Schumann Concerto in A minor - Part II by George Li
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Uploaded on Apr 28, 2011
George performed this in with Symphony ProMusica under the baton of Maestro Mark Churchill at the Auditorium of Hudson High School on May 15, 2010.
We are extremely grateful to the Symphony ProMusica and all of its members. For the last 4 years, George has performed with the orchestra annually on Beethoven Concerto #1, Saint Saens Concerto #2 and Mendelssohn Concerto #1.
As a 9th grade student of Walnut Hill School, George and the Li family are extremely grateful to the great teaching staff of the Walnut Hill School.
We are extremely grateful to George's Piano Teacher Ms. Byun, George's music mentor Maestro Churchill, George's guardian angel Ms. Cathy Chen and all the great teachers in the Prep School of New England Conservatory.
We would also like to thank Mrs. Dorothy Shi and Mr. Chengzong Yin, who have built a strong solid piano foundation for George.
Symphony Pro Musica ends season on dramatic note
By John Zeugner TELEGRAM & GAZETTE REVIEWER
- - - - - -
After an intermission, in which the musicians could recover, the second half was given over to Schumann's romantic Piano Concerto in A minor, with 14-year-old pianist George Li. This was Li's 4th appearance with SPM, and in between he has been featured with the Boston Philharmonic as well orchestras in such exotic places as China, Sweden, Venezuela and Brooklyn. He has appeared on national television, won competitions, and been touted as a world-class talent in the same way the Russian pianist Emile Gilels burst on the musical scene, and with, very evidently, a talent and technical facility entirely equal to Gilels.
From the very first thunderous chords — piano and orchestra together — that start the Schumann, Li signaled absolute control of the material and absolute mastery of the technical challenges. His runs had fluidity, his chords unbelievable power, his dynamic changes poetic intensity. Any fluffed notes blended away into the rush of his overarching conception and mind-boggling execution of the work. Technique carried all before it. It was stunningly clear to the audience, who came screaming out of their seats, that a world class piano virtuoso was at work. Li obliged with two encores that demonstrated even more astonishing virtuosity—a Chopin nocturne, and Liszt's fiendishly difficult transcription of Paganini's La Campanella.
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