There is no question as to Yundi Li's technique. When this recording was made in 2001, Li was a mere 19 years old, but from the evidence on this disc, he was already a formidable technician. The extravagant technical difficulties of the repertoire -- Chopin's Sonata No. 3, several of the etudes, and the Andante spianato et grande polonaise -- are dispatched with skill and panache from the most delicate arabesques to the thunderous double octaves in contrary motion. Although there have been many other pianists who have played these works as well or better from a technical point of view, Li's performances stand up well in their company. But for all of his maturity as a technician, Li's interpretations are still those of a youth. The deeper meaning of the Sonata No. 3 -- its awe-inspiring harmonic structure and its formalization of fear and courage in the opening and closing movements -- are wholly beyond Li. The transcendent elegance of the Andante spianato and the radiant joy of the grande polonaise are merely graceful and cheerful in Li's interpretations. And his three Nocturnes are not so much emotional, seductive, and beautiful as they are sentimental, playful, and pretty. With his amazing technique, Li may develop into an amazing pianist. But one hopes that he grows as an interpreter as well. (James Leonard)
There is no question as to Yundi Li's technique. When this recording was made in 2001, Li was a mere 19 years old, but from the evidence on this disc, he was already a formidable technician. The extravagant technical difficulties of the repertoire -- Chopin's Sonata No. 3, several of the etudes, and the Andante spianato et grande polonaise -- are dispatched with skill and panache from the most delicate arabesques to the thunderous double octaves in contrary motion. Although there have been many other pianists who have played these works as well or better from a technical point of view, Li's performances stand up well in their company. But for all of his maturity as a technician, Li's interpretations are still those of a youth. The deeper meaning of the Sonata No. 3 -- its awe-inspiring harmonic structure and its formalization of fear and courage in the opening and closing movements -- are wholly beyond Li. The transcendent elegance of the Andante spianato and the radiant joy of the grande polonaise are merely graceful and cheerful in Li's interpretations. And his three Nocturnes are not so much emotional, seductive, and beautiful as they are sentimental, playful, and pretty. With his amazing technique, Li may develop into an amazing pianist. But one hopes that he grows as an interpreter as well. (James Leonard)
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