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Chopin : Concerto Pour Piano N°1 - Liszt : Concerto Pour Piano N°1
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Détails sur le produit
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Descriptions du produit
Yundi Li . Philharmonia Orchestra / Andrew Davis . Chopin . Liszt . Concertos pour piano n° 1. Chopin et Liszt sont les compositeurs fétiches de Yundi Li. Le jeune pianiste enregistre aujourd'hui les oeuvres les plus populaires du répertoire romantique. Il interprète avec beaucoup d'émotion ces chefs-d'oeuvre du piano. Yundi Li possède un art de faire sonner le piano tout à fait séduisant: sonorité de rêve, souplesse féline, virtuosité impressionnante . N'oublions pas que Yundi Li était le gagnant du Concours Chopin de Varsovie en l'an 2000 . Ce jeune artiste au talent pianistique exceptionnel n'a pas fini de nous surprendre.
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He shines in the Liszt Concerto. Throughout the Allegro vivace, he alternates gently textured passages with powerful crescendos of emotional depth of interpretation. He manages these transitions flawlessly and never relies on bombastic showmanship but allows the beauty of the music to flow through his dextrous fingers. Li has also become one of our most eloquent interpreters of the works of Chopin. The Allegro maestoso section of Chopin's Concerto gives Li room to display all of his talents: the almost limitless perfection of his technical skills, the beauty of his gently played though never rushed adagios and, of course, the power of his transitions to the most emotionally expressive passages. Still, this is followed by the one section of this CD that most displays his growth as an artist and musician. Chopin's Romanze, Larghetto is both exuberant and gently moving in Li's interpretation.
This is a young man who is no longer precocious. He has earned his position as one of the world's premiere pianists. Yundi Li is an artist whose growth has been well documented, and his first CD with the Philharmonia Orchestra expands the range we have come to expect from him. It's a thrill to listen to all of these musicians at the top of their game, only to have Li steal the show with a flourish of his fingertips. A must have.
The Liszt, though... I loved it. Another reviewer here thought it was heavy-handed, uneven, and too flashy, but I can't understand such a criticism in this repertoire. Li pulls out all the stops and pounds away at the keyboard to make your heart race, and I can't imagine what else you could ask of a performance of a Liszt concerto, which attends to other concerns before those of structural integrity and coherent emotive logic and development. Pieces of this sort are the action movies of the classical repertoire, not the Lawrence of Arabia. A good action movie needs explosions and car chases and bikini models, and Li's Liszt playing has got the musical equivalents of all those things to spare. It's just great.
With boatloads of Chopin Piano Concerto recordings in the current catalog, from the slow tinkling of say Arrau, to Zimerman's hand picked DG (Polish Festival), or Argerich - what is new or insightful here, if anything? A rather undifferentiated (rather reverberant) orchestral texture starts the Chopin, and YUNDI begins with a technically assured entrance on the keyboard, and you don't "feel" much Chopin occurring. He begins his traversal of the notes, (piano a bit brittle sounding) and where is the Polish grace and dance? Where is the longing and modulation of the musical argument? Up and down the keyboard, with no Chopin. He is playing the Concerto like an Etude if you will. So it proceeds, in the Rondo Yundi (again so polished with speed) Yundi misses the tonal relation and you miss the sparkling delicacy, the graceful Chopin keyboard for this "pianistic superstar" treatment. DG seems to be giving the Chopin concertos to their newest generation of Competition winners (and such): Yundi, Lang Lang, Pires, Blechacz - (rather mixed results too) so you can add to your collection anything from classic Giulini/Zimerman, to these modern digital performances. I'm not sold on this pairing. DG is featuring this recording on Free DG radio - which is where DG often put low selling discs.
He has also won a Lizst Competition earlier, and hence could be said to specialise in those two composers.
Yundi is a very conscientious pianist. His steady progress in technique is undisputed, and so is his interpretative skill for these two composers' works.
Some have criticised Andrew Davies' conducting in this recording - Robert Levine here, and the Sante Fe Listener.
However, it should also be noted that Yundi is also known to be individualistic in his performances with orchestras. He was known to prance ahead ignoring the orchestra in his Liszt No. 1 Concerto at Carnegie Hall this March with Chailly, too. I think the noticeable dichotomy in this recording should be accounted for on both ends.
Compared with the Chopin concerto (a piece he played at the 2000 Chopin Competition), the Lizst No. 1 offered less of the shimmer both in tone and dynamics. A striking comparison of the Li-Davies rendition with the 1979 historical Liu-Osawa (Liu Shi-kun), the latter shows up a much more fiery and glamorous version of the No. 1 Concerto of Liszt, with a breathtaking 3rd to 4th movements done in an almost unsurpassable bravura style that this Li-Davies version lacks sadly. That said, Andrew Davies' unimaginative conducting accounts for this at least 50%. Li's touching in the last movement of the Liszt No. 1 Concerto can be said to be too dry and flimsy, giving in to a fast tempo at the expensive of real expressiveness. The Chopin concerto, however, offers a colourful diverse-hued reading that is a real pleasure.
Unlike his compatriot Lang Lang who has a knack of picking out difficult pieces rather indiscriminately, young Li on the other hand needs to acquire more general musical nurturing apart from specialist works. But don't worry - he has the time to do it.