片名：肖邦精选集
出品：DG
演奏：李云迪
Yundi Li : A great hope of the latest generation of pianists
Is it possible to speak of an authentic artistic personality in the case of a pianist who only recently turned 19? Not really, one would think. The years a young musician needs to establish an unmistakable profile have at that stage only begun. With Yundi Li, however, this notion seems not to apply. Although it is true that his career is just getting underway, at 19 he is already a pianist capable of deciphering the message of a work and conveying it to his audience in a completely original and convincing interpretation.
Yundi Li's career thus far was crowned by his victory in 2000 at the renowned Warsaw Chopin Competition. A biographical overview of the fairly brief but intense musical development that preceded it looks quite typical of someone his age, indeed much like those of many colleagues of the same generation. He was born in 1982 in the People's Republic of China - or more precisely, in Chongqing. After some first musical baby steps at kindergarten age (accordion lessons at four), he began playing the piano at seven. At the age of nine he had decided on his professional goal - he wanted to become a pianist. Prizes followed at competitions in his own country and at a number of youth competitions in the USA. Given his plans for the future, participating in a great international contest such as the Polish capital's was therefore only a logical consequence.
For the musical world, however, Li's win in Warsaw was a real sensation. Here, at this richly traditional trial of keyboard artistry held every five years in the name of Chopin, we had the victory of an entrant from China, bringing him into the company of such famous past winners as Martha Argerich and Maurizio Pollini, whose careers were also launched by a triumph in Warsaw. Moreover, Li was not only one of the youngest winners in the history of the competition, but also the first person in 15 years to be awarded a first prize. And that prize also pointed up a remarkable development in recent years: whereas not long ago young artists from China in particular were reproached for a lack of interpretative abilities - in other words, for a lack of depth - one was now forced to recognize that the grounds for such prejudice had long since been eradicated by the internationalization of piano training.
What is it, then, that singles out the artist Yundi Li - or, indeed, his playing? In pursuit of his goal, he made a highly self-confident impression just after his win in Warsaw by letting journalists know that he wished to become "the next Zimerman". This statement, however, reflects not arrogance on his part but admiration for a predecessor in the competition: Li is in fact appealingly reserved and thoughtful. What is more, Zimerman apparently turned down Li's request to study with him, claiming that there was virtually nothing more he could teach the young Chinese pianist.
Like the artist's present début CD, his recent programmes have consisted exclusively of works by Chopin, and thus his audiences could (and can) gather a direct and vivid impression of what held the Warsaw jury in thrall: A tall young pianist steps on to the podium, whose aura of calm and self-confidence immediately spreads from his solitary place at the keyboard to the members of the audience. How, one wonders, will this still youthful player present works that are so well-known and for which the interpretations of famous pianists have long since planted definite ideas and expectations in the minds of listeners? Take the Sonata No. 3 for example, which is structurally more balanced but by no means less charged with emotion or less impetuous than its two predecessors: here Yundi Li achieves an exciting textural transparency which only a few have managed. That he possesses a superb, fearless technique was already apparent from the reports coming from Warsaw. How else could he have got through the enormous demands that led to his victory?
Technique, then, is not so much the point. What is far more captivating and compelling in Li's playing is its Romantic impulse, its communication of essences: its musical vibrancy. His greatest strength lies in the representation of Chopin's diverse utterances, ranging from melancholy to a longing for death, from heart-rending lyrical moments to heart-shattering outbursts. He understands the composer's world of emotion and is not stingy with the use of extreme rubati, which serve only to reinforce his wholly personal insights into this music. Yet he never lets himself be driven by his own feelings, always remaining faithful to Chopin's markings, down to the smallest detail, and only augmenting the composer's messages in note form by bringing his own viewpoint to bear on them. In doing so he achieves the most interesting thing of which a pianist of our time is capable: Yundi Li adds a new shading to something long familiar, uncovers new facets that reflect the work in a different light. He joins the long list of interpreters in the truest sense of that word: as a medium between the work and the audience.
Not only did Yundi Li take the first prize at Warsaw, he also received the prize for interpreting a Chopin polonaise, which in itself shows how deeply immersed he is in the Polish composer's musical cosmos, in his world of ideas. No wonder, then, Li is also able to perform the master's other piano works so magnificently. In recital he plays the Polonaise of the Andante spianato et Grande Polonaise brillante op. 22 rather slowly, insisting on an interpretation that reveals the music's full force. With astonishment the listener witnesses the stamina and vitality in the playing of this young man, who obviously takes great delight in presenting his quite personal ways of looking at the works. Inevitably one asks: how does a pianist educated outside of the European cultural circle penetrate Chopin's world of conflict and sense of longing for his homeland? That question must remain unanswered and only furnishes further proof of Yundi Li's extraordinary gifts.
As anyone who has heard him in the concert hall will easily imagine, his abilities are not limited to Chopin, however great his love for this music and his conviction in performing it. With real excitement we now look forward to the recital he is planning with works by Liszt.
01.第三号钢琴奏鸣曲，B小调，作品58号
肖邦的第三号钢琴奏鸣曲，作于1844年的夏天，这首作品是肖邦与乔治.桑一起在诺安时创作的，是献给比尔的伯爵的作品。乐曲分四个乐章：1、庄严的快板。
Piano Sonata No. 3 in B minor op. 58 - Allegro maestoso
第二乐章：谐谑曲，极快板。
Piano Sonata No. 3 in B minor op. 58 - Scherzo. Molto vivace
第三乐章：最缓板。具有夜曲的特征
Piano Sonata No. 3 in B minor op. 58 - Largo
第四乐章：极快板。华丽热情
Piano Sonata No. 3 in B minor op. 58 - Finale. Presto, non tanto
02.自然的行板与辉煌的大波罗乃兹
Grande Polonaise brillante in E flat major with preceding Andante spianato in...
Grande Polonaise brillante in E flat major with preceding Andante spianato in...
03.练习曲
Etude in A minor op. 10 No. 2 - Allegro
Etude in A minor op. 25 No. 11 - Lento - Allegro con brio
Etude in G flat major op. 10 No. 5 - Vivace
04.夜曲
Nocturne in B flat minor op. 9 No. 1 - Larghetto
Nocturne in E flat op. 9 No. 2 - Andante
Nocturne in F sharp major op. 15 No. 2 - Larghetto
05.即兴幻想曲
Impromptu No. 4 in C sharp minor op. posth. 'Fantaisie-Impromptu' - Allegro a...
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Last edited by 戈壁落日 on 2005-8-23 at 20:39 ]
