• New Album - Fire & Water

    January 19th, 2018


  • Described as “a major talent” by The Classical Source, and praised for his “impressive way of handling of keyboard colour” by the Nottingham Post and “sensitive and unpretentious musicality” by the Pianist Magazine

    Ji Liu has positioned himself as one of the brightest stars in classical music today. Alongside topping the classical charts on numerous occasions, he also delights audiences around the world, from the Royal Albert Hall in London to Carnegie Hall in New York.


    Back in 2010, Ji Liu’s recording of Gershwin’s Rhapsody in Blue with the Royal Academy of Music Symphonic Brass and James Watson on the Academy’s own label had foreseen the pianist’s future thriving career as a recording artist. In 2014, his debut solo album ‘Piano Reflections’ stormed the UK Classical Charts, reaching number one and making him the UK’s biggest-selling classical breakthrough artist of the year. This album was also nominated as the ‘Best Classical Album’ in the prestigious Chinese Music Awards in 2015. Following this success, Ji Liu went on to release two more acclaimed albums, ‘Piano Encores’ and ‘Pure Chopin’. In 2016, ‘Pure Chopin’ was nominated as one of 20 best classical albums of the year by Classic FM radio. In early 2018, Ji Liu was nominated as ‘Best Classical Artist of the Year’ at the inaugural Global Awards.


    In 2018, to coincide both with Debussy’s centenary year and the Chinese New Year, Ji Liu released his new album ‘Fire and Water’, in which the pianist draws on an ancient five-element theory contained within Chinese philosophy. The pianist’s infinite affection for French Impressionism and world of art around it, combined with his Chinese heritage, lead him to deftly juxtapose both popular and much-loved repertoire on the album, such as Einaudi’s ‘Le Onde’ – one of the contemporary composers with whom Ji Liu has worked closely, alongside new arrangements by Ji Liu himself, such as Rachmaninov’s ‘Spring Water’ and Agosti’s rarely recorded arrangement of Stravinsky's ‘Firebird Suite’, in a profound exploration of the complexity of the piano.


    As an active soloist, Ji Liu has appeared at major venues and festivals internationally


    all of London’s major concert halls such as the Royal Festival Hall, Queen Elizabeth Hall, Barbican Centre, St. John’s Smith Square and Wigmore Hall. He has appeared the St. George's Hall and the new Liverpool Philharmonic Hall in Liverpool; Birmingham's Town Hall, Sage Gateshead in Newcastle; Old Vic Theatre and Colston Hall in Bristol; Royal Concert hall in Nottingham; Concertgebouw in Amsterdam; Auditorium du Louvre and Salle Cortot in Paris, Carnegie Hall in New York, Rachmaninoff Hall at Tchaikovsky Conservatory in Moscow, Salle Garnier Opéra de Monte-Carlo; Théâtre de Champ Fleuri in La Réunion; Shanghai Oriental Art Centre, Shanghai Concert Hall and the Grand Theatre in Shanghai; Suzhou Culture and Arts Center; Kumho Arts Hall in Seoul; the Henley Festival in the UK; the Stavanger Chamber Music Festival in Norway, Verbier Festival and Gstaad Festival in Switzerland, Tongyeong International Music Festival in South Korea; The 3rd Krasnoyarsk International Music Festival of the Asia-Pacific region in Russia and etc.


    A hugely creative artist and a natural music communicator both on and off stage, Ji Liu has the rare talent to move seamlessly between musical worlds as diverse as Bach's Goldberg Variations and Messiaen's Vingt regards sur L'Enfant-Jésus. His playing always embraces the distinctive qualities of devotion, originality, purity and authenticity. This was pointed by Pianist magazine that noted of Ji Liu’s debut album in 2013: “Ji Liu has a technique to match any virtuoso, however, it is his sensitive and unpretentious musicality that shines forth in this well-recorded debut album”. The Nottingham Post noted: “I'm not sure if the RCH Steinway has ever yielded more ravishing sounds, with notes not so much played as caressed into life. There was gossamer lightness in some of the quieter Chopin waltzes as well as streams of notes pulsating with ever-changing colour.”

