Discover Walla Walla

The bows slowly cross the strings of the three cellos, producing a moaning sound, each bow manipulated in perfect unison by the hands of the three musicians who sit in an open semi-circle facing the enraptured crowd.  A young man with jet black hair tinkers on the piano just behind them as the haunting sound of David Popper's "Requiem for Three Cellos and Piano" rises from the instruments and floats through the spartan chambers of Chism Recital Hall.

It is the final concert of the "Second Annual Walla Walla Chamber Music Festival" and the opening piece provides a stark contrast to the airy and upbeat performance of Mendelssohn's' "String Octet in E Flat" the night before where a mirthful audience sat in an open-ended winery production room, taking in the music after filling up on vino and hors' de oeuvres.

The sad but moving "Requiem" is an appropriate piece for Chism, which in its own way, serves as a perfect setting for a festival concert.  The warn wooden floor, the lack of any ornamentation to the stage or walls, the small piano cloaked by a dark tarp pushed against the deep back wall of the cavernous stage, all serve to create an atmosphere where ones focus is solely on the music and its performers.

Although Chism seats well over 200, it speaks of classes, lengthy rehearsals and students rigorously repeating movements under the eye of a scrutinizing instructor . . .  right there, on that scuffed up stage, on that grand piano.  It embodies everything about this wonderful festival: "we just want to share the music; we just want to hear the music; it matters not if it is played in a teaching recital hall -- just find us a venue to witness these gorgeous sounds!

Early during the second piece, Brahms "Piano Quartet in C minor, it becomes apparent that among this assemblage of talented musicians, the brightest shining star is pianist Winston Choi.  Choi, much as he did during "Requiem," but with even more effect, guides the piece with mastery from his bench.  Whether gently tinkering during an almost halting ebb in "Quartet" or driving the piece ahead with the Cellos gleefully in toe, his skill never wavers even while his passion is palpable, his head of jet black hair swaying back and forth, his eyes closed as he soaks in the beauty of the melody, only opening them when communicating with his fellow players.

So accomplished is Choi at bringing out the soul of "Quartet" that I find myself tapping my toes as he reveals the steady underlying beat of the piece. Yet, he never allows the piano to override the cellos that feature the paradoxical feelings that Brahms so eloquently expresses in "Quartet."

All four movements are more than satiating to the ear and spirit, but it is the third movement where the four musicians, Choi, violinists Tim Christie and Phillip Payton, and cellist Sally Singer combine to poignantly portray Brahms's conflict, at times almost violently striking their instruments and at others softly laying the audience back in its seats with gentle, delicate playing.

At the end of the piece, the crowd of nearly 150 people comes to its feet with roaring applause.  Thank you, they say, Thank you for bringing this music to Walla Walla.  We'll listen to you wherever you desire: wine tasting rooms, music classrooms, even the public library.  Just come again and again, year after year!  And something tells me they will.