Midday Masterpieces (3/1/17)

Schubert: Arpeggione Sonata, D 821
Brahms: Sonata No. 2 in F major, Op. 99

James Jeonghwan Kim (cello) and Jinhee Park (piano)

Unfortunately, WQXR does not give a program or a breakdown of movements for Midday Masterpieces. As a result, there was awkward applause after the first movement of the Schubert. WQXR should know better and do better.

In an odd weather situation, the sun broke through the clouds as Mr. Kim began playing. After a subdued opening, there was a very playful section. Cello strumming led to a repeat of the opening. There was a nice pizzicato (plucked strings) section, followed by a strong finish, after a few false endings. After a subdued section to begin the second movement, it was mostly long lines in the cello and light rhythm for the piano. In what might have been the third movement, there was a song-like section (hello, Schubert!) leading into a folk dance section. Note that I said, “What might have been.” This is one of my problems with Midday—the lack of a printed program. I don’t need glossy; I don’t need extensive player bios; however, a list of works, with a breakdown of movements would be a big plus in my book. There. Down off of my Hyde Park pedestal.

The first movement of the Brahms featured very full sound with lots of rippling accompaniment, including expressive lower range playing from the cello. There were many energetic sections and phrases, with both the piano and cello definitely equal partners. The pizzicato playing that began the second movement soon moved to bowed playing (a smoother line). A slower movement, in general, it had an interesting section where the musical themes were displaced octave by octave and then again, octave by octave, but pizzicato. The third movement was brisk, with contrasting rhythms and tempos back and forth, while the final movement was quick and, once again, song-like.

One stage comportment note here; the Greene Space is not the most accommodating, sort of a thrust stage with no real wing space. That said (and I know that these are student performers from the Juilliard school), a bow should be both an acknowledgment of the audience and a true expression of the performer’s success. Mr. Kim managed this pretty well, but Ms. Park seemed almost apologetic. No. Own your success. Bow, acknowledge the audience, and then leave the stage. If applause warrants, return for a shorter bow, and then leave the stage. I don’t need to see the ‘hand over heart’ gesture (yes, we know that you love that we love you, but it’s becoming a cliché). Acknowledge us, acknowledge your pleasure, and leave us all happy.

I’ll most likely be back for the first Wednesday of April.

ConcertMeister