    In 2017, Ji Liu performed at Dumfries House for the Prince of Wales as part of Classic FM’s 25th birthday celebrations. The pianist's passion for new music has led him collaborating with some of the greatest composers and orchestras of our time

    In 2016, he played the World Premiere of Ludovico Einaudi’s new piano concerto with the Royal Liverpool Philharmonic Orchestra at the Liverpool Philharmonic Hall. Ji Liu has an infinite passion for the music of Schubert and for innovative performance practice. Apart from his busy performing schedule, Ji Liu is currently working on a part-time PhD project at King’s College London focusing on Schubert’s unfinished piano sonatas and creative programming around them with contemporary music, which will lead to an in-depth thesis and a series of fruitful events highlighting the relationship between music and art.


    Last season saw Ji Liu’s debut with Milton Keynes City Orchestra; his return to the Royal Albert Hall to make his concerto debut with the Bournemouth Symphony Orchestra under Pete Harrison as well as to the Royal Festival Hall where he performed Mozart’s Piano Concerto K.467 with the Mozart Festival Orchestra and Steven Devine. Ji Liu has also worked closely with the Royal Liverpool Philharmonic Orchestra, not only on its China tour under Vasily Petrenko but also at the Royal Albert Hall and at its opening season concerts at the Liverpool Philharmonic Hall. He has also worked with the Philharmonia Orchestra both at the Royal Festival Hall and at the Henley Festival.







    An inspiration to many of the next generation of young musicians both in his native country of China and abroad, Ji Liu is committed to engaging classical music with the outstanding musicians of tomorrow.

    With his Chinese heritage, his international educational background and his unique experience as a creative performing artist, Ji Liu has a pioneering and artistic vision which he uses to communicate and inspire fellow students. Ji Liu has performed with the Wiltshire and Swindon Youth Orchestra, where he worked closely with young musicians both on and off the stage. Ji Liu has also conducted masterclasses at conservatoires such as the Royal Welsh College of Music and Drama, the Conservatory Regional Influence De La Réunion in France and the Chaoyang Piano Academy in China, to name but a few. Since 2016, he has been a regular visiting artist to the Kent International Piano Course where he has given both masterclasses and recitals to students from pre-degree to doctoral level as part of his on-going efforts to inspire and share knowledge with other musicians.


    Ji Liu was born in China. He started his early musical education at the age of 3. Ji Liu initially studied piano and conducting at the Shanghai Conservatory of Music. Whilst still only 13, he won an international competition to perform a recital at New York's famed Carnegie Hall. That concert proved to be a major turning point in his career. After that, he relocated himself in Spain and studied under Dmitri Bashkirov at the Escuela Superior de Musica Reina Sofia in Madrid. In 2007, Ji Liu was awarded a full scholarship to continue his study focusing on Piano Performance with Prof. Christopher Elton and Composition with Ruth Byrchmore at the Royal Academy of Music in London where he graduated his Master of Music with both a Distinction and a DipRAM for his extraordinary Final Recital in 2013.


    "American Icons" (2010). In 2010, pianist Ji Liu joint Academy's Symphonic Brass and Prof. James Watson, together, they recorded this album featuring some of the most famous and iconic works of the whole of twentieth-century music in arrangement for symphonic brass including a fresh orchestrated version of Gershwin's Rhapsody in Blue.


    "This American anthology is well named... In Rhapsody in Blue – with its opening glissando astonishingly delivered by a trumpet – pianist Liu Ji finds comedy and tenderness and he’s less brittle than Donohoe under Rattle (EMI, 12/87). Both the careful scoring and this well-balanced recording make sure that the piano is not overwhelmed, as often happens."

