A Different Sort of Pianist

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A Different Sort of Pianist

Danbury News-Times
By Howard Tuvelle

Western Connecticut State University’s newly formed Keyboard Club presented pianist Frederic Chiu in a recital Feb. 10. He devoted his entire program to the music of Russian composer Serge Prokofieff (1891-1953), whose complete keyboard music the pianist has recorded.
Chiu began his program with some remarks to the audience about Prokofieff. He mentioned the composer as being an “original voice” and the “quintessential musical representative of both the West and East.” All his remarks were not entirely audible and the audience seemed anxious for him to proceed with the program.
Finally, the pianist seated himself. He seemed to sit too close to the keyboard and also sat on a folding chair rather than an artist’s stool. He wore a black suit – no, Asian garb that looked more like a leisure suit, and his long hair did not dangle about the shoulders, Lisztian style, but was neatly tied in a pony tail!
But then, all this is irrelevant. What is important is how he played.
As one who plays the piano, let us say he is more than a pianist, more than a player of music. Chiu is a musician’s pianist. Although not large in stature, nevertheless he is large in scope when playing Prokofieff. Neither by weight nor strictly by fingers ... perhaps mostly from the shoulders, all approaches and their acclaimed benefits are forgotten when Chiu’s fingers touch the keyboard. He does not so much “play” Prokofieff as he does in bringing the composer’s music again to life. This is the ultimate achievement for any instrumentalist and musician.
The program began with four selections arranged by the pianist, from the “Lieutenant Kije Suite.” Titled “Romance,” “Kije’s Wedding”, “Troika” and “Kije’s Burial,” they provided the pianist with sufficient opportunity to display his wide range of dynamics. Chiu achieved some of the most exquisite pianissimos I’ve heard from any pianist – ever!
The “Sonata No. 7 in B-flat Major, Op. 83” followed and closed the first half of the program. Here again, Chiu’s dynamic control and nuances were superb. Nor did he lack the necessary “bombastics” for the last movement, titled “precipitato,” an ongoing rhythmical and technical tour-de-force.
After intermission there were, again, selections, this time from the composer’s “Romeo and Juliet.” These were charming and less powerfully charged, and to many were somewhat familiar. But it was in the last work of the program, the “Sonata No. 8 in B-flat Major, Op 84” (the composer was obviously fond of B-flat) that all the musical forces culminated in Chiu’s pianism. Rarely has such massive and complex music, such speed and range of the keyboard, been so impressively wrought by a performer.
The Vivace-Allegro ban marcato movement (the last in the sonata) was coruscating and breathtaking. Even the Yamaha concert grand, imported for the concert, became so excited it flipped out of tune in the upper register!
Chiu is a distinctive and bright light on the piano scene. Let us hope that the Keyboard Club and the university’s Student Government will continue to sponsor similar bright lights for the campus and Danbury region.
Coincidentally, both Frederic Chiu and Charles Ives share the same birthday, Oct. 20.

Tuesday, February 10, 2004