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Violinist Grace Park’s All-French Concert

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Grace Park and Joseph Liccardo

Grace Park and Joseph Liccardo

Grace Park and Joseph Liccardo

On December 13th, 2021, 2018 Naumburg Violin Competition winner Grace Park will give a recital at Carnegie Weill in partnership with pianist Joseph Liccardo.

On December 4th, Grace and Joseph previewed their all-French Carnegie program at Robin Shoemaker’s New York salon. The program spans from the 17th century to the 20th.

Ms. Park explained that it starts with the ethereal (Messiaen), progresses to the dreamy (Fauré), steps back to get grounded (Leclair) and culminates in the clarity of Saint-Saëns.

Messiaen: Thème et Variations

Thème et Variations opens with a plaintive motif that evolves through 5 variations. Ms. Park’s violin flowed over Mr. Liccardo’s nuanced and at times surreal accompaniment. The work peaks in the 5th variation, and the violin gradually steps down to a long, fading B over rolling piano bass. It was simply stunning.

Fauré: Sonata No. 2 for Violin and Piano in A major Op. 100

Grace Park plays Fauré

Grace Park playing Fauré

Ms. Park launched attacca into Fauré. We knew to expect this, yet there was applause at the end of Fauré’s first movement. Perhaps this was due to the closing flourish of that allegro molto. Or did the audience think that it was still Messiaen?

Fauré’s sonata contains hints of César Franck’s Sonata in A major, composed decades earlier. Both have that wistful, dreamy French feel. My favorite part was the andante, where pianist Joseph weaved a translucently evocative dialog with the violin.

Leclair: Violin Sonata in D major Op. 9 No. 3

Stepping back to the 17th century, Fauré’s cloudy impressionism was banished by Leclair’s baroque sunshine. Ms. Park’s ornamentation was well-articulated and her double-stopping was strong and satisfying. The final movement (Tambourin: Presto) was a manic folk-dance that had us chuckling.

Saint-Saëns: Sonata No. 1 in D Minor Op. 75

Saint Saëns writes engaging, almost cinematic music, and his Sonata was captivating. We were struck by how well-coordinated the musicians were, no matter how challenging the material.

The work opens as a bumpy Allegro Agitato. The piano variously leads, mirrors and follows. While occasionally it takes the foreground, more often its role is to underpin the irrepressible violin.

The final movement is a rambunctious Allegro Molto. It was breathtaking to watch Grace’s tiny fingers work the fingerboard while her bow danced and Joseph’s piano pulsed tirelessly. Their spirited performance earned a standing ovation.

Grace Park with Joseph and Robin

Grace and Joseph with host Robin

Closing thoughts

When Grace Park (https://www.graceparkviolin.com/) performed at this venue in 2018, she used a 1799 Nicolas Lupot violin.

This time her violin was a 1739 Montagnana. “I love the brilliance of the instrument”, she told me, “the soul of a soprano”.

We love the brilliance of the Grace Park/Joseph Liccardo duo. Collaborating for over 7 years, their coordination is uncannily perfect and their refined musicality a delight.

Finally, there’s still time to get tickets for their December 13th recital at Carnegie Weill.

Pianist Wynona Wang Will Make You Smile

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Wynona Yinuo Wang

On November 6th 2021, pianist Yinuo (Wynona) Wang entered the Shoemaker Salon with a light step and a radiant smile. A Juillard student with promising credentials, she seemed energized by this intimate setting.

Mozart: Sonata No. 13 in B-Flat Major K 333

This sonata opens with a charming allegro, crisply articulated by Ms. Wang. In subsequent movements Wynona surprised us with her lyrical flair and Beethoven-sized passion. Her Mozart appetizer became part of the main course, and we loved it.

Rachmaninoff: Prelude in F-Sharp Minor Op. 23 No. 1

The dark, F-Sharp Minor Prelude’s drifting melody and textured chromatic waves tug at our deepest emotions. In a scant few minutes, Ms. Wang’s heartfelt performance filled the salon with somber and yet ethereal yearning.