    ——Gramophone Magazine, June 2011


    PIANO REFLECTIONS (2014) is an outstanding debut album which showcases Ji's exceptional talent and features brand new recordings of the most beautiful piano classics of all time. Immediately after its release in 2014, it hit No.1 at all UK's major Classical charts including UK Official Classical Chart, Specialist Chart, Classical Compilation Chart, Amazon Classical Chart, Classic FM Chart and iTunes Chart. This album was also selected as John Suchet's "Album of the Week" at Classic FM. Order your very own copy from Amazon and iTunes now!




    PIANO ENCORES (2015) is the second album from piano sensation Ji Liu. A collection of awe-inspiring works by some of the world's greatest composers, including Beethoven, Chopin and Rachmaninov. 18 stunning showstoppers played beautifully by Chart No.1 pianist Ji Liu - sure to get any audience on their feet. Available now at AMAZON and iTunes.


    PURE CHOPIN (2016) is a collection of 16 brand new recordings dedicated to Ji's favourite composer - listen to some previews below.The new album is not totally dedicated to Frederic Chopin - the bonus track, 'Nocturne Orientale', is an original piece written by composer and friend Stephen Hough.​ Available now at AMAZON and iTunes.


    In this stunning album inspired by "Fire and Water", Ji Liu draws on the ancient Chinese five-element theory of Wu-Xing to beautifully illustrate fire and water. Enjoy soothing and mellow sounds that brilliantly reflect the calming character of water, alongside contrasting intense and fast-paced pieces inspired by the element of fire.

  • Videos

    Pianist Ji Liu talks to Classic FM's Anne-Marie Minhall about his debut solo album, Piano Reflections, and breakdancing. Obviously.

    Working with Ji Liu

    Piano sensation Ji Liu and his producer Andrew Cornall talk about the process of making his second album, Piano Encores.

    Live at Bristol Proms

    Ji Liu plays one of Bach's monumental keyboard masterpieces, Goldberg Variations at the prestigious and creative Bristol Proms in the Bristol Old Vic.

    Ji Liu Plays Schumann Toccata in C Major Op.7

    The Toccata in C major, Op. 7 by Robert Schumann, was completed in 1836. When the work was completed in 1836, Schumann believed it was the "hardest piece ever written".

    Ji Liu Plays Gershwin Rhapsody in Blue

    Ji Liu performs Gershwin Rhapsody in Blue with Maestro Vasily Petrenko and Royal Liverpool Philharmonic Orchestra during their tour in China in 2014.

    Ji Liu Plays Blumenfeld Etude for Left Hand Alone Op.36

    Remembered today as the teacher of Vladimir Horowitz and Simon Barere (also of Maria Grinberg, Dmitry Tiomkin and Heinrich Neuhaus), Blumenfeld was also a virtuoso pianist himself. This Etude for Left Hand Alone shows his great vision on piano technique and artistry.

    Ji Liu Plays Flight of the Bumblebee transcribed by Cziffra

    Ji Liu Plays In That Place Wholly Far Away



    Pianist Magazine

    EDITOR'S CHOICE, 5 stars review by Ms. Erica Worth

    Piano Reflections

    Yet another new pianist on the scene. But wait – this is different! Here is a young pianist with a rare sense of inborn musicality. The London-based, Shanghai-born Ji Liu has a technique to match any virtuoso, however, it is his sensitive and unpretentious musicality that shines forth in this well-recorded debut album. How rare it is to hear a pianist satisfied with presenting the music as written and not forcing any personal idiosyncrasies on the performance.


    The voicing of the opening Mendelssohn/Rachmaninov is played with great elegance, a Liu trademark you also hear in the Liszt Liebestraum No 3. His 'Moonlight' Sonata might present a slightly slower middle movement than we normally hear, but again that only underlines the healthy and unforced way with which he approaches this well-known work. Rest assured that the fast third movement shows fire and energy, also evidenced in the Saint-Saëns Danse macabre that closes the disc.


    His way with the two Chopin Nocturnes is classy, and the C minor builds up to a well-controlled climax. It's fun to hear a composition by Chinese composer Wencheng and the elaborate Schubert Ständchentranscription and both played with charm and finesse. Liu's Debussy Suite Bergamasque could very well be one of the best modern recordings, especially the 'Clair de lune', which is refreshingly free of sentimentality and flows naturally into the final 'Passepied'. Yes, there are too many pianists around these days, but way too few of them are anything like Ji Liu.


