Yike (Tony) Yang

Chopin Concerto No. 1


Canadian Yike (Tony) Yang

plays Chopin’s Piano Concerto no. 1

In the 17th Chopin International Piano Competition.

On video here are the Second and Third Movements of the concerto.

Chopin’s compositions are not noted for their orchestral arrangements.

These rather lack the fireworks nor the brilliance easily noticeable

with the other composers of his time.

The First Movement of the Concerto No. 1 started with what seems like

a lyrical passage of an Edvard Grieg, and then proceeds to a benign pastoral

introduction of the themes to be played.

It is as if the movement relates a story

of  “how it was and what could have happened”.

Then comes the Second Movement, and the concerto becomes seductive,

inviting the listener to hear a different story.

  The piano asks a question, and thereafter

answers this question by its own

with what women would call ‘sweet nothings”

Listen and get entranced.

Chopin calls this movement aptly as Romance.



Romance Larghetto.mp4

(Chopin may not be that good in orchestral arrangements but he overcame this shortcoming by making the orchestra as an accompaniment only.)


Mayhaps my words about Silver medalist George Li possessing

more technique than sensitivity sank in.

And it is my sincere hope that these word of mine

have not been considered as rude and crude.

He now included in his repertoire the piece that I specified :

the Consolation No. 3 by Franz Liszt.

I did this because this composition was virtually played

better by Chopin than by Liszt.

During those times, Chopin was anemic and therefore

plays with less virtuosity but more romanticism.

A good friend of Chopin, Liszt did accept this comparison

as a challenge, and eventually rebounded with his Un Suspiro.

Both compositions, however, require feelings flowing thru the fingertips.

Consolation No.3.mp4

George Li

To either Chopin or Liszt, George Li comes close.

No cigar, of course, and this is not only because he does not smoke cigars.

I admit he has the ability to play with virtuosity,

but this piece requires no controlled temerity,

and much less, a subdued dexterity.

This piece is made to console,

not to caress.

I must say, though, that he has succeeded in

putting even finger pressure on the keyboard.

This is the essential item if one

wants the piano to spin stories to the listeners.

But goodness,what am I saying now—

George Li is one exceptional concert pianist

who probably only need maturity to be romantic.

That is a fact!

These posts are not possible without the excellent video resolution by medici tv.