DAVID PARK, LARRY GEE, Jeanne Wagner Theatre, Tuesday.
It's not often that David Park gives recitals, but when he does, it's an unforgettable evening of spectacular music.
The Utah Symphony assistant concertmaster held his first Salt Lake recital in a number of years on Tuesday in the Jeann Wagner Theatre, the first time a violin recital has been held in the venue. Never one to choose an easy path, Park played an especially demanding program that would have tested the limits of any violinist. And he acquitted himself fabulously.
The program was divided into two distinct sections separated by an intermission.
In the opening half, Park focused on the 18th century, playing first Mozart's hauntingly dark and somber Sonata in E minor, K. 304.
The E minor is unique among the composer's violin sonatas in that it's the only one predominantly in a minor key. Lyrical as it is, though, Mozart never escapes painting a melancholy yet plaintive landscape. Park, ably accompanied by pianist Larry Gee, infused his interpretation with emotional depth and tender sensitivity to the music. It was touchingly poignant and moving.
The other work on the first half was J.S. Bach's epic Sonata No. 3 in C major for Solo Violin, BWV 1005. Most of the sonatas and partitas Bach wrote for violin stand in the shadow of the D minor Partita (BWV 1004). However, a work such as the C major Sonata is its equal in creative vitality, inventiveness and virtuosity. It takes a violinist of exceptional stamina to perform the piece, and Park proved to be such an artist.
Park offered a bold and sometimes rough-edged interpretation of the Bach. It was a novel and untraditional approach that worked mainly because of Park's intensity of expression and well-executed phrasings. He played with conviction and sincerity, never losing sight of the scope and breadth of the music.
The second half of the recital was in a completely different vein. Park opened this part of the program with another work for solo violin, this time the Sonata No.3 in D minor, "Ballade," by the Belgian composer Eugene Ysaye. A virtuosic piece in the extreme, Park gave it a forceful reading that succinctly captured the drama.
Gee returned to the stage for the final two works on the program, both of which take inspiration from Gypsy music.
The first of these was Ravel's forceful "Tzigane." Park's playing was strikingly compelling in the lengthy, improvisatory opening of the piece. And throughout, Park, as well as Gee to a lesser extent, captured the demonic passion of the music with utmost effectiveness.
The last work on the program was Sarasate's well-known "Zigeunerweisen." Once again, Park showed that he was more than up to the challenges set by the composer in terms of fiendishly bravura playing, pulling it off in stunning fashion.
Park and Gee also played two encores. The first was the delightful showpiece "Hora Staccato," in Jascha Heifetz's transcription for violin and piano.
The two closed out the evening with a wistful account of Maria Theresia von Paradis' tender "Sicilienne."
E-mail: ereichel@desnews.com