流石、パティル様！🎉

Высший пилотаж, супер исполнение , супер техника , сверх профи!!!!!!!!! Браво !браво! Браво!!!!

It is the hardest tune I can play on the guitar. It took me around 4 years to get it right at half speed, another 4 to increase the speed. Still I am not at the original tempo. To hear this on piano is so totally amazing! You really widen the horizon of this tune, you seem to find aspects in Tchan Tchou's composition nobody has discoverd so far. Thanks so much for posting!

Tchantchou serait aux anges de vous entendre, si il faisait encore partie de ce monde, et j'en parle en connaissance de cause je l'ai très bien connu étant moi même guitariste et son accompagnateur attitré François est toujours des nôtres corse comme moi d'ailleurs que je revois de temps à autre. Encore un grand Bravo !

She does not only play convincingly, but is always beautifully clad - a rare thing nowadays.

👍Delightful! easy and effortless! cool and mischievous performance. 💥😇👏🌹🌻

Every note is on its place. Thank You for this!

Cool 👍, it was like I was in a movie from the thirties with a bright, interesting plot and a happy ending. Thank you and wish you further success 💐👏✊.

Потрясающе!

Extra, Super, Amazing.

Quelle virtuosité !!!!

what a good interpretation

Magnifique , bravo !!

la mejor versión de la gitane en piano es extraordinario, saludos

Super !! Merci. Très bonne année à vous.

Que maravilla! Felicidades

Simply brilliant!

Magnifique!

It was great! Thank you💥😇💐

Apres , aziz djan !!!!!!!!!!!! Shikarno !!!!!!!! Bravo !!!!!!!!!

I love it so much!

❤ from Greece

So I just listened to this through a string of not-quite coincidences starting with watching Jim Steinman describing 'Total eclipse of the heart' that he wrote for Bonnie Tyler as 'Wagnerian' followed by watching Zouiten's oud version of La Gitaine which made me think 'this is very suited to piano and finally landing on this video which it turned out I have watched before BUT the ending in this piano version turns out to be very Steinman-esque, in terms of being very gothic and stormy. What it reminds me of is the Ennio Morricone version of Jelly Roll Morton's The Crave because what Morricone does is to 'Gothify' Morton's piano piece, doing exactly the same thing to Morton's original that is being done to Tachan Tchou's masterpiece here. It has also helped me understand for the first time exactly what Morton was doing when he put together his piano pieces (not Morton's jazz band stuff, that's a completely different rabbit hole, lol): Morricone was obviously inspired by the fact that Morton's 'Spanish Tinge' (as Morton called it) was undeniably reminiscent of Bizet's Carmen (as a musical treatment his Spanish tinge is often referred to as introducing a 'Habanera', a kind of hesitation before the beat, acting as an accent, a close cousin of syncopation, and often woven into exactly the same kind of rhythmic nuances: the comfortable waltzy feel of this piece is perfectly counterbalanced in a way that was a Morton fingerprint: he is constantly throwing in this intense gothic classical 'Carmenesque' set of phrases, followed by something much more innocuous and sweetly melodic, then something overtly rhythmic. Suddenly, listening to this piano version of La Gitaine, I got it. Morton had a very specific set of objectives. One was to win those 'piano battles' (as illustrated in the film '1900' that Morricone re-wrote The Crave for) by creating unplayably complex fast gothic runs. Another is that he wrote and played 'piano music for dancing to' and third, he was a 'human jukebox' playing music on-demand that needed to be very simple and catchy. This latter requirement is the key to exactly understanding what's going on when the music switches so seamlessly between extremes from phrase to phrase, from gothic neoclassical to something essentially approximating self-parody in terms of jaunty ragtime clowning. His music is essentially ethnomusically black and white. Compare Gershwin's deadly serious orchestral material with Satchmo's most playful scatting. Morton is oscillating between the two and weaving them together seamlessly. Django took the spirit of Morton's approach to piano and adapted it for guitar. Tchan Tchou turned it into a Djangoesque Waltz and Patil Zakarian goes full circle and turns it back into a Morricone version, complete with enough gothic intensity to make Morton''s classic almost unplayable party piece 'The Fingerbreaker' and somehow manages to make it look like a cakewalk in comparison. Pure genius.

C’est magnifique bravo 🙃

ah that's a real beautiful surprise !

formidable

this is wonderful! Reminds me of Musette...

Wonderful!

amazing!

Great... Congratulations...

great music here, thank you for this wonderful playing just amazing and perfect. You now one of my favourite gipsy music pianists with harry völker and olivier radu. See we got a new gret musical trinity here for me listening:)

Amazing AND magnificent. Simply brilliant.

Very nice!

Une merveille

Wow amazing!!! Nice ;)

bravo

very cool

Wow, very nice video, very well done ! Bravo ! I wish you all the best in 2017 for you, your family and your friends ;-) Alain

very nice ))

👏👏👏

Hi Patil, I really love this! thanks a lot for sharing! I would be very interested to have a transcription of this beautiful piece, have you done this already or considered doing it? best greetings from birdland!

très belle interprétation et belle virtuosité mais... mais avec un piano bien accordé ça serait parfait

Congratulations!---with best regards---Ursula

Just today I discovered Pat Pianooo My mom played by ear and reading, not at your level and she passed years ago.

after practicing the left hand alone all day, I am now considering replacing the upper half of my piano with accordion buttons. The fingering is literally hair-raising...

Ok i reached part C (1:45) and i suck at the glissandos 🥴

How can I get the sheet music 😍😍 its wonderful

To fast

bravo