    Review by Colin Anderson

    Piano Reflections

    "This is an impressive studio debut for Ji Liu, and he's been very well recorded on a good-sounding instrument. Original pieces for the piano include a brace of Chopin Nocturnes, the E flat (Opus 9/2) and the C minor (Opus 48/1), both given shapely and affecting renditions, intimately and gently touched, the pianist seemingly oblivious of the microphones and making inviting music for us to share...It is rare to find a young pianist who combines stellar technique and refined musicianship to such an advanced degree as does Ji Liu. In fact, the Saint-Saëns (Danse Macabre) is rather special in its elegance, clarity and organic control...and more than confirms him as a major talent."


    Review by Colin Anderson

    Liszt Totentanz with Orchestra at Southbank Centre

    '…there was much to impress in Ji Liu's fearless glissandos and a saturnine lyricism that attracted supernatural suggestion…. Ji Liu remained as cool as a cucumber as his fingers played with fire….this was a fine performance of a masterpiece and established Ji Liu as one to watch.'

    Mail on Sunday

    Review by David Mellor

    Piano Encores

    If you want to introduce someone to the joys of the classical piano, this album is hard to beat. Ji Liu, now in his mid-20s, was born in Shanghai but has lived in London since 2007. Last year he made a big breakthrough with Piano Reflections, a debut album that shot to the top of the Official UK Classical Chart. This follow-up disc is if anything even better, showing real development in his confidence and musicianship.


    Liu is a fine player technically, perhaps not a show-stopper like Lang Lang, but possessed of something his compatriot thinks he can do without- judgment. Whereas Lang Lang continually pulls the music around to pleas his ego, Ji Liu's considerable talents are firmly placed at the service of the music he plays here, in a wide-ranging recital that includes Chopin and Gershwin favourites, but also stretches out to embrace rarer stuff.


    There are two pleasing Chinese pieces, Colourful Clouds Chasing The Moon, and the In That Place Wholly Faraway. He also displays no lack of virtuosity in Arcadi Volodos's fiendishly difficult transcription of Mozart's Turkish March, and no lack of showmanship in the jazz pianist Leon Doucet's Chopinata, a new one on me, and a real discovery.


    Soundwise, the recording made last August on Merseyside, is of the highest quality and, at more than 71 minutes, is longer than most similar offerings. So even if you know a lot about the classical piano, there's still no reason to hesitate.

    Nottingham Post

    Bach Goldberg Variations at Royal Concert Hall

    "The audience... surely left exhilarated by beautifully delicate playing, consummate technical control and an entirely convincing translation of a piece originally written for harpsichord into the piano's sound world. Ji did not announce the name of his encore but, even if he had played nothing else, its wit, delicacy and total mastery of tonal colour would have convinced the audience that they were in the presence of a world-class pianist."

    Liverpool Echo

    Rachmaninov Piano Concerto No.2 at Royal Liverpool PHilharmonic Hall

    Rachmaninov's impossibly romantic Second Piano Concerto, the musical equivalent of a big, pillowy peony, played in gorgeous Technicolor by the orchestra, and with a lovely lightness by Ji Liu.The 25-year-old – wisp thin, straight-backed and un-showy – has a stillness about him, and an elegant, long-fingered, lyrical touch.There was smooth, sympathetic support from the Phil, including a beautifully sweet clarinet solo from Angelo Montanaro, and a pleasing rounded sound.

  • Interview

    Selected Featured Interviews

    Featured interview from Literaturnaya Gazeta

    On 4 July the 3rd Krasnoyarsk International Music Festival of the Asia-Pacific Region will come to an end. This cultural forum, featuring performers from 19 countries, including China, Korea, Japan, Nepal, India, Bangladesh, Vietnam, Thailand and Philippines, as well as many Russian ensembles, has made a comeback following a seventeen-year absence. Various concert venues in the city staged everything from symphonic work, opera and ballet to folk, jazz, pop and rock music.


