A Whirlwind of Demonic Energy

MIKE WHEELER enjoys a splendidly mixed programme from Chinese pianist Siqian Li

Chinese pianist Siqian Li has drawn favourable comments from Paul Lewis and Emmanuel Ax, among others, and it was easy to hear why, not just in her technical command, but also in her ability to engage with the expressive variety of her splendidly mixed programme - Royal Concert Hall, Nottingham, 9 February 2025.

Gershwin's Three Preludes made a good choice of opener. So many pianists seem to pounce almost aggressively on the opening gesture, so it was refreshing to hear Siquian Li's more relaxed approach, before the main part of the piece. This was kept rhythmically taut, though perhaps it was a touch fast for ideal incisiveness. No 2 really did sound like the 'blue lullaby' of Gershwin's description. No 3 again, might have benefitted from the tempo being taken down a hotch, though there was no question of her ability to handle the notes at that speed.

In Liszt's transcription of Beethoven's song cycle An die Ferne Geliebte, the first two songs were suitably introspective, and perhaps slower than a singer might take them, which raises an interesting question: in playing a transcription of a work like this, where is the balance-point between the vocal and the pianistic? The third song opened up expressively, and the fourth whirred like a spinning-song. The fifth was light and airy, before the final song's poignant musing. In these last songs, particularly, Siqian Li made us aware of Liszt continually putting his own stamp on Beethoven's original, which goes some way towards answering my question.

Scriabin's Sonata No 2, or 'Sonata-Fantasy' as he subtitled it, is on his own admission haunted by images of the sea. Siqian Li identified with the first movement's wide expressive range, from dark to light, as she allowed song-like lines to emerge clearly from their surroundings without being forced. The second movement was full of seething determination, her hands ranging over the width of the keyboard with complete assurance.

Ramble on Love is Percy Grainger's characteristically idiosyncratic take on the love-duet from the end of Strauss's Der Rosenkavalier. More than just a simple transcription, it explores the original with characteristic extravagance. But, as Siqian Li was clearly fully aware, Grainger's added glitter is more than mere superficial tinsel. The piece was allowed to evaporate softly at the end.

In the drumming effect that launches Liszt's Mephisto Waltz No 1, a slightly slower tempo may, again, have been more effective, though Siqian Li certainly conjured up a whirlwind of demonic energy. The garden episode had plenty of atmosphere, with delicate runs and trills casting their own spell. The end result summoned up every last spark of Lisztian fire.

I was not able to identify Siqian Li's encore. She did announce it, but I couldn't hear what she said. Someone did mention 'the Chinese piece' to me later, but that's as much as I know. Following Liszt's heated intensity, it was a gently poetic way of cooling down.

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