Piano series tickles ivories, punches above its weight

A Steinway Hamburg concert piano gleamed regally from center stage at the College of Charleston’s Sottile Theatre. It rested as a murmuring audience waited Oct. 21 for the launch of the 2025 College of Charleston International Piano Series.

It wasn’t long before celebrated pianist Wei-Yi Yang manned the piano’s bench to unfold a virtuosic interpretation of early compositions by Robert Schumann, coaxing, cajoling, unleashing from those keys the very soul and genius of the 19th-century composer. The works — Opus 1 Abegg Variations, Opus 2 Papillons and Opus 3 Etudes after Paganini’s Caprices — sounded their unbridled, inventive notes, which together augur the composer’s future artistic greatness.

This level of performance presaged the remaining three concerts in the college’s series. They will be in November, February and April.

At the Steinway last month, Yang demonstrated his own greatness. In one sonic swoop, he converges a staggering mastery and striking sublimation, a synthesis of command and reverence that is artistic potential wholly realized.

This is standard operating procedure for the annual marvel of a series, the longest-running of its kind in Charleston. In a slim, hour-and-change on a Tuesday night, it’s a time-honored cultural outing for those in the know, a revelation to the uninitiated music lovers who chance upon it — and a transformative experience for students who have landed a ticket to excellence (and extra credit for attending to boot.)

Presented by the College of Charleston School of the Arts, the year-round program of four concerts focused solely on piano is a testament to the ways in which having a state school on prime real estate can be a boon for the cultural community.

“What is special is the setting in the historic and atmospheric Sottile Theatre in the heart of downtown Charleston, a special city already,” said Tom Hicks, artistic director of the series, who is also assistant professor of piano and director of piano studies at the College of Charleston.

The state of the series

Over the years, the series has also benefited from ever-improving circumstances. There was the 2020 donation of the Steinway beguiling world-class pianists with optimal performance conditions.

After a multimillion dollar renovation, the Sottile emerged from the pandemic with its own enhancements. At the season launch, there is strong evidence of a growing audience. Donations have doubled year-on-year.

“What attracted me to Charleston, other than the city and its location, was the seriousness of our students, the aspiration of our department and the piano series itself as it relates to that,” Hicks said.

A melodic mix

Still, the series is not just for the piano-passionate. It also aims to reach those who have never been to a concert.

“Newcomers can be sure of a warm welcome, a special atmosphere in the historic Sottile Theatre, and some world-class artistry on display,” Hicks said.

On the evening of Yang’s concert, familiar faces from the classical music scene peppered the house. There were fresh faces, too, many of them college students decked out in their concert finest, assembling in twos and threes in palpably excited anticipation.

With that melodic mix in mind, the concerts are newbie-friendly, both economic of time and expense, with discounts for patrons under the age of 18, for teachers and for the college community. The series also offers public masterclasses with the visiting artists in Simons Recital Hall on Wednesday mornings, which are beginning to attract members of the public.

“I think they enjoy seeing what happens in a high-level piano lesson, supporting our College of Charleston piano majors while they learn from the best artists in the world, and perhaps also enjoy seeing how the pianist they enjoyed performing the previous night thinks and discusses music. It is a sort of peak behind the curtain,” he said.

Top talent

With its ability to attract extraordinary artists, the series adds immeasurably to Charleston’s none-too-shabby classical music scene. Artists say they are happy for a chance to visit Charleston.

That started this year with Yang, a professor in the practice of piano music at Yale University who has performed at Lincoln Center, the John F. Kennedy Center and Carnegie Hall, prompting The New York Times to pronounce his performance as a soloist in Messiaen’s Turangalia-Symphonie “sensational.” At the Sottile, he sufficiently thrilled audience members that one declared his performance of the Schumann as the best they had ever heard.

Next up is Richard Goode, who is set to perform an all-Beethoven program on Nov. 18.

“An artist like Richard Goode performing late Beethoven would be a major cultural event for any city,” said Hicks. “I know piano enthusiasts from neighboring states are coming to Charleston for this particular concert as it will be a highlight of the musical calendar for the entire region.”

There is Drew Petersen, a New York-area based American pianist for compelling and poetic performances across a diverse repertoire, slotted for Feb. 3. He returns to Charleston after filling in at the last minute with Charleston Symphony for Rachmaninoff’s Third Piano Concerto. Christopher Goodpasture, who Hicks dubs one of his generation’s most exciting talents, performs April 7.

What’s good for his piano department is good for Charleston, too.

“Concerts have always been sociable gatherings, and we try to encourage that friendly and welcoming atmosphere,” said Hicks, eager for all to gather around one fine Steinway.

IF YOU WANT TO GO: The next concert is Nov. 18, 7 p.m., Sottile Theatre, 44 George St. More: go.charleston.edu/pianoconcert