    One performer at the festival was 22-year-old Chinese pianist JI Liu. He agreed to answer our questions.


    Literaturnaya Gazeta (LG): You are the youngest performer at this festival...

    Ji Liu (JL): In December last year I was invited to perform in the Grand Hall at the Moscow State Conservatory. While I was filling in my travel documents, I found out about the call for applications for this festival. I sent a video of a performance of mine for the qualifying round and got through... I love playing in Russia, and especially in Siberia - it feels like a crossroads, a confluence of cultures. Russian audiences are unique, the one of the best in the world. I think Russians are very receptive to art.


    LG: Who is your ideal pianist?

    JL: Richter, Gilels and Horowitz. My Chinese teacher studied in Russia under Jakov Zak at the Moscow State Conservatory, and I also studied with Dimitri Bashkirov in Madrid before moved to London. So I have a close link with the Russian piano school.


    LG: Famously, in ancient China, artists were traditionally not divided up according to their skills. Talented people could do everything - play an instrument, write poems and draw. When they tired of epithets, they would take out their ink pot; and when they had run out of paint, they would compose some couplets. Aside from music do you excel in any other art forms?

    JL: I write poems and compose a little - I'm taking a composition class at the Royal Academy of Music/ I love setting my poems to my own vocal pieces of music. I don't draw, but I have a passion for Western European Fine Arts.


    LG: The entire concert hall was amazed by your performance of Debussy. Impressionist music requires a particular immersion in its images, finely nuanced playing and a feel for the musical colour. Yet, you manage to achieve all this with surprising balance. How do you do it?

    JL: I find Impressionism music the most natural to perform. I would say that Debussy's music reminds me of Chinese ideography, where each hieroglyph or symbol is an image in itself. Like Chinese artists, Debussy leaves empty spaces on the canvas, full of hidden meaning. And the colour of the sound also has great significance in Debussy.


    LG: If you are so fond of Impressionist and Romantic music, why did you include a work by Beethoven in the programme? Must it surely be difficult for a performer to play such contrasting compositions in one concert?

    JL: I admire Beethoven both as a person as a composer. I wanted to programme my concert with the force and energy that pervades his music. I was trying to show different aspects of myself to the listener.


    LG: What are your future creative plans?

    JL: ​I want to become a pianist and composer who can weave different genres, from Baroque to contemporary music.



    "Artist of the Month": featured interivew from Interlude.hk by Oliver Pashley

    On a cold, crisp morning, I prepare to meet Ji Liu at the Royal Academy of Music, his place of study for the last six years. Over a cup of tea, we chat about his time there and what the future holds for him…

    Where did your piano studies take place?

    I have been passionate about music since I was a child. At the age of 15 I moved to Madrid to study with Dmitri Bashkirov at the Escuela Superior de Musica Reina Sofia, before taking up a scholarship to study with Christopher Elton at the Royal Academy of Music. This summer I was taken on by Young Classical Artists Trust (YCAT), with whom over the next few years I will be developing my solo career at an international level.

    Tell us a bit about your PhD.

    I’m starting my PhD at King’s College London in January. It’s going to be called ‘The Beauty of Imperfection’, and will feature a big case study of the Schubert piano sonatas at its centre.

    My earliest encounter with Schubert’s unfinished works was 5 years ago. Schubert’s compositions are complicated. Why did he leave so many unfinished? Often, it was simply because he didn’t have enough time to finish them! Sometimes, what he made was so innovative that it wasn’t possible to find a solution – he left them intentionally unfinished.

    What’s the nature of your PhD? Is it academic or performance-based?

    As a performer, it seems unusual to do a PhD. However, at King’s, it won’t be a totally academic thing. I obviously have to write a dissertation, but it’s combined with a lot of performance, so it allows me to approach the Schubert project in a more ‘contemporary’ way.

    So you think it’s important to think about music academically?

