Sueye Park introduced herself to the general public in 2017 with no less a calling-card than Paganini’s 24 Caprices for solo violin. On the present...

Sueye Park introduced herself to the general public in 2017 with no less a calling-card than Paganini’s 24 Caprices for solo violin. On the present album, the South-Korean violinist (born in 2000) has a pianist on her side, namely Love Derwinger, himself known from a number of recordings. The repertoire is also a more varied offering this time, with violin favourites such as Elgar’s tender Salut d’amour and Tchaikovsky’s Mélodie, as well as more virtuosic fare, for instance in the fireworks of Wieniawski’s Scherzo-Tarantelle. Sueye also includes two solo works on the release: Ernst’s much-loved Last Rose and – in a nod to her previous album – Paganiniana, Nathan Milstein’s fantasy on themes by Paganini. Performed with equal measures of poetic sensitivity and effortless virtuosity, this is a recital to dip into as well as to listen to from start to finish – from the fiery passion of Pablo de Sarasate’s Introduction et Tarantelle to Contemplation, Heifetz’ transcription of Brahms’s song Wie Melodien zieht es mir.

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REVIEW:

If I were to sum up the special quality she brings then it would be her purity and directness. Take the Elgar title-piece, which comes without a hint of whimsy, coquettishness, or vulnerability but is instead unfussily cloudless, singing and rubato-light. In short, I’m properly taken with this one.

– Gramophone