/video/qS0gxhktEuY/w-d-xo.html). Although the interpretation is quite different, the sound is as noble, as heroic, as Pollini's, if not more. Mariam, you are simply amazing and I look forward to hearing you live soon.
You're right. I have a bust of Beethoven sitting on my piano. He never makes any facial expressions... 😂
I love her facial expressions haha
Zippymax1, I wish I had said that.
Yes, she is very talanted and musical, has her own performing personality. But the octaves in the left hand are rather weak...Her small finger technique is brilliant, but the large one is worse... but anyway, she's very good pianist
Long fingers....
she kinda looks like a female version of freddie mercury
Haha! For me, she has the looks of young Liszt himself! ; - ) For sure, a fascinating androgynous beauty.
Os dejo la increíble versión de Sergei Yerokhin
th-cam.com/video/j5uKOSe-6yg/w-d-xo.html
15:46 fugue
What a face
liszt possesion
Sorry to demur from the opinions expressed below, but I find this a disturbingly superficial and empty performance of this masterpiece. At times, Batsashvili makes Liszt sound like Clementi (amazing!?). She simply skates over the notes; there is no depth or weight to her tone, and where, oh where, is the emotion, let alone the passion, in this most passionate of works? The "prayer" at 22.33 is ludicrously banal. It isn't even an accurate performance: there's a sorry mess at 5.31 (Batsashvili completely loses it for 10 seconds and it takes her another 10 to get fully back on track) and memory lapses at 9.46, 13.44, 18.24 and 21.57, too. For everything this performance lacks, and then some, listen to Khatia Buniatishvili's incandescent Sony recording; it will leave you wanting a cold shower. After this one, I need defrosting! Thanks for posting.
I tend to agree, although I see the bobble at the 5:30 mark as not very problematic. She won't make that mistake again. However, I've listened to this and then to the Buniatishvili version. There is indeed a world of difference to my ear. Buniatishvili erupts. There's fire in her playing that I don't hear here. Of course, all interpretation is subjective. A lot of people don't care for the verve Buniatishvili puts into hers. All that said, I admire anyone who can get through the monument that is the B-minor sonata. Many a virtuoso has foundered on the rocks off the shore of that continent. Batsashvili is a fine young pianist. Her interpretations will evolve. I'd like to hear her again in five years.
Yes, she makes errors at your marked times. Did you come armed with a pen and pencil to note her errors? This is a "live" performance. We've become far used to listening to recorded performances which are all too quick to edit out each imperfection. As far as Buniatshvili's performance is concerned, I thought I'd do an apple to apple comparison. Namely, the video of her live performance on this piece. She's rushing through the notes, her hair is covering her face (if you watch enough of her videos, the hair "shtick" happens alot), and of course she's "broadcasting" too much of what should be further inside her dress. Some performers are like current baseball stadiums. If the game doesn't interest you, there's also the concession stands and other "prettiness" to concern yourself with. My point is her performance relies on the cheap thrills of playing superfast and turning the performance into an overblown Hollywood experience. Talk about shallow. I think the Liszt sonata is one of those pieces a performer is better off trying a little later in life, after they've experienced more things and can bring that maturity to their performance.. It makes me alot more interested in listening to how MB's career progresses than several other younger pianists who are too interested in insinuating themselves into the performance. Performing should be about the performer, in a way, stepping aside, and allowing the composer to speak as clearly as he/she can. Not to say that Ms. Batsashvili is on the same level, but Alfred Cortot made his share of errors, but his performances were unique and incredible. Some people didn't like Brendel's Liszt. Compare it to, say, Horowitz, and they'd find it wanting. But Brendel's view of Liszt was of a more subtle nature. Again, not to say they're comparable (yet), but I think that's what the present pianist is aiming at. Buniatshvili's approach was quite a bit different. Again, not comparing apples to apples.
@@jeremyberman7808 Interesting, thank you. And I agree with you about Brendel's Liszt; his disc of late works is one of the great piano recordings (of any composer) of all time.
I wish contemporary pianists wouldn't make so many strange faces while performing. It very much distracts from the musical experience and is not at all necessary. Music whould be carried inside, in the heart, and not ouside, in the face. A real shame.
LOL! But, I, personally love watching the faces. It adds a whole new dimension to the musical experience.
music sometimes leaks out of every good pianist in their faces whether a hundred years ago or not, i admit some newer pianist egg it a bit but they are not typing in an accountants they are living the music most pianist show some form of expression even rubinstein michelangeli and horowitz etc
in an interview Keith Jarrett explains it well... not only the face but the body too...(in the art of improvisation)
It is not because music shines throughout the body that it does not come from the heart. The thing is it takes time and experience to get this overflow of emotion more and more controlled. However, Liszt would not have disapproved such a physical expression of the emotions his music conveys to those who play it. In fact, I like to believe that any time Liszt would play, it had to be such a performance.
It's VERY simple...the camera shouldn't be in THEIR FACE. You can always say if they are doing it for the camera- most of the interpreters are not!