    I think we have to be able to explain what our intentions as performers are. If we don’t know what to do or think about, how will the audience have any chance of understanding what we have to say? Emotion in performance is obviously very important, but it’s equally important to know and think about what you’re performing.

    What other projects did you undertake before deciding to do a PhD?

    During my Masters, I did a project about piano music and sand animation, called ‘When Sand Met Sound’. With sand art, you start with a plain plate of sand, and swipe to create images. In a way, it shares a lot with music – it’s very much about time and improvisation.

    I wanted to create a duo between the two art forms – not something where the music accompanies the sand or vice versa. I wanted it to depict a story, so I used vivid pieces, like the Danse Macabre or Liebestraum. Hopefully it means that this music can be introduced to a wider audience, not just to those who are interested in classical music.

    Have you always had an interest in visual art?

    As a pianist, the audience always asks me if I see images when I perform, but I can’t really answer this exactly. It’s true that I have a visual memory, that I can see the score in my head, but hearing the audience ask these questions inspires me to think about what else I might see when I perform. My sand art project, in a way, was trying to show people how and what we think of when we listen to music. It wasn’t meant to be something superficial or theatrical – I wanted to help people understand the music better. Music can’t be seen or heard really, only experienced.

    So, what’s the plan for the future?

    My plans are always to continue building core repertoire, to not be afraid to play so called ‘popular’ works, and at the same time to challenge audiences with different ways of programming contemporary music. I’m looking forward to releasing my new album which will feature many ‘popular’ pieces such as Beethoven’s ‘Moonlight’ Sonata, some Chopin Nocturnes and Liszt’s Liebestraum. Ultimately I hope that people will define me as a ‘musician’, rather than simply a ‘pianist’. Although the piano is my primary study and first identity, I also compose, love playing chamber music and am fascinated by visual art, theatre, dance, literature, philosophy, and so on.

    What are your other interests?

    I breakdance. Most people reel back in horror when they hear this, because of the danger to my fingers! However, it increases the flexibility of my body, and makes me aware of my whole body, meaning I don’t just obsess over my fingers and forget everything else. It makes my soul freer – in the same way, I don’t restrict my musical taste. I play jazz and blues, read a lot, and enjoy movies as well.

  • Calendar

    Jan. 27, 2016

    Camberley Theatre, Surrey

    Piano Recital

    Jan. 28, 2016

    Colston Hall, Bristol

    Piano Recital

    Jan. 30, 2016

    University of Leeds, Leeds

    Piano Recital

    Feb. 2, 2016

    Wigmore Hall, London

    Piano Recital

    Feb. 13, 2016

    Royal Festival Hall, London

    Mozart Piano Concerto KV.467

    London Mozart Orchestra

    Feb. 19, 2016

    Kent International Pianoforte Courses, Tonbridge

    Masterclass for students,


    Feb. 27, 2016

    Royal Welsh College of Music, Cardiff

    Masterclass for Junior Conservatoire Students

    Feb. 28, 2016

    Royal Welsh College of Music, Cardiff

    "Steinway Artist Series" Piano Recital

    Feb. 29, 2016

    Royal Welsh College of Music, Cardiff

    Masterclass for Undergraduate and Postgraduate Students

    Feb. 29, 2016

    Royal Welsh College of Music, Cardiff

    Masterclass for Undergraduate and Postgraduate Students

    Feb. 29, 2016

    Royal Welsh College of Music, Cardiff

    Masterclass for Undergraduate and Postgraduate Students

    Mar. 10, 2016

    Liverpool Philharmonic Hall, Liverpool

    Ludovico Einaudi Piano Concerto (World Premiere)

