Yundi Li….

Which famous Chinese pianist was born in 1982? Easy: Lang Lang. But another Chinese pianist was also born in that year, whose victory aged 18 in the Warsaw Chopin competition earned him the title in China of “Prince of the Piano”. Step forward Yundi Li, gracefully reserved where Lang Lang is punchily ebullient: this pair are now Chinese pianism’s sun and moon. And like those spheres, they have never met (apart from one chance encounter in an airport lounge). They are signed to different labels: Lang Lang is proudly championed by Deutsche Grammophon, while Yundi Li – formerly brandished by that company in the same way – will this month make his debut as a star for EMI. But while Lang Lang’s publicity machine has broadcast his story to every home in the Western world, Yundi Li’s is virtually terra incognita.
The way Western classical music took root in Yundi’s infant soul was as mysterious as its start-stop-start implant in the Chinese national psyche. That story began in 1601, when an Italian Jesuit named Matteo Ricci sailed into Beijing with the gift of a clavichord for the emperor. It was designed to win hearts and minds for Jesus, but the emperor found the music it embodied intriguing: when other Jesuits installed church organs and set up string ensembles, Western music took root.







