echoes of paths
A Piano Concert by Students of Phu Koanantakool
30th April 2025 | 19:00 hrs.
Steinway Thailand is delighted to present Echoes of Paths, an event celebrating the piano accomplishments of the students under the guidance of Phu Koanantakool. From Liszt’s monumental Sonata in B Minor to the poetic brilliance of Chopin’s Études, experience the timeless beauty of the masterpieces brought to life by hands of these young pianists on the finest Steinway & Sons piano.
PROGRAM
Ballade No. 1 in G minor, Op. 23
Ballade No. 4 in F minor, Op. 52
Frédéric Chopin
Chonnakarn Sri-utai
Piano Sonata in B minor, S. 178
Franz Liszt
Patchara Kawoeain
12 Études, Op. 10
Frédéric Chopin
Ramida Montivalai
Programme Notes
Frédéric Chopin - Ballade No. 1 in G minor, Op. 23
The first ballade, composed in 1835, is often regarded as one of Chopin’s most intense and dramatic compositions. Its sweeping, turbulent melodies, contrasting with moments of lyrical beauty, suggest an epic narrative of struggle and conflict. One could draw parallels with Mickiewicz’s “Konrad Wallenrod,” a poem deeply imbued with themes of personal sacrifice, heroism, and political unrest. The ballade’s musical form—a series of contrasting themes—mirrors the poem’s depiction of a protagonist torn between duty and emotion. The opening theme’s dark, brooding nature gives way to more lyrical and heroic motifs, ultimately culminating in an overwhelming sense of tragedy. This sense of internal conflict and dramatic tension speaks to the emotional depth found in Mickiewicz’s verse.
Frédéric Chopin - Ballade No. 4 in F minor, Op. 52
The fourth ballade, composed in 1842, is often considered the most complex and profound of the set. Its rich harmonic language, contrasting moods, and dramatic structure create a sense of narrative that is deeply emotional and conflicted. One might see in this work the culmination of Chopin’s exploration of personal and national struggle, much like Mickiewicz’s “Grażyna,” which blends elements of folklore, heroism, and personal sacrifice. The ballade’s thematic development—its sudden shifts from stormy passages to lyrical moments—suggests the inner turmoil of a character torn between personal desire and duty. The fugue-like section near the climax evokes asense of inevitability and resolution, much like the tragic fates of Mickiewicz’s heroes. In both the ballade and Mickiewicz’s poetry, there is a deep engagement with themes of fate, sacrifice, and the search for meaning in the face of adversity.
Franz Liszt – Piano Sonata in B minor, S. 178
Completed in 1853 and dedicated to Robert Schumann, Franz Liszt’s Piano Sonata in B minor is widely regarded as one of the crowning achievements of 19th-century piano literature. A bold departure from classical sonata form, it unfolds in a single, unbroken movement of about thirty minutes, constructed through an intricate process of thematic transformation and cyclical recall.
The work begins with a Lento assai introduction, presenting three seminal motifs: a descending scale in octaves, a dotted-rhythm figure, and a lyrical, yearning theme. These motifs form the DNA of the entire sonata, continuously reshaped across a structure that loosely mirrors a four-movement layout—an Allegro, an Andante, a fugue, and a coda—without ever conceding to clear sectional breaks.
The principal Allegro energico introduces the first theme, a declamatory, martial idea derived from the initial motifs, set against sweeping arpeggiations and urgent bass figures. A more lyrical second subject follows in D major, offering a moment of respite while remaining thematically tied to earlier material. Liszt eschews conventional recapitulation: instead of literal returns, he continuously evolves his motifs through modulation, variation, and dramatic recontextualization.
The Andante sostenuto serves as the spiritual heart of the sonata. Here, the lyrical theme reemerges as a hymn-like cantabile, clothed in rich chromatic harmonies and suspended inner voices. The sense of temporal suspension is heightened through deceptive cadences, enharmonic shifts, and subtle dynamic shading.
