Customer Reviews

Chopin: Nocturnes

5 star:		(4)
4 star:		(5)
3 star:		(0)
2 star:		(0)
1 star:		(2)

 

 

There is no point discussing Yundi Li's flawless technique and 'Chopin style', because they are well known facts. And this is about the quality of this music, not his more or less maturity or ethnicity.
I wish he would use a slower tempo and take his time in some of these Nocturnes. I feel this all the time listening to Pollini (and to the extreme tempos of Argerich). I prefer the calmness of Rubinstein in the No.7 and of Kissin in the No.10, for example. But Li's artistry is such that in the faster playing he does not leave out any expressiveness.
I find this especially true in the No.13, Op.48 No.1 I always preferred the slow, detailed interpretation by Edouard Hamlin. It took just a few times I listened to Li to make this my favorite. It sounds to me like a force of nature, and it justifies by itself having acquired this whole collection.
I seems that Li retains all of his earlier fire, and he even masters better the use of tone, resonance of the piano.
Not all the Nocturnes in this collection may be favorites, this is too subjective to earlier listening experiences. But if there has to be just one, this collection qualifies as a choice among the few best.
There is uniqueness in these interpretations. Like the case of most of his CDs, I feel this one is also a must-have.

Yundi was most articulate and expressive in each of these Nocturnes as if he was trying to bring life to each of them by using suitable varying quickening and hesitations at various places and by his good control of volume. Yundi truly has his unique way of understanding as how Nocturnes should be played.

When some reviewers here mentioned that Yundi Li had played these Nocturnes in a seemingly similar way, I can hardly agree with them. Their wrong impression could be due to the wrong perception as how Chopin's Nocturnes should be played. if you are used to Pires' overly dramatic playing of Chopin's Nocturnes, you may expect to hear the same excitement for each Nocturne from other pianists. Should Chopin's Nocturnes be normally played in this kind of overly excited way? I don't think so as each Nocturne is rich in sweet tuneful melodies which can best be brought out by playing them in the way they ought to be played, meaning they should be played melodically instead of trying to create too much dramatic effect unless there is a complete change of theme such as the stormy parts of Op. 15 No. 1 and Op.48 No.1. Otherwise, within the same musical idea, it is just not natural that one should suddenly get excited and became too emotional by playing with a sudden big contrast in volume as what Pires had often done. One needs to build up the tension so as to reach the excitement in a more convincing way. This is what Yundi Li was good at, while playing those tuneful melodies elegantly, when necessary, he may build up the tension that will lead you to some excitements in a more convincing way instead of abruptly changing his emotion unexpectedly like Pires had often done. Although Pires had played these Nocturnes with tasteful rubato, she often spoiled her warm and beautiful playing with overly dramatic interpretation.

The recording sound of Yundi Li's Nocturnes is warmer as if they were produced in a concert hall. Although there was no mention that Yundi Li's Nocturnes were not recorded in a recording studio, I am not surprised that they may have been done outside a studio because he had his previous recording "Liszt piano concerto No. 1" also not done in a studio in order to achieve the sound effect resembles to the warmer sound produced in a concert hall so that listeners may get the feeling of a live performance. Even though it is not possible to do digital splicing for recording done outside a recording studio, the other equally talented Chinese violinist Mengla Huang also had his CD recorded this way - both had preferred a warmer sound effect.

Some reviewers here had recommended Arrau and Nelson Freire. Arrau's rubato is good except that he had overdone it and as a result, he often interrupted his melody lines with too much dragging. A good piano teacher will not encourage his students to play with this kind of excessive rubato and exaggerated expression. Still, Arrau's playing is still enjoyable although his technique is rather weak. You may not want to place Nelson Freire in the same caliber as Rubinstein because of the way he felt about the music when he sometimes appeared to be slightly erratic, hurried and changing mood unexpectedly. Furthermore, Nelson Freire was not only rather poor in tonal shadings, technically, he was also not in good command sometimes. For example, while he could not end his trills in time for Op.9 No.2, his fast running notes at some places especially Op.9 No.3 were also uneven with some notes almost inaudible. His Op.48 No.1 was plain and not expressive if you compare him with Rubinstein and Yundi. In the middle of the same piece, his left hand broken chords and his right hand chords were also poorly coordinated if you compare him with the same artists. His Op. 37 No.2 was straightforward with little rubato. Nelson Freire is not such an inspiring artist as Rubinstein and Yundi.

Among the Nocturnes played by Ivan Moravec, Daniel Barenboim, Pires, Claudio Arrau, Nelson freire, Rubinstein and Yundi Li, those played by Rubinstein and Yundi Li are the most comfortable to listen to while Ivan Moravec's Nocturnes are the least acceptable due to his unacceptable phrasing and rubato exemplified by his varying quickening and hesitations being badly done.

