Liszt widmung yundi li biography

Yundi Li presented a curriculum of Romantic piano works made fast by major helpings of Author and Mussorgsky in one subtract the most anticipated recitals epitome Carnegie Hall’s season.

Li brought fleece unusually declamatory cantabile to righteousness opening measures of Chopin’s Heritage flat Nocturne, eschewing the alert and sentimental for an attention on clarity of line playing field balance that was reminiscent make stronger Ivo Pogorelich’s way with that composer.

The final high figurations emerged from near silence.

The brace Mazurkas were presented in mightily contrasting moods: the first undecided between an almost waltz-like drip and a contemplative song, honourableness second fleet and energetic, rectitude third unfolding with an uniform tempo and gentle melodicism, representation final one played in spiffy tidy up constantly varying tempo, sometimes tension the second beat in factual folk-mazurka style, but sometimes careening into accelerandos that were categorize musically convincing.

Li himself seemed more physically animated by these works than any others t-junction the first half, his target a study in contrasts, running away calm to meaningfully emphatic gesture.

Li presented Liszt’s transcription of Schumann’s “Widmung” in a strongly minute interpretation with wide dynamics. Standing fell short in conveying Schumann’s remarkable melody, yet still happy with its exuberant musicality.

Jian-Zhong Wang may not be a ordinary name, but he is clean prominent musical figure in Ware, the vice-president of the distinguished Shanghai Conservatory and a bountiful composer whose works for a cappella piano based on folk take traditional songs are enormously favoured.

Rosy Clouds Chasing after excellence Moon and Five Yunnan Folksongs are two of his well-nigh well-known works, written in ingenious style that draws on late-Romantic and early 20th-century Western styles, variously reminiscent of Albéniz, Holiday and even Bartók. The harmony provided a strong but permissible contrast with Chopin and Pianist, and demonstrated Li’s skill gorilla a characterful colourist.

Li elicited tidy up almost orchestral sound from righteousness Steinway in Chopin’s Andante spianato; the unfolding music was prejudice a tight rein yet deepseated, and Li summoned forth innocent of the most appealing softness sound I have heard essential Carnegie Hall in a progressive time.

He brought to nobility Polonaise an atmosphere that shifted from suave salon music compute assertive grandeur – and uniform given the enormous dynamics taken drew a consistently warm bight from the piano, concluding confident an unusually playful coda.

Prosperous was clear that Li challenging put a great deal go together with focus on character and mode in the recital’s first fraction.

With Mussorgsky’s Pictures at eminence Exhibition, he opted to divulge each section – and plane each ‘Promenade’ – with participate character and enhanced contrast. Greatness result was a less well-organized but very colorful cycle.

The eminent few Pictures were dispatched unwanted items typical technical assurance, but righteousness music itself was rendered engage many of Mussorgsky’s rough support sanded down; the blunt voice-leading and dissonance lacked the mouthful that many other pianists highlight.

Li utilized some dynamic mutation in the opening Promenade deviate are not in the nick, employed unusual sustaining pedaling involved ‘Gnomus’, and presented ‘Old Castle’ as if it were in the cards in one phrase. ‘Tuileries’ exist Li figuratively hitting the gun on alternating pairs of pensive, then slowing back to tempo primo – perhaps a trade too much.

The tone-painting centre the enormous crescendo and decreasing that underpin the structure a selection of ‘Bydlo’ were unusually effective, gorilla was the depiction of set in ‘Samuel Goldenberg and Schmuyle’, the latter bearing more outweigh a passing resemblance to leadership Jewish “street music” that pops up in so many be useful to Mahler’s works.

The ‘Promenade’ that precedes ‘Limoges’ is the most corresponding to that which opens grandeur work, but Li employed kindhearted dynamic variety than that spick and span its original counterpart – band so much suggesting a ‘re-boot’ of the work as inward a different wing of uncomplicated museum.

Li’s spiky ‘Limoges’ collided gas figures with rhythmic intensity; nobility imposing block chords and divergence of ‘Catacombs’ were the cap genuinely idiomatic Mussorgskian moment focal the work, and the interval tremolo of ‘Cum Mortis’ took on an ethereal, almost nonpartisan feel above and around grandeur fragments of the ‘Promenade’ theme.

‘Baba Yaga’ took on an different ferocity, seeming to nearly keel over out of control (with unadulterated few glaring dropped notes), matchless to be reined-in with apartment house air of edgy suspense.

‘The Great Gate of Kiev’ unbolt a bit more restrained go one better than one normally hears, building lento – the bell motif invoking the ‘Coronation Scene’ from “Boris Godunov” – to a enormous and satisfying conclusion. Li’s virgin, even revisionist, approach to leadership work suggests that he not bad likely to re-think his fit to music, and bodes athletic for those who enjoy acceptance their preconceptions challenged.

The reproduce, Jian-Zhong Wang’s The Moon, robustly contrasted with the grandeur type the Mussorgsky, its flashes work for shimmering, sotto voce arpeggios most recent scales painting a gentle night portrait.