THE COMPLETE PRELUDES is one of Chopin's most loved and commercial sets of compositions, and Yundi’s first Chopin recording in 5 years. Yundi's last set of Chopin (The Complete Nocturnes on EMI in 2010) still dominates his streaming charts with his top ten most streamed tracks on Spotify all stemming from this set – getting these replaced with the Preludes is a target of the marketing campaign. The release ties in with the 15th anniversary of Yundi's legendary victory at the International Warsaw Chopin Competition in 2000. At 18 he was the youngest and first ever Chinese winner and it was the first time in 15 years that a ‘First Prize’ had been awarded.
Li plays with a rare combination of virtuoso skill & poetic interpretations, each note he plays a reminder of why, in 2000, his music inspired the jury of the 14th International Chopin Piano Competition to give out the 1st top prize in 15 years to the then 18-year-old boy . . . “His maturity is obvious from the arrangements of the rhythmic transitions to the superb control of strength variations, which is known as the most difficult part of Chopin’s compositions”, (notes director Zhang Guoyong, who conducted the concert.) “It won’t be long before he is a maestro,” Zhang predicts.
On her new album, cello superstar Sol Gabetta teams up with one of the best young artists, French pianist Bertrand Chamayou. Gabetta and Chamayou have played together on many occasions and quickly became both friends and artistic partners. They collaborated on the album concept and will tour this repertoire in Europe throughout 2015. The Chopin Album contains a selection of pieces by well-loved composer Frédéric Chopin (1810-1849) as well as music by his close friend, the composer and cellist Auguste-Joseph Franchomme (1808-1884).
Following his recordings on Deutsche Grammophon of music by Frédéric Chopin and Franz Liszt, Chinese pianist Yundi Li takes on the three most popular piano sonatas of Ludwig van Beethoven, the "Pathétique," "Moonlight," and "Appassionata." Known for having brilliant technique and dynamic showmanship, Yundi plays against type in these beloved works, which call for more introspection and expressiveness than might be expected from him. Even though the outer movements of "Pathétique" and "Appassionata" and the last movement of "Moonlight" give Yundi ample opportunity to demonstrate his agility, power, and high energy, they are relatively restrained, compared to the kind of virtuosic fare that made him an international star.