Christian Li on Tchaikovsky

Australian violinist Christian Li is nothing short of a prodigy - starting to play the violin aged five, winning competitions from the age of seven, and becoming the youngest musician to sign with Decca at the age of twelve.

Now seventeen and with two commercial releases for Decca already under his belt, his latest album of Tchaikovsky (based around the famous violin concerto but including some lovely miniatures alongside it) shows his increasing maturity as a musician. 

I spoke to Christian about his musical upbringing, and the way he's chosen to approach performing and recording the Tchaikovsky concerto.

Where did your passion for music first come from?

I think my passion for music was first inspired by my heritage, as my grandfather was a musician. Then, when I was five years old, I began playing the violin, and it was thanks to the early encouragement of my first teacher that I explored it further. His support made me truly fall in love with music, and the guidance of my later teachers gradually transformed my interest from a simple hobby into something much more serious.

Did your parents have any second thoughts about you pursuing it as a career?

Yes, absolutely! While they are not musicians themselves, they know that this is a very challenging and sometimes stressful career. But I am fortunate to have parents who understand that studying music and the violin is my greatest passion. And although they cannot offer specific career guidance, they have supported me both financially and practically, traveling with me around the world for lessons, music festivals, concerts, and competitions. Ultimately, they leave the decision to me, allowing me the freedom to choose whether to pursue this career.

Have you changed your approach to the concerto since you first started learning it (aged 11)?

The Tchaikovsky violin concerto is such great work, my love for it has reminded constant over the years. However, the way I understand and interpret the piece has changed without doubt. As I grow older and progress as a musician, I constantly gain a lot of new experiences which make me look at this music in a completely different light, with fresh emotions and nuances. So yes, my approach has certainly changed since I first learned it at age 11, and I am sure it will keep developing with every performance.

Why did you decide to record it ‘in the round’, standing in the middle of the orchestra, and what was that like?

It was a collaborative decision made by the team involved in the recording. Unlike a traditional concert setting, where I would stand beside a conductor and slightly in front of the orchestra, this setup placed me in the centre, directly facing Maestro Petrenko. This made it easier for us to see each other and communicate throughout the recording. Being surrounded by the orchestra also created a more immersive experience and allowed me to interact with individual musicians with more ease.

The arrangement of the Waltz of the Flowers is very special - where did you come across this version? 

Decca Classics actually commissioned this arrangement specifically for me, which I’m so grateful for! Paul Campbell who arranged it did an incredible job, and it was a joy to record it with the Royal Liverpool Philharmonic Orchestra. I have always loved The Nutcracker, and the Waltz of the Flowers has been one of my favourite dances since I was very little.

Can you tell us anything about your future plans, either performing or recording?

Yes! I will be performing Korngold’s Violin Concerto in Sofia, Bulgaria, with the Sofia Philharmonic on 20th February - the same day my new album of Tchaikovsky is released. Following that, I have a couple of recitals in China in April, and in June I’m returning to Australia for concerts with the Melbourne Symphony and Sydney Symphony orchestras. I also have a very exciting summer this year as I will be joining the Australian Youth Orchestra on their European tour!