From the opening bars Ms Buniatishvili challenges convention. The three works on this disc are cornerstones of the modern virtuoso's repertoire with Mussorgsky's Pictures at an Exhibition one of the mightiest of them all. Not that I think Ms Buniatishvili performs with an eye to being novel. If there is a problem encountering such a performance on disc as opposed to in the concert hall is the fact that you return to this single version time and time again and the sheer novelty of certain moments diminishes. I must admit to being rather in awe of music-making at this level." What was clear that night and also clear from this disc is that this is a performer with a strikingly individual approach and with any such approach it will engage as many as it enrages. Any kind of pre-conception or dogma was dismissed, replaced instead with a sure and certain ownership of the music, the orchestra and the audience. At this moment in this hall Buniatishvili convinced one totally with the personal force of her vision. But to my ear this encapsulated the glory of live music making. By its very individuality I can imagine some people feeling that this was too interventionist and not appropriately “authentic”. For "Seen and Heard" I wrote: "This was quite simply some of the most compelling and charismatic playing by any soloist I have heard in concert in a considerable time. My first encounter with Ms Buniatishvili's playing was in concert nearly three years ago playing Beethoven Piano Concerto No.1. Normally I do not refer to other reviews before or during my own reviewing process but reactions to her playing are so polarised that some comment is necessary - I have included some of the reactions at the end of this review. Ms Buniatishvili is a big personality on the keyboard with an even bigger technique and at just 28 years old her performing divides opinions fiercely. Safe is not a word that can be associated with the piano playing of Khatia Buniatishvili and neither is this new disc likely to feature in many 'building a library' lists. The risk is they signify something 'safe' and predictable. Too often I suspect they represent performances least likely to offend most people most of the time. I am not a fan of 'library recommendations'. Funkhaus Saal 1, Berlin, Germany, 23-26 August 2015
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