Young-Choon Park in Chichester

 Young-Choon Park, piano, Chichester Cathedral, July 9

If Beethoven had only written the Piano Sonatas he would have been a major composer but he did other things besides. It's easy to believe that Schubert learned a lot from him and his achievement would have been comparable had he lived as long which wasn't all that long in either case. Young-Choon Park's performance today provided an excellent opportunity to compare rather than contrast. Beethoven's Sonata in C sharp minor, the 'Moonlight', was written in 1801 when he was 30; Schubert's Sonata no. 19 in C minor comes from 1828 when he was 31 and wasn't due to live much longer.

There is no messing about in the opening of the Schubert, announcing its arrival with some gusto before the first movement progresses through song-like passages and rippling effects. It could be Beethoven. The second movement is restrained and even sombre before a glorious extended race to the end in a sustained dash. The left hand drives the momentum while the right hits some bright, shiny top notes, the point having been made and embellished further in a bravura composition that demanded power and virtuoso technique from Young-Choon.

Moving into the famous opening of the moonlight reflected on the water of Lake Lucerne (as the critic, and not Beethoven, saw it) was an immediate contrast with very much the opposite temperament required from the pianist but she did that even better, if anything. Being so well-known doesn't mean it can't still hit the same emotional spot so tellingly, especially with such a delicate touch. There was a fluid texture to the interpretation that might have come from the sustain pedal but having been one of the first Beethoven pieces I knew, some forty-odd years ago, it was just as alive and vivid now. And that's how you can tell if something's any good.

It's not all moonlit, though, and after a melodic middle, there was the thunder and lightning of the Presto Agitato third movement. 'Agitato' indeed, the moonlight epithet doesn't give you any warning of that which makes it a bit of a misnomer but one is tempted to see where Schubert got his idea from and then did his best to take it further.

These are two huge sonatas, once again illustrating that an orchestra isn't required to provide large scale music. Mozart did what he did exquisitely but the next generation took it that much further and it was a wonderful thing to have Young-Choon to provide them so impressively. If one ever wonders if it's the composer or the performer that is the most important, neither can do without the other.

This was a memorable performance even by Chichester's usual high standards and they've had Steven Kovacevich. It's great to have such concerts back and realize how much one missed them. That might be it for me for a little while there but the plan is to be back on Tuesdays from Sept 14. 

I've just checked and, yes, the 14th is a Tuesday. The programme gave Beethoven's dates as 1712-1773 which are actually the dates of the composer's grandfather. One can't believe everything one reads but one has to know it's wrong before being able to do anything about it. And maybe we could have had the movements set out for us as we usually do, like, Adagio Sostenuto, Allegretto and Presto Agitato in the Beethoven.

I'm only joking. I'm astonished that people are now being asked prices like £27.50 to see T. Rextasy featuring Danielz who must surely by now be twice as old as Marc was when he died but it only cost, like, 75p to see T. Rex at the height of their powers. Even factoring in the travel to nearby Chichester, these concerts for whatever donation you see fit are the greatest offer imaginable.