Rachmaninoff: Daisies Op. 38 No. 2

Rachmaninoff wrote his Daises song in Russia in 1916. Later, after moving to America to escape the Russian Revolution, he transcribed it for piano. In Ms. Wang’s program, Daises served as a breathing space between his massive preludes.

Rachmaninoff: Prelude in B Minor Op. 32 No. 10

Ms. Wang told us that this prelude (inspired by 1887 painting The Homecoming) was Rachmaninoff’s favorite. And it is also a Roving Pianist favorite. This quintessentially Russian work is among Rachmaninoff’s most satisfying, and Wynona Wang’s performance was moving and authentic. I loved how she stretched the harmonics of the Steinway’s deep bass in the closing moments.

Rachmaninoff: Prelude in G-Flat Major Op. 23 No. 10

The G-flat Prelude is gentle and luxuriously atmospheric. Wynona’s nuanced dynamics and clarity of voicing created some of the most sublime moments of the evening. As one guest commented afterwards, everyone in the room was connected through the spiritual beauty of Ms. Wang’s interpretation.

Rachmaninoff: Études-Tableaux Op. 39 Nos. 8 and 9

These are not my favorite Études-Tableaux, but they were well-executed. The first (Op. 39 No. 8 in D Minor) was a rolling, deliriously ecstatic clangor. The second (Op. 39 No. 9 in D Major) felt somewhat cluttered.

Schumann: Sonata No. 1 in F-Sharp Minor Op. 11

Wynona Wang owned Schumann’s sonata from its opening motifs, through romantic interludes, fugue-like diversions and seemingly endless clattering repetitions. While Schumann can feel clumsy in the wrong hands, Ms. Wang’s artful presentation showcased this lengthy, challenging Sonata at its best.

Meeting Wynona

At the piano, Wynona Wang vanished into her performance. But in person, Wynona Wang was engagingly present and effusive. She knows that she’s good, and basked happily in our admiration. In a few years, we could be standing in line for her autograph.

Wynona with Robin Shioemaker

Wynona with host Robin

Winona Yinuo Wang NYC 2021

Wynona Wang and Roving Pianist

Wynona with the Author

Changyong Shin at Carnegie Zankel 2021

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Changyong Shin at Carnegie Zankel 2021

Changyong Shin at Carnegie 2021

Gina Bachauer Gold Medalist 2018

Roving Pianist had front row seats for Changyong Shin‘s October 29th 2021 Carnegie recital. At $40, they were a bargain.

The recital was sponsored by the Gina Bachauer International Piano Foundation, Mr. Shin won the Foundation’s International Artist Competition in 2018.

However this was not Mr. Shin’s Carnegie debut. That took place at Carnegie Weill in 2016.

Carnegie’s COVID-safe Experience

This was the first time I had been to Carnegie since COVID-19 arrived. Carnegie had a strict new entry process.  You showed vaccination proof or you didn’t get in. There was no “honor system” and there were no exemptions. Once inside, masks were worn all the time.

I wonder how it felt for Changyong Shin, the only unmasked person in the house.

The Program

Changyong Shin’s program had a strong Romantic tilt, opening with Schumann’s Fantasiestücke, followed by Chopin’s Barcarolle and Andante Spianato and Grand Polonaise Brillante. The remainder was Rachmaninoff, culminating in his Piano Sonata No. 2. This sumptuous program enticed me to get tickets even though I was not familiar with the pianist.

The Performance

Changyong Shin had a low-key stage presence. Immaculately groomed and tailored, he seemed to have everything under perfect control. His hands had a graceful economy of motion. He occasionally allowed himself more extravagant gestures, but so controlled that they evoked little feeling.

Chopin’s Barcarolle usually sounds good, and under the right hands it can be sublime. Before buying tickets I listened to Changyong Shin – F. Chopin Barcarolle in F sharp major, Op. 60 on YouTube. That was it! I bought two early-access front-row seats on the strength of that performance. I was not disappointed.

Leaving Early

Due to our schedule we could not stay for Rachmaninoff. The staff had assured us that this was not a problem, so after the Andante Spianato we grabbed our stuff and headed for the semi-hidden left side door that we had been directed to use. I hope the pianist did not feel rejected!