Park is playing another piece that steps outside of much of what we've been hearing today. For her opening solo, she is playing Clementi's Sonata in F-sharp minor, Op. 25, No. 5. The first movement is melancholy and sensitive and requires good technical control. She is doing a lovely job of this. The second movement is painful ad sad, beautiful at the same time. A presto third movement is conclusing this sonata. For the first time in this work, a major key is introduced, giving us a ray of sunshine much needed after the darkness of the first two movements. Great control and expressivity throughout. Brava!
Park is now going to perform the first movement of Brahms' Sonata for Violin and Piano, No. 2 in A major, Op. 100, with MSO violinist, Jennifer Startt. Park stated that she finds this movement to be heart-warming and welcoming; she has definitely captured those emotions in her playing (and she looks like she's enjoying herself and the music too).
Another first movement of Mendelssohn's G minor piano concerto with pianist, Martha Fischer, playing the orchestral part. Park is taking control of this piece from the get-go. Before playing, she shared a few thoughts with us: Mendelssohn wrote this concerto in only a few days and it's as if he tried to squeeze as much material as he possibly could into the space he had. There are no formal pauses between movements, rather each one flows into the next. Someone is noted to have said that this piece is emotionally direct, meaning Mendelssohn made it very clear to the performer through his markings in the score what he wanted. Thus, the performer knows exactly what to do with the music and as a result, the audience will understand it too. This concerto is in Mendelssohn's most natural and organic state because of the short writing time (excellent insight and comment from our performer!). Solid way to end a collaborative program.
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