    Royal Liverpool Philharmonic Orchestra and Maestro Damian Lorio

    Mar. 11, 2016

    Liverpool Philharmonic Hall, Liverpool

    Ludovico Einaudi Piano Concerto

    Royal Liverpool Philharmonic Orchestra and Maestro Damian Lorio

    Mar. 22, 2016

    British Consulate at Opus, Hong Kong

    Piano Recital

    Apr. 17, 2016

    The Cut, Halesworth Arts Festival​

    Piano Recital

    Apr. 22, 2016

    Lamberhurst Festival, Kent

    Piano Recital

    May 19, 2016

    1901 Arts Club, London

    Piano Recital

    May 21, 2016

    Milano City Piano Festival, Milan

    Galleria d'Arte Moderna

    Piano Recital

    Jul. 6, 2016

    Gower Music Festival, Wales

    Piano Recital

    Jul. 14, 2016

    The Apex, Bury St. Edmunds

    Mozart Piano Concerto K.467

    Suffolk Philharmonic Orchestra and Maestro Leslie Olive

    Jul. 26, 2016

    Petworth Festival

    Piano Recital

    Sep. 17, 2016

    Hoddesdon Music Club, Hertfordshire

    Piano Recital

    Dec. 4, 2016

    Concert in Frome, Somerset

    Piano Recital

    Dec. 7, 2016

    Cemal Reşit Rey Concert Hall, Istanbul

    Piano Recital

    Jan. 29, 2017

    Royal Concert Hall, Nottingham

    Piano Recital

    Feb. 10, 2017

    Drill Hall, Horsham

    Piano Recital

    Feb. 17, 2017

    Kent International Piano Course, Tonbridge


    Feb. 17, 2017

    Kent International Piano Course, Tonbridge

    Piano Recital

    Mar. 4, 2017

    High Rocks,

    Turnbridge Wells, UK

    Piano Recital


    Mar. 12, 2017

    Milton Keynes Theatre, Milton Keynes

    Gershwin Rhapsody in Blue with Maestro Damian Iorio and Milton Keynes City Orchestra

    Mar. 24th, 2017

    Lunchtime Concert,

    1:10 PM, Friday

    St. John's Church, Waterloo

    London SE1 8TY


    Apr. 25-28, 2017


    Friary, Liverpool

    May 19-21, 2017

    Milano Piano City Fesitval, Italy


    July. 28, 2017

    Verbier Festival, Switzerland

    Piano Recital

    Sep. 07, 2017

    Dumfries House


    Sep. 19, 2017

    Classic FM Live

    Royal Albert Hall, London

    Bounemouth Symphony Orchestra

    Nov. 10, 2017

    Lamberhurst Music Festival, UK

    Piano Recital

    Nov. 18, 2017

    Britannia Royal College, Dartmouth, UK

    Piano Recital


    For solo keyboard instrument

    • Huanzhi Li/Ji Liu Spring Festival Overture for piano with or without two sets of drums (2018)
    • Rachmaninoff/Ji Liu "Spring Water" (2018)
    • Saint-Saen/Ji Liu "Aquarium" (2018)
    • Grand Fantasy "Deconstruction" on Bach's Toccata and Fugue in D Minor with Adele's "Set Fire to the Rain" (2017)
    • Paraphrase on Sam Smith"s "Writing's On the Wall" for left hand alone in reminiscence of Ravel's Left Hand Piano Concerto (2017) 
    • Paraphrase on Adele's "Skyfall" in style of Rachmaninoff 2nd Piano Concerto (2015)
    • "DNA" Sonata for Solo PIano (2012)
    • "Homage to Schubert" Sonata for Solo piano (2011)
    • Paraphrase on a theme of "A way of Life" (2011)
    • Fugue for solo piano (2009)
    • Etude for left hand alone for solo piano (2006)


    For chamber music

    • Sonata for 2 pianos and 2 computer keyboards (2012)
    • tre pezzi per oboe e pianoforte (2011)
      1. Silenzio
      2. conflito
      3. arcobaleno
    • Rhapsody for violin and piano (2010)


    For small ensemble

    • 12 Transcendental Etudes for Sinfonietta “Mathful!”(2012)
      1. π
      2. =
      3. <
      4. >
      5. x
      6. y





    Ms. Karen Pitchford, Director




    Mr. James Wang


    Ruge Artists Management

    Mr. Kexin Zhang, Director


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