Jaehong Park
WEBSITE WORK IN PROGRESS

6 Nov 2023 by Sam Smith -
The concert lasted a lunchtime, the memory will last a lifetime. When violinist Esther Yoo teamed up with pianist Jae Hong Park it clicked from the very start. That is the only conclusion that could ever be drawn from witnessing their first concert together in the United Kingdom, which quite simply made for an hour of perfection. The programme comprised two sonatas, a piece that was originally written for the voice and a take on a popular tune, and it allowed both players to demonstrate the range of their abilities to the full. The gap between the two chords on the piano that open Debussy’s Violin Sonata in G minor (1916-17) seemed to be infinite. It may, in reality, not have been significantly longer than in any other performance, but the manner in which Park could generate anticipation in the audience through such seemingly simple means spoke volumes about his skills. The most intriguing aspect to Yoo’s playing was the fact that her sound did not instantly hit us as being particularly full or sumptuous, but rather seemed to be characterised by cleanness, precision, delicacy and detail. However, it was her ability to assert such control over what she produced at every point that made her capable of achieving anything, so that there was not only power, but real energy, where there needed to be. Her underlying technique also put her in good stead for capturing the more fluid, ‘wispy’ sounds that are required on occasions in the Allegro vivo, while in the Fantastique et legér it was her ability to convey a sense of both flurry and lightness that shone through. Throughout, but particularly in the Finale, one felt captivated by the cleanness and ‘straightness’ of her bowing, which proved to be the means by which so many different effects could be achieved. “…quite simply made for an hour of perfection”Grieg’s Violin Sonata No. 3 in C minor, Op. 45 (1886-87) was executed with equal skill. The opening to the Allegretto espressivo alla Romanza gave an excellent opportunity for Park to shine as his playing revealed a divine twinkle, while also being possessed of just enough weight to ensure there was immense coherence to the structure and phrasing. The same movement’s Allegro molto felt positively electric, because both players’ underlying technique enabled them to achieve thrilling results, and the closing Prestissimo was rendered especially well. This was followed by Rachmaninov’s Vocalise Op. 34, No. 14 (1915), which was originally written for voice but has enjoyed numerous instrumental arrangements. After the excitement of the Grieg, this provided an excellent contrast by feeling so delicate. The main programme then finished with Henry Vieuxtemps’ Souvenir d’Amérique on ‘Yankee Doodle’ Op. 17 (published c.1845). Although it is a fun piece based on a popular tune, the virtuosity required to execute it is quite considerable. The programme described it as ‘involving double- and triple-stopping, harmonics, left-hand pizzicato and rapid arpeggios across the strings’, but on witnessing Yoo plucking the strings with her left hand while bowing virtually simultaneously, even this description seemed to undersell exactly what the piece demanded! By the time the audience had enjoyed two encores, an arrangement of a traditional Korean folk song and Elgar’s Chanson de Matin Op. 15, No. 2, the concert felt as complete as it was undoubtedly accomplished.