Yundi in Girona

Yundi in Girona.            © 2014 Johannes Bjorner

We had perfect seats, in the first row of the lower balcony, and overlooking right center stage, so we could see the hands moving back and forth, commanding the black and white keys, throughout the entire concert. Until he stood up to acknowledge applause, we never saw his face. World-famous Chinese pianist Yundi Li played in Girona last Sunday evening at an unusually early hour for Spain (7:00 PM--early even for us, but really early for the Spanish, as the lady at the Girona tourist office had told us with ojos en blanco (wide-open eyes) the day before). A 7:00 start meant that people would be out of the concert hall again at 9:00, just in time for the Spanish to go to dinner.

But at 9:00, no one wanted to leave. It was a magical evening, with a graceful and skillful performance of a demanding program.

Frederic Chopin (1810-1849)

Nocturne no. 1,  in B flat minor, op. 9 (1830-1831)

Nocturne no. 2, in E flat major, op. 9 (1930-1831)

Robert Schumann (1810-1856)

Fantasia in C major, op. 17 (1836-1838)

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Ludwig van Beethoven (1770-1827) 

Sonata no. 23, in F minor, op. 57, "Appassionata" (1804)

Sonata no. 14, in C minor, op. 27 no. 2, "Clair de Lune" (1800-1801)

(I hope these works are in correct notation; even with Google Translate and a knowledgeable music student, it is hard to translate the program notes from Catalan to English.)

At the end of the Beethoven sonatas, there were three solemn but touching curtain calls and then Yundi came out a fourth time and played an encore. He announced the piece, but I heard only "Chinese." It was indeed some Chinese music, but I know not what. He obviously was moved in introducing this Western audience to some Chinese music. He finished, stood, and saluted the audience for a final time, slowly surveying the public, thanking us with a bow, and then touching his heart. And then he left. And finally, we did, too.

A week later  and I can still feel the magic. It was an exquisite evening.

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Yundi (formerly known as Yundi Li) won first prize at the Chopin International Piano Competition in Warsaw in 2000 at the age of 18 years. He was the youngest gold medal winner in the history of the prestigious competition (which is held only every four years), and also the first pianist to be awarded the first prize for 15 years. 

Last night we watched a DVD of The Young Romantic: A Portrait of Yundi, a film by Barbara Willis Sweete (2008). The film showed a lot about Yundi's early interest in music and his training, and followed practice sessions as he prepared to make his debut with the Berlin Philharmonic and conductor Seiji Ozawa. It's a good documentary and it brings the personality of this young musician to life, as he last week brought the music of the nineteenth century to life for me.

A Winter in Mallorca - George Sand and Chopin

The French writer and feminist George Sand came to Mallorca with her two children and her lover, Frederic Chopin, in December 1838. At first they lived in Palma, but the two houses they had were unsuitable to the winter-cold climate and they found refuge in a former monastery in Valldemossa, a village only about a dozen miles northwest of Palma, though in the 1830s it was a much longer 12 miles than it was on the rainy December day we drove there.

Wandering through the monastery's many cells was surreal. We were outside the regular tourist season and usually succeeded in avoiding the one busload of tourists simply by removing ourselves to a different room: the chemist's cell (apothecary), the two library rooms, or the several cells that may have been the homes of the couple, her children, and their servants. There are two pianos reportedly used by Chopin during his visit, the one that was transported from his home to the island (though delayed for a long time in customs) and the one he borrowed in Palma in the meantime.

Sand wrote in A Winter in Mallorca of the lovely natural scenery in Mallorca--and of the unpleasant people! No doubt the native Mallorquins were afraid of catching Chopin's tuberculosis and also were disgruntled that the couple never appeared at church, even on Sundays.

On a misty day and with free range to wander through the rooms and gardens at the monastery, and away from the hustle and bustle of other tourists, it was easy to imagine the couple in this place, and how nature and relative isolation could apparently give Chopin some peace to compose so much lovely music in the barely three months he spent here.