Rubinstein and Yundi Li often gave you the impression that with their extraordinary inborn ability to understand music language, they were able to totally immerse themselves into the music they were playing. Playing that came from their deep feelings were always soothing and will never sound hurried. But Rubinstein was often too dreamy and lingering over notes for far too long and as a result, some pieces had become fragmented with Op. 27 No.2 the most obvious - the serene melody of hypnotic beauty of this piece seemed to have been overlooked by Rubinstein. Nevertheless, you will love his dreamy way of playing Op. 55 No.1 especially towards the end of this piece. Rubinstein could also be rather straightforward at many places with Op 48 No.2 the most obvious when he was almost straightforward throughout the whole piece with very little rubato. Yundi Li is more balanced with exquisitely tasteful rubato and beautiful phrasing most suited for Chopin's Nocturnes besides being equipped with the best technique and richer tonal color. Op 48 No. 1 really caught my attention as it was strikingly well played by Yundi. While he began Op 48 No. 1 slowly and solemnly, for the stormy part of this piece, one is overcome by his prowess and strength in creating the stormy effect and by his superbly done rubato for the fast running octaves - this is where you are able to tell if a pianist is equipped with an adequate technique. You may like to pay attention to the interesting rhythm Yundi was able to bring out from his right hand at 3'15" for Op. 9 No.3. I haven't heard this from other pianists.

As Op 27 No 1 was very weirdly criticized by someone, I bring it out here to illustrate the fact that Yundi often analyses and understands the structure of a piece very well before he brings it to the public. Op 27 No 1 is another very well played Nocturne by Yundi when he played the first part of this Nocturne faster so that the left hand accompaniment would not become sectional and hence was able to serve as a sea of waves to carry the dark and sometimes tension filled right hand melody. Rubinstein was too slow and somber here and the music had become too fragmented for the first part of the Nocturne to be fully appreciated. Yundi also understood that the first part of this Nocturne was supposed to be very soft as required because it described one's inner dark feeling, but when the music reached the more triumphant mood in the middle part, he increased the volume gradually until it reached its glorious maximum. Hence, there is a marked difference in volume between the first part of this Nocturne and the middle part the way he had played it. Maria Joao Pires had as usual, played the first part of this Nocturne sometimes too loud with too much contrast in volume, resulting in some inconsistency in trying to express the somber mood of this part of the Nocturne. Again, technically, Yundi was in supreme command throughout the whole Nocturne.

While playing these Nocturnes with serenity and poetic sensitivity, when it came to the stormy parts of these Nocturnes, Yundi exploded with the most powerful playing in creating the dramatic effect required in Op 48 No.1 and some other Nocturnes. His playing should be closest to what Chopin had wanted his Nocturnes to be played.

First I have to say, I am completely in love with the way Yundi commands the black and white ivories since I began paying attention to him 10 years ago. His Chopin recital and Liszt (Liebestraum!) CDs are the only two discs I ever listen to whenever I take my car out for the last couple of years.

Many great reviews and comments have been given, and there is but one thing I want to add which I am surprised no one has pointed out yet ... I truly think EMI should give a second look at the sound stage management/tuner of the piano. Quite a few people have complained that the yellow label tend to record the breathing sound of the pianist itself, which is something that I personally do not quite mind for you quickly learn to forgive or even come to appreciate for its "life" value. However, there just seem to be something slightly off with the grand Yundi used on this EMI recording ... I can't quite recall which particular key it was, but I am inclined to say it was one of the F#. Mayhap I will report back once I get my car back from the dealer and listen to that one particular piece again. Yet, am I the only one that's hearing this? I have a well serviced Yamaha baby grand at home and regular access to two other well-tuned uprights, and despite the night-and-day difference in Master Li's technique and mine in comparison chopsticks, I am still convinced there is something with the tune of one or two keys or the sound stage itself.

I am slightly disappointed in the selections of this CD, but I am quite pleased to hear a bit more "fiery" in his playing that comes with age and maturity; a well deserved 4 stars in my books. Can you live without this CD? You probably can. However, it's definitely nice to have for prosperity so you can gain a more in-depth chronological understand of him for the long time to come.

Lastly, thank you for not canceling your Carnegie hall performance a few months back! Only one complain though, please don't smudge the signature next time when you sign my CD!

I suppose that Chinese pianists become critic-proof once they reach stardom in China. If Yundi is called "the prince of the piano" in his native land, as the product description claims, then he has no obligation to satisfy other tastes. The closest parallel would be Andrea Bocelli, whose forays into opera are cringe-worthy, a fact his record company can afford to flout. But there's another side to Asian musicians, who realize that artistic quality is important and who strive to meet high standards of interpretation, not just technique. I think Yundi, like his contemporary Lang Lang, sincerely wants to sound genuine and idiomatic.

