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Grace Park and Joseph Liccardo at Central Park West

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Grace Park playing a 1799 Nicolas Lupot violin at Central Park West

Grace Park with the 1799 Lupot violin

Grace Park and Joseph Liccardo

On Saturday November 3rd, 2018, violinist Grace Park and pianist Joseph Liccardo performed at Robin Shoemaker’s Central Park West salon.

My anticipation of this event grew when I learned that Ms. Park was playing a 1799 Nicolas Lupot violin.

Mozart: Sonata for Violin and Piano in E flat Major K. 481

The first movement contains lively dialog between violin and piano. Ms. Park and Mr. Liccardo maintained an apparently effortless coordination, allowing the Molto Allegro to flow naturally across the movement’s choppy phrasing.

In the Adagio, Ms. Park’s violin rose gracefully (sic) over the accompaniment, first as a slow dance and then to sing. In her hands this violin shone in the higher registers.

Overall, Mozart’s Sonata No. 33 was a well-balanced collaboration between two musicians who clearly loved what they were doing.

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

This warm, entertaining work was at times expressively lyrical. At other times it was technically demanding. In fact, the Sonata was a showpiece for both musicians.

In that regard, there were moments when Joseph’s piano sounded as sweet as Grace’s exotic violin. And I enjoyed Ms. Park’s vibrant pizzicato immensely.

Neither musician wasted energy on superfluous showmanship. But I had to chuckle when Brahms got the violinist dancing around (apparently on bare feet).

Grace Park with Joe Liccardo and Robin Shoemaker

Joseph, Grace and Robin Shoemaker

Tchaikovsky: Souvenir d’un lieu cher Op. 42

Souvenir is a wonderfully Russian work and quintessential Tchaikovsky.

There are pounding rhythms reminiscent of the 3rd movement of the 6th Symphony, and soaring melodies. The performers were equally at ease with both.

And again, the collaboration between pianist and violinist was perfect.

Stravinsky: Divertimento for Violin and Piano after ‘The Fairy’s Kiss’

This work is Stravinsky’s derivation (with violinist Samuel Dushkin) from his own orchestral ballet “The Fairy’s Kiss”, which in turn was based on songs by Tchaikovsky.

That said, Divertimento is very much Stravinsky’s own unique work, with manic dance rhythms and echoes of his other compositions.

Notwithstanding that they had already been playing for an hour, Mr. Liccardo and Ms. Park engaged Stravinsky with vigor and enthusiasm. The result was a highly enjoyable and often compelling performance.

Nicolas Lupot Violin

Some refer to Lupot as the “French Stradivarius”. I didn’t know what to expect of such a unique instrument as his 1799 violin from Paris, but I noticed a particular sweetness in the upper middle register.

Later I asked Ms. Park what it is like for her to play the Lupot. She responded that the instrument is in perfect condition, very responsive to the performer, and crystal clear especially at the top end.

“It sparkles differently than a Strad”, she said. “I love it.”

Pianist Zhenni Li and Partners at Central Park West

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Zhenni Li addressing her salon audience

On the evening of October 6th 2018, Robin Shoemaker’s salon was full to capacity. We had come to see pianist Zhenni Li perform both as a soloist and in collaboration with Matthew Cohen (viola),

The program started and ended with works by Beethoven and Mussorgsky. An interesting mix of early 20th century pieces fleshed out the middle.

We were not familiar with some of these works, but Ms. Li introduced each item to us.

Beethoven: 32 Variations in C minor

This work is quintessential Beethoven, vigorous and lean. While Beethoven purportedly was unhappy with the result, Zhenn Li’s rendition was strong and satisfying.

Debussy: Poissons d’Or

Debussy’s short work is playful and at the same time beautiful. In Ms. Li’s nimble hands it was a delightful contrast to the solemnity of Beethoven’s variations.

Edwin York Bowen: Phantasy for Viola and Piano, Op. 54

Matthew Cohen

For York Bowen, Ms. Li partnered with Matthew Cohen (viola). While the work is not so well-known, there are a number of performances on YouTube including one by Mr Cohen himself, working with pianist Vivian Fan: Bowen Phantasy.

If Mussorgsky’s Picture at an Exhibition is a set of imposing oil paintings, York Bowen’s Phantasy is a pastoral water-color.

At times the composer gets lost in his English meadows. But he also manages a sublime lyricism that allowed Matthew Cohen’s potent vibrato to sing. And as Ms. Li noted, there were echoes of Rachmaninov near the end.

Albéniz: Navarra

One of Albeniz’ pupils finished this work after Albeniz passed away. Before playing it, Zhenni Li challenged us to identify point where the student took over. Then she played this lively and very Spanish music with passion, at times throwing her head back as if transported.

The late Alicia de Larrocha gave a legendary performance of this work in 1968.

Arthur Lourié: Préludes Fragiles Op.1, No. 4

This impressionistic prelude was one of a suite of 5 written early in the 20th century by Russian composer Arthur Lourié. Although written long before Lourié moved to France, it sounds somewhat French to your reviewer. You can view Zhenni’s recording of it at Arthur Lourié: Prélude #4 from Cinq Préludes Fragile, Op. 1 – Zhenni Li, Piano.

Mussorgsky: Pictures at an Exhibition

To enhance our appreciation, host Robin provided a slide show containing paintings and other visuals for each section of Mussorgsky’s work. While the piece is best known in Ravel’s orchestration, Mussorgsky’s original piano version has become more popular lately. While some may find the work ponderous, Zhenni Li’s interpretation used iridescent harmonics to add magic to this magnificent work.

Encore: Piazzola’s Oblivion

Matthew, Zhenni and Bela cue for Piazzola

At the close of the recital. Zhenni Li announced a surprise guest and a special encore.

Violinist Bela Horvath then joined with Zhenni and Matthew to play Piazzola‘s 1982 tango Oblivion.

Some consider this work to be among the most beautiful music ever written. The performance was rapturous, and drew cheers from the audience.

It’s not just the performers

It’s neat to meet musicians who perform at Mr. Shoemaker’s concerts. But the salon experience is not just about watching people play and meeting them afterwards. It’s also about the program.

Often, there is music that we are not familiar with. At Zhenni Li’s recital, I discovered Astor Piazzola, the Argentine composer who wrote Oblivion. Piazzola is known for revitalizing the tango by adding jazz and other elements to form nuevo tango. This led me order a CD of his 1987 Central Park Concert.

Thank you Robin, Zhenni and partners, for broadening our musical horizons.

Pianist Han Chen Returns to Central Park West

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Han Chen

Han Chen playing Thomas Adès

On August 10th, 2018 Robin Shoemaker once again hosted pianist Han Chen at his Central Park West salon.

Mr. Chen’s program consisted of his repertoire for an upcoming competition in Calgary, Canada.

Han Chen thanked Robin and guests for the opportunity to play these works before a live audience. He explained that this is an essential part of how a pianist prepares.

Schubert: Piano Sonata No. 19 in C Minor D. 958

From the semi-religious grandeur of the opening chords to the manic gallop of the last movement, Han Chen played Schubert’s Sonata with a driven energy that captivated his listeners. At times the rhythm of the piano was reflected in audience motion, as if people were feeling an urge to get up and dance.

On a sticky New York evening the keyboard can get slippery. A couple of times Mr. Chen had to dry his fingertips. He did this in the blink of an eye, with an arm gesture that looked like pianistic panache. If I had not been seated up front, I would have perceived it as Lang Lang style swagger.

Thomas Adès: Concert Paraphrase on Powder Her Face

Chen immersed himself in this contemporary work with conviction. He was fun to watch because his style is very expressive, but I did not understand Concert Paraphrase on Powder Her Face. Its erratic rhythms and pauses, drifting harmonies and apparent lack of melody left me feeling confused.

I reached out to Mr. Chen after the recital for insight. He explained that the work arose from an Adès opera, and talked about the appeal of the technical challenges of the work.

Franz Liszt: Reminiscences de Don Juan

Host Robin with pianist Han Chen

Under Han Chen’s hands, this demanding work was entertaining and impressive. You can watch him perform it at the Rubenstein Competition (2017) on YouTube at CHEN Han | F. Liszt – Réminiscences of Don Juan, S. 418, Stage I.

On this evening at Central Park West he rose to the challenge literally, rising from the piano bench to put more emphasis into key moments. At one point he even seemed to snarl at the piano.

[encore] Glinka arr Liszt: Chernomor’s March from Ruslan and Lyudmila

I was surprised that Mr. Chen gave an encore after playing his full program with no break. This short and punchy work was a pleasant bonus, at times reminiscent of Mussorgsky.

Han Chen and the Honens Piano Competition

I first saw Han Chen play at Robin’s home in 2017. It was a remarkable event that you can read about in my post Pianist Han Chen at Central Park West. Han went on to reach the semi-finals of the 2017 Van Cliburn Piano Competition.

It was our great pleasure to be Han’s audience for this dry run for the 2018 Honens Piano Competition. His selection showcases his enormous power and virtuosity, affording him moments of triumph reminiscent of Lang Lang. He will do well at this competition.

And Yet

And yet, the moments I personally liked most came during the Schubert Sonata, where Han’s keyboard alternately bubbled with joi-de-vivre and gleamed with serenity. If it is for young pianists like Han Chen to challenge us with new music such as Thomas Adès, it is for those of us at the other end of life’s spectrum to encourage Mr. Chen to share more of his reflective side.