Monday MON 6 June 2022
Monday MON 6 June 2022

Khatia Buniatishvili © Esther Haase / Sony Classical

Klavierabend Khatia Buniatishvili

Monday 13 June 2022
19:30 – ca. 21:00
Großer Saal



Khatia Buniatishvili, Klavier


Erik Satie

Première Gymnopédie (1888)

Frédéric Chopin

Prélude e-moll op. 28/4 (1836–1839)

Scherzo Nr. 3 cis-moll op. 39 (1839)

Johann Sebastian Bach

Air (Ouverture / Orchestersuite Nr. 3 D-Dur BWV 1068) (Bearbeitung für Klavier) (1717–1723 ca.)

Franz Schubert

Impromptu Ges-Dur D 899/3 (1827)

Franz Liszt

Ständchen S 558/9 (Bearbeitung für Klavier nach Franz Schubert D 957/4) (1828/1837–1838)

Frédéric Chopin

Polonaise As-Dur op. 53 (1842)

Mazurka a-moll op. 17/4 (1832–1833)

François Couperin

Les Barricades mystérieuses (Pièces de Clavecin Second Livre, 6e Ordre) (1716–1717))

Franz Liszt

Präludium und Fuge a-moll (aus S 462) (Bearbeitung für Klavier nach Johann Sebastian Bach BWV 543) (1842–1850)

Consolation Des-Dur S 172/3 (1849–1850)

Ungarische Rhapsodie Nr. 2 cis-moll S 244/2 (1846–1851)



Sergej Prokofjew

Sonate Nr. 7 B-Dur op. 83 (3. Satz: Precipitato) (1939–1942)

Johann Sebastian Bach

Concerto d-moll BWV 974 (2. Satz: Adagio in Bearbeitung von Alessandro Marcello) (1708–1717)

Serge Gainsbourg

La javanaise (Bearbeitung: Khatia Buniatishvili)


Unterstützt von Kapsch

Subscription series Klavier im Großen Saal

Links http://www.khatiabuniatishvili.com

Presented by Wiener Konzerthausgesellschaft

The Art of Patience

»To love Schubert means [...] to master the art of patience,« writes Khatia Buniatishvili. The self-confessed feminist recognises feminine aspects in Schubert's work: »What sings in Schubert's music is that femininity which has sprung from a state of greatest vulnerability - love - and which is transformed into a stronger force: The power to act, to create, to exist.« In the Great Hall, she performs Schubert's quiet, lyrical Impromptu in G flat major. But the virtuoso pianist's programme also includes other selected works by François Couperin, Frédéric Chopin and Erik Satie. 

Supported by


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