Missouri Classical Music News

From the first notes, the sound is mellifluous, lyrical, pastoral. From the Beethoven “Sonata, Opus 101” through Chopin’s “Ballade No. 4 in F minor, Opus 52,” into Ravel’s “Sonatine,” Shumann’s “Widmung” and Gian Carlo Menotti’s “Ricercare and Toccata, on a theme from ‘The Old Maid and the Thief’” — selections difficult enough for the most masterful pianist.

Charlie’s hands stride along the keys. Abrupt notes here, a light touch there — thousands of notes, tones, tucked in his muscle memory — ebb into long, trilling, trailing notes that float and echo out into the audience. The notes dissolve, then erupt. Charlie’s hands rumble over the keyboard, then suddenly ease. His body sways, head and shoulders arch back, he dips low toward the keyboard, eyes closed, as if the ivory is whispering. He looks like a boy enraptured.

But inside, Charlie feels off. He doesn’t think he’s doing well. He feels awkward, something indefinable, not at all like he felt Saturday during the semifinals when every note sounded and felt right.