Tuesday April 26th, 2022 matinee – Violinist Grace Park (above) with pianist Joseph Liccardo in a matinee recital at Merkin Hall. Ms. Park, a elegant beauty, looked chic in flowing white trousers and a fitted white halter-top; she strode onto the stage with the dapper Mr. Liccardo, and they opened their program brilliantly with the Scherzo from Johannes Brahms’ FAE Sonata; this movement was composed as part of a welcoming musical gift created to honor the great violinist Joseph Joachim’s arrival at Düsseldorf. The title FAE Sonata refers to Joachim’s motto: “Frei, aber einsam” (‘Free, but lonely’).
The Brahms Scherzo made for a perfect introductory piece: it goes thru many changes of mood, from flashy, to sentimental, to passionate. Although there were moments when the piano seemed too loud, Ms. Park and Mr. Liccardo were perfectly in sync, and they brought us delicious subtleties along the way.
With the blend of voice and piano now perfectly aligned, music of Clara Schumann came next. Written in 1853, these brief works were among the last pieces that Clara ever wrote. After Robert’s death in 1856, she composed almost nothing more herself, instead keeping Robert’s music alive through her touring, and the editing of his works.
With the blend of voice and piano now perfectly aligned, these Clara Schumann gems glowed. The opening Andante molto had the feeling of an exquisite dream, with the players displaying beautiful phrasing and a keen sense for dynamic variety. A sadness arises with the second Romance, Allegretto Mit zatern vortage, though things turn lighter in time; throughout, the alternating currents of mood were deftly illuminated by the players. The final Romance, Leiderschuaftlich, is the most enchanting, with its flow of violin melody over rolling arpeggios from the keyboard. Ms. Park’s tone was at its sweetest here, with finely-etched trills and staccati, whilst Mr. Liccardo’s playing flourished.
A change in program brought us Leoš Janáček’s Violin Sonata rather that the originally-announced Mozart KV 454. Composed in 1914, when the world was poised on the edge of war.
From its passionate con moto start, the first movement is quite dramatic. The violin and piano seem to converse as they pass thru various musical moods: ironic, suspenseful, to a longing lyricism, and a calm finish, The ensuing Ballada brings forth shimmering figurations from the piano and a sustained, poetic theme from the violin. I loved watching Ms. Park’s expressions as the music seemed to draw forth her deepest feelings. Mr. Liccardo’s glistening passages met with Ms. Park’s ascending line for a radiant high ending.
The following movement, a sort of scherzo – opens with the piano trilling and the violinist slashing the strings; a folk-like dancing song rises up. The sonata moves on, thru staccati and trills that give a restless feeling, to a searing passage from the violin. Near the end, the piano seems dreamy and the violin rather anxious.
Composer Chris Rogerson introduced his Lullabye, No Bad Dreams, composed in 2009. Drawing upon his childhood fears of bedtime, he wrote a work that tells of a calming ritual his parents devised as they tucked him in for the night. The lullabye has Mr. Liccardo’s piano in the high range whilst Ms. Park’s line is sustained. Suddenly the music turns brisk – not ready for sleep yet – and develops an unusual grandness that speaks of passion and longing. Following a slow fade, there is a fitful agitation – which the composer indicates might be the result of having eaten too many sweets during the day. Sleep comes at last, with Ms. Park sustaining a long, high note. Musicians and composer were well-applauded for this musical memento of childhood; it certainly brought forth memories for me.
Above: pianist Joseph Liccardo
From J S Bach, we heard the Sonata for Violin and Harpsichord in E-major. This was most impressively played, commencing with a lovely, sustained Adagio, followed by the light and graceful Allegro, which features much animation from the piano. The heart of the sonata – and of the afternoon – came with the achingly beautiful Adagio ma non tanto; as played by Ms. Park and Mr. Liccardo, it felt like a bit of Heaven on Earth…something we so desperately need in these bleak times. In the concluding Allegro, our two musicians regaled us with their dazzling virtuosity, eliciting prolonged applause.
To conclude the program, we heard Schubert’s Rondo Brilliante in B-minor, which opens with contrasting passages that build to the emergence of the Rondo proper. This technically demanding piece was marvelously played by Ms. Park and Mr. Liccardo, but it also seemed endless; the same themes are repeated again and again, with several indications that the end was near only to have the music take another detour. After a while, I found my mind wandering. But eventually the Schubert came to an end, and the musicians were enthusiastically – and deservedly – cheered.
~ Oberon
Oberon's Glade 