A fugue follows, masterfully constructed from the earlier dotted-rhythm motif. rather than adhering to strict counterpoint. Liszt treats the fugues as an extension of the sonata’s narrative drama, layering voices to build immense tension before dissolving back into freer textures. His use of chromaticism, augmented intervals, and enharmonic modulation here heightens the fugue’s intensity while preserving thematic coherence.
Throughout the sonata, Liszt employs an advanced harmonic language: frequent third relationships between key centers (B minor–G major–E major–D major), enharmonic pivots, and delayed resolutions contribute to the sense of a vast, unfolding psychological landscape. The motifs not only bind the structure but also undergo emotional metamorphoses—from darkness to triumph, from struggle to transcendence.
In the final pages, Liszt reimagines the opening materials with a newfound tenderness. The descending octave motif, once foreboding, returns transformed into ethereal, almost otherworldly whispers. The sonata closes with a hushed ppp, a final surrender to silence that invites the listener to contemplate the emotional odyssey that has transpired.
Demanding prodigious technical command, architectural foresight, and emotional depth, the Sonata in B minor remains a towering exemplar of Romantic pianism—at once a testament to Liszt’s compositional ingenuity and a profound meditation on transformation and transcendence.
Frédéric Chopin - 12 Études, Op. 10
Chopin’s Études are the cornerstones of pianistic technique, offering both technical challenges and musical depth. These works not only target specific technical aspects but also enhance the performer’s expressiveness. Below is a concise overview of the key technical focus of each étude.
Étude No. 1 in C major
The right hand plays rapid, wide arpeggios that create a flowing, bow-like motion, while the left hand provides solid support with chorale-like octaves. It enhances large hand movements and hand independence.
Étude No. 2 in A minor
A study in chromatic scales, the weaker fingers of the right hand must navigate swiftly, while the stronger fingers perform detached chords. It strengthens finger independence and control over chromatic passages.
Étude No. 3 in E major
This piece focuses on balancing melody and accompaniment within the same hand. The right hand alternates between melodic lines and accompaniment, improving hand coordination and clarity in complex textures.
Étude No. 4 in C-sharp minor
A study in controlling rapid runs with the 1st, 2nd, 3rd, and 4th fingers. It improves evenness and finger strength, especially in fast passages.
Étude No. 5 in G-flat major
The right hand plays exclusively on the black keys, while the hidden melody lies in the left hand. This study improves hand flexibility and the ability to bring out contrasting voices in unconventional registers.
Étude No. 6 in E-flat minor
Focuses on dynamic contrasts and fast alternations between the hands. It strengthens phrasing and expressive control while maintaining clarity in fast, alternating passages.
Étude No. 7 in C major
The right hand plays repeated notes with the thumb and index fingers, while the weaker fingers of the left hand perform awkward intervals. This develops coordination and finger strength, particularly in rapid, repetitive passages.
Étude No. 8 in F major
This étude features rapid runs in the right hand, with the left hand maintaining accentuated rhythmic patterns. It refines precision in fast passages while managing contrasting rhythmic structures between the hands.
Étude No. 9 in F minor
A study in left-hand rotation, focusing on smooth, even arpeggios with minimal effort. This enhances flexibility and control, particularly for wide intervals and fast left-hand arpeggios.
Étude No. 10 in A-flat major
This piece requires articulation and clarity in the right hand, with detached notes, while the left hand spans large intervals. It refines coordination and clarity, especially when the left hand covers a wide range.
Étude No. 11 in E-flat major
A study of rapid rolled chords in both hands, improving hand coordination and speed, while maintaining evenness and clarity in both hands.
Étude No. 12 in C minor
Focused on developing strength, dexterity and precision in the left hand, which plays rapid, repeated notes. It strengthens the left hand for fast, powerful passages, ensuringevenness and control.
performers
Chonnakarn Sri-utai
Chonnakarn Sri-utai began his formal piano studies at the age of ten with Pisanu Keawkumpang at KPN Pinklao. His passion and talent for the instrument quickly became evident, leading him to pursue a Bachelor's degree in Piano Performance at the Faculty of Music, Silpakorn University, where he studied under the guidance of Jamorn Supapol.
