Great music for ... afterwards

All my alarm bells loud when a young, already preisgekörnte classical pianist brings out a CD that contains nothing but short pieces that are from the concert scene well knows as encores - from Liszt's "Lullaby" on Debussy's "Claire de Lune" to Ravel's " Pavane ... "complemented by a classic set folk song from home (Georgia) the pianist. The suspicion that here the marketing department of the record company determines the selection, is very close.
But the cool distance melts when listening very quickly. The piano version of a Bach cantata is as intimately as yet brought under Baroque, as well as the unintentional and seemingly improvised melody particles of Tchaikovsky's "Autumn Song" effect is anything but routine. A highlight is the F minor "Song without Words" by Mendeslssohn-Bartholdy - I've never heard it so modern sounding, beyond mere complacency. And suddenly opens also a deeper meaning in the choice of pieces. Because Buniatishvilis interpretations show a structural relationship of this Mendelssohn's song with Ligeti's "Musica ricercata No. 7" and also with Listzs "Lullaby" on which one has previously hardly captured so. At the latest when Handel's G minor minuet - here in the filled with romanticized chords version of the unforgettable Wilhelm Kempff (who dares to be today?) -, You can stretch and determine only all weapons: record companies dictations Marketing out here, this is simply great music played by a pianist who is such a virtuoso, that they can devote themselves entirely to the intimate interpretation.