In this first installment of the complete works of Chopin, a composer closely associated with his career, Yundi has taken on the Nocturnes, full well knowing that his predecessors include Rubinstein, Ohlsson, Pollini, Pires, and just a month or two ago, Nelson Freire. I loved Freire's set, which displayed a lifetime's experience with Chopin and a depth of mastery afforded to few pianists. By comparison, Yundi isn't exactly green. He has countless recitals under his belt. His playing is refined, elegant, circumspect, and reflective. He's never at a loss and never sounds clueless. One could wish for more drama and contrast as each Nocturne spins out sounding like the one before, but the real question is whether these nicely voiced but rather impersonal readings would have made it on to a major label if Yundi wasn't the "prince of the piano."

Who can really answer that? Yundi did win the International Chopin competition, which launched Pollini, Argerich, and more recently Rafal Blechacz, all sterling musicians. It has also launched pianists who went on to have lesser careers. At 25 years old, Yundi could head either way. If you define a career by concert dates and record sales, he's a shoo-in. But if a career is defined by artistry, he's a gifted young man whose promise is unfolding without a certain end in sight. For now, these are appealing performances with no real "face."

Note: If I were measuring this set of Nocturnes against the best, it would receive three stars, but four seemed right in terms of Yundi's career so far.

Yundi Li once again proves he is a master of technical execution when it comes to the classical composition with this double CD of Chopin Nocturnes. It is material with which he is extremely familiar and comfortable. His 2002 release, "Chopin," covered a wider range of Chopin compositions by offering Sonatas, the Grande Polonaise, Etudes, and Nocturnes. This time out, for his first album on EMI, he presents Chopin's Complete Nocturnes on solo piano with incredible precision. The CD is a welcome addition to his already stunning discography.

If a literal interpretation and performance of classical music is not your thing, this CD may fall short on your level of expectations. Otherwise, give it a shot. These tracks may be technically precise, but they are never cold. The renditions are warm, beautiful, and inviting. Recommended.

I ordered this CD right away after attending Yundi Li's recital at Carnegie Hall, NYC 2010. I was totally enchanted by his rendering!

This CD has it all. The whole Nocturnes repertoire. Its truly a Must Have.

5 stars!

I really enjoyed this recording. The pianist has a nice touch and the engineers really conspired with the pianist to create a "dreamy" atmosphere. It is kind of intoxicating and initially, very beautiful.

A person can really say that the Noctures are already pieces that really have a dreamy quality. I cannot argue this, but compare this recording to Nelson Freire. Freire does not capture (or perhaps intend to create this dreamy quality in all of the Nocturnes).

My only complaint is that this recording of Nocturnes ends up sounding like too much of the same thing. It is an extremely beautiful disc to be lulled to sleep at bedtime.

For a more balance, perhaps too somber, but very beautiful rendition, try Arrau. I believe that they are available as a Philips Twofer or in a five disc set of Chopin. I must confess that I really love Arrau's versions of Chopin's works.

After over two years' absence from the discography sector, Chinese piano star Yundi LI returns with a full set of Chopin's Nocturnes under the blessing of EMI.
The recorded sound is EXCEEDINGLY good. The production team has made it absolutely clear that Mr. LI's new release will not be defiled.
And Mr. LI himself has gritted his teeth, too.
The touching and phrasing are all there, for sure. And Mr. LI, in his 28th year (NOT 25th), is maturing into a seasoned pianist technically and to a certain extent interpretively.
Yet, I agree with Santa Fe here, Mr. LI has still to prove that he is an unique Chopin interpretor by just 'letting go' more.
For the past three years or so, Mr. LI has treaded on the wrong pianistic path for himself by including Prokofiev's, Moussorgsky's and other warhorse compositions into his repertoire. He has made a critically disastrous performance of Tcchikovsky's No. 1 Concerto last year in Singapore. Having said that, Mr. LI's strength definitely does not lie in those pyrotechnic showpieces.
As contrasted with Lang Lang, Yundi LI has more musical balance and sense of rhythm. These he can manipulate to good end, given the right repertoire.
These Nocturnes show that LI is best at home in the classical and early romantic period repertoire. As yet, he has still to savour these works' shape and form in order to dwell deeper beyond the surface of them.
What I for one would loath to see is a second EMI album from Yundi LI on technically demanding showpieces.

The Prince of the Piano strikes again, with a flawless and dazzling performance of Chopin's Complete Nocturnes. His fluidity at the piano is unparalleled, as is his ability to engage the crowd and keep them on their toes throughout an entire performance. This is Yundi's first release since he teamed with EMI Classics, and all I can say is that I hope that many more releases will soon follow. Yundi is the shining star among young concert pianists, so I suggest you pick up this artistic masterpiece to add to your collection.

What a difference a few years make! The budding potential glimpsed at in the debut album has been nipped. Shame on the money-grubbers who insisted that he sacrifice his artistry to imitate the run-of-the-mill, mass-marketer Lang Lang. I'm going to play Pollini's rendition of Marche Funebre to mourn for the untimely death of the sensitive soul. I will no longer be buying the zombie's CDs.