During his academic years, he actively participated in numerous performance opportunities, including piano showcases, house concerts, and departmental recitals, cultivating his artistry through a broad range of repertoire.
In 2023, Chonnakarn made his debut at the esteemed Thailand International Piano Festival with a landmark performance of Franz Liszt's complete 12 Étude Op. 1—an ambitious and rarely performed cycle that underscored his technical command and interpretive maturity.
Since 2024, Chonnakarn has been further refining his pianistic artistry under the tutelage of renowned Thai pianist Phu Koanantakool, deepening his musical insight and technical finesse. Currently, he serves as a dedicated piano instructor at Yamaha Petchkasem and Amadeus Studio, where he continues to inspire and mentor the next generation of pianists with his unwavering commitment to excellence.
Ramida Montivalai
A homeschooler and ambitious junior pianist, Ramida began studying piano in 2017. She spends 8-10 hours every day studying, practicing, and playing the piano.
With a dream of becoming a great pianist, she works hard to improve herself and her skills. She also busks on the streets of Bangkok, kindly asking for support to pursue her dream and fund her music education with great teachers. In 2019, she received a scholarship to study "Chamber Music" in the Young Artist Academy Program at Princess Galyani Vadhana Institute of Music and began her journey as a young pianist, soloist, and piano accompanist.
Since then, she has participated in several competitions with great success:
- Grand Prize Winner, Chopin International Piano Competition, Hartford, CT (USA), 2021
- Platinum Prize, The 1st Young Concert Artists International Piano Competition, 2021
- Superior Gold Prize, The S.E ASEAN Beethoven Piano Competition, 2021
- First Prize Winner, 9th Mozart International Piano Competition, 2020
- First Prize Winner, Kawai ASEAN Piano Competition, 2019
She has been invited to perform in many concerts at the Thailand Cultural Centre and at embassies. Additionally, she performed with the Feroci Philharmonic Orchestra at Phayathai Palace in 2021 and with the Italian-Thai Youth Orchestra in 2022. Currently, her piano instructor is Phu Koanantakool, and she studies Piano Improvisation with Assistant Professor Alberto Ferrincieli, Chamber Music with Professor Damrih Banawitayakit, and Music Theory with Assistant Professor Dr. Saksri Vongtaradon.
In addition to her aspirations to be a professional pianist, Ramida also aims to use her talents in the future to help underprivileged children by providing them with free piano lessons and music education.
Patchara Kawoeain
Thai pianist Patchara Kawoeain, a student of Phu Koanantakool and Dr. Eri Nakagawa, was born in 2003. He has been attending the College of Music at Mahidol University since 2021, where he received a music scholarship from ThaiBev.
Patchara has won numerous prizes in international competitions, including the highest prize, the Best Liszt Performance Award at the VI International Liszt Ferenc Competition (Thailand Preliminary), First Prize at the Rising Stars International Arts Festival & Competition (solo category), and Second Prize at the Kasetsart International Piano Competition. He recently graduated with a Bachelor of Music degree in Piano Performance from the College of Music, Mahidol University.
In March 2025, he became the second Thai pianist in history to perform the complete set of Chopin's 24 Études. He has performed in several countries, including Thailand, Japan, and Hungary.
LOCATION
Steinway & Sons Showroom
#1F-04 Gaysorn Center, 1st Floor
999 Phloen Chit Rd., Lumpini, Bangkok
For your information and etiquette
- This is a free-seating event.
- Strictly no liquids or food should be brought into the showroom.
- Kindly maintain decorum upon entry and be conscious of your belongings (e.g., bags, rings, watches, cameras) around the instruments.
- During the performance, kindly wait for the conclusion of a piece or an intermission to enter the audience seating area.
- Parking validation has to be done directly with the Gaysorn Concierge.
***The event is now fully booked.***