Name: Yundi Li | piano
Start: 2024-04-27T00:00:00.000Z
End: 2024-04-27T00:00:00.000Z
Location: Théâtre des Champs-Elysées

Organization

Admin

Théâtre des Champs-Elysées

Pianist

Yundi Li

Piano

Instrumentalist

Yundi Li | piano

Paris

France

Yundi Li | piano: Piano Sonata No. 11 in A major, K. 331 / 300i Mozart (+3 More)

Public

Piano Sonata No. 11 in A Major, K. 331 / 300i

Piano Sonata No.8 in A minor, K.310/300d

Fantasia in C minor, K.475

Piano Sonata No. 14 in C minor, K. 457

Saileshwaran Thirumurthy

Approved

Yundi Li is now considered to be a piano star and is a true legend in his native China. He is also extremely popular in the West since winning First Prize in the prestigious Chopin Piano Competition in Warsaw in 2000. Since then, of course, the Polish musician has had pride of place in his programmes, but this evening he is devoting himself entirely to Mozart. Yundi has chosen three of the eighteen sonatas composed by the musician which perfectly illustrate the full range of potential of this corpus: the famous Turkish March from Sonata No.11, and the fiery and highly charged No. 4, before rounding off the concert with Sonata No. 14, probably the most accomplished of the sonatas, which some have called “Mozart’s Pathétique” as it so clearly prefigures the slow movement of Beethoven’s future symphony.

English

Le chinois Yundi Li est aujourd’hui considéré comme une star du piano et est une véritable icône dans son pays natal. Il jouit également d’une large popularité en Occident en raison de son premier Prix au prestigieux concours Chopin de Varsovie en 2000. Depuis, bien naturellement, le musicien polonais tient une place de choix dans ses programmes, mais ce soir il se consacre tout entier à Mozart. Parmi les 18 sonates composées par le musicien, Yundi Li en a choisi trois qui illustrent parfaitement tout le spectre des possibilités offert par ce corpus : la célèbre Marche Turque de la n° 11, le caractère farouche et survolté de la n° 4 et sans doute la plus aboutie pour conclure ce concert, la n° 14, que certains n’ont pas hésité à surnommer la « Pathétique de Mozart » tant elle annonce de façon prémonitoire le mouvement lent de la symphonie à venir de Beethoven.

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