Miryo Park, 23, made her major concert debut last April in true 42nd Street fashion when pianist Rosalyn Tureck canceled two days before a major benefit at New York's Town Hall. Park, a Juilliard student who placed second in the prestigious Naumburg Competition in 1979, at first declined to fill in because she felt unprepared, then relented when she realized she "couldn't bear to lose the opportunity." Before a full house, the five-foot, 105-pound Miryo performed a program that included the Mozart Sonata in C Major and Schumann's Carnaval. "She was fabulous," recalls Town Hall director Lawrence Zucker. Small wonder: Park, the daughter of a Korean importer and a housewife, had spent a lifetime preparing for the moment. She started playing at 4 and three years later was a soloist with the Seoul Philharmonic ("My feet couldn't even reach the pedals"). At Juilliard, she impressed noted instructor Sascha Gorodnitzki as "a dazzler." In April Park returns to Seoul to perform with the Philharmonic again, but that is merely a walkup to the Olympics of classical music—next June's Tchaikovsky Competition in Moscow. National Symphony conductor Mstislav Rostropovich has high hopes for her. "She has a brilliant technique," he says. Miryo knows more than that is required. But "being a pianist in the 1980s isn't just practice," she explains. "Sometimes you have to have the guts to get off the bench and take a real chance."
Albert Sanford, 21, first became fascinated with lithographs four years ago when his stepmother, Minneapolis Star columnist and television talk show hostess Barbara Flanagan, gave him a 1915 poster touting Michelin bicycle tires. About the same time Al also got his first bit of investment advice (the name of a good broker) from his father, Earl Sanford, a Kidder Peabody & Co. vice-president. Unprepared to follow either parent's prescription for his future, Albert decided to take time off from his political science classes at Vermont's Middlebury College two years ago and go to Paris. There he drifted naturally toward art. While pursuing degrees in politics and language at the Institut d'Etudes Politiques, he perfected his eye for posters and prints by browsing through galleries and museums. Soon he met art dealer Deborah Glusker-LeBrave and so impressed her with his expertise that she hired him as her U.S. representative. Now Al's commissions from U.S. sales of lithographs by the likes of Toulouse-Lautrec, Bertrand and Alphonse Mucha (his favorite) net him up to $5,000 a month. That, plus stock investments, has paid his college expenses (he graduates from Middlebury this May). His own collection of two dozen lithographs is valued between $10,000 and $15,000. Next Al wants to begin dealing in antique shadow boxes (forerunners of the magic lantern). "Art," he says with a smile, "can be a very nice business."