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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.

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.