A ‘wine flight’ experience alongside a Schubert’s final piano sonata might be mistaken for a fashionable gimmick. But in the hands of Kristian Chong, this rendition of the Piano Sonata in D-flat major D690 was exquisite on its own, so the format simply added extra layers of interest. It is not often that wine sampling happens in such an unhurried way, each taster alone with their thoughts, curious as to how the wine choice complemented the music (or was it the other way around?).

The accompanying four wines were selected by Chong from his favourite makers, one to be sampled during each movement of the work and laid out awaiting audience seated at four long tables perpendicular to the Gandel Hall stage. The concert title was slightly misleading, as only one of the wines was a syrah (shiraz), but at least it was a blockbuster.

Schubert & Syrah. Kristian Chong (piano). Photo © Peter Hislop.

Written in 1828 as the 31-year-old Franz Schubert was dying, the sonata is full of pathos, fear, moments of light and darkness, and yearning for lost futures. