San Francisco Classical Voice

Li's robust conception of these works — at times reminiscent of Rubinstein's extroverted style — emphasized the violent contrasts of character featured in the large outer sections of each piece. This probably was the best approach; after all, it is precisely these mercurial changes of mood that place the Scherzos apart generically from the longer-breathed narrative spans of the Ballades.

Sadly, Li's projection of local contrasts did not always occur at a larger structural level. Chopin's insertion of a large, lyrical episode in the center of all four Scherzos is shrewd and effective, since it provides some relief from the Sturm und Drang of the outer sections. The usual strategy is to ease up on the tempo (even when this is only implied by a simple sostenuto in the score) and to favor gentler mezzo-pianos to pianissimos (even though Chopin's actual dynamics allow quite a bit of latitude). Li, however, insisted on louder dynamics and tempos that maintained a forward momentum. Thus, the central lullaby in the First Scherzo (B minor, op. 20) — presented more like an Andante than Chopin's explicit Molto piu lento — sounded quite alert and purposeful, and not at all meditative or dreamy.

Even more problematic was Li's almost cavalier treatment of the central episode in the famous Second Scherzo (B-flat minor, op. 31). There was little here of the transformation that evolves from the hesitant A-major beginning, through an errant modulatory passage, to the triumphant arrival in E major some 70 bars later. As Li performed most of the central section at mezzo forte or louder, he undermined the climactic moment, sempre con fuoco, that portends the return of the opening material. Instead of a catastrophic explosion, the audience was left with yet another fortissimo peak indistinguishable from the others surrounding it. Li needs to be reminded that the Himalayas are even more impressive when viewed from the plains.

It was with the remaining two Scherzos that Li displayed his strengths. Although the velocity of the opening octaves in the Third (C-sharp minor, op. 39) threatened to disintegrate before cracking the sound barrier, the extreme tempo formed a perfect counterbalance to the contrasting chorale melody. Li's metrical flexibility (already apparent in the earlier pieces) also came into clearer focus, permitting each statement of the four-phrased chorale to unfold easily and yet more seamlessly than before. Even better was his sensitivity in conveying the structural significance behind each melodic statement. I was particularly moved by his treatment of the Nocturne-like episode of the Fourth Scherzo (E major, op. 54). Li completely transformed this mournfully beautiful cantilena at its third and final appearance, here presenting it lento and (almost) pianissimo, thereby imparting a sense of poignant reminiscence to the close of the central episode. This kind of discernment — the ability to make decisions that enhance the substance of the written score — is a hallmark of the musical artist.

What a pleasant surprise it was to hear Liszt's B-minor Sonata in Li's hands! So few pianists seem to know how to interpret both Chopin and Liszt with equal insight. Although his emphatic personality left little room for subtlety with dynamics (the Lento assai opening, for example, could have used more distance to give an atmosphere of mystery or uncertainty), Li's grasp of the problems encompassing Liszt's sprawlingly episodic structure produced a profoundly satisfying, well-integrated performance.

Once again, Li achieved this through his treatment of thematic material — i.e., shifting the weight of each thematic appearance in order to project its structural importance. For instance, his rather perfunctory reading of the main theme Allegro energico made perfect sense in a larger context: as part of a structural crescendo that progresses through an increasingly explosive transition, finally arriving at the overwhelmingly powerful new theme Grandioso. Rarely has the piano sounded so orchestral.

I must admit that I am very pleased indeed to have heard this particular young artist. It is reassuring to discover that Li's flashy, whiz-bang stage persona is merely the most superficial aspect of a more complex and very promising young artist. It is reassuring to sense that the torch has been passed from a generation that included Pollini and Argerich, and that perhaps that torch burns no less brightly.

Perhaps I need to rethink my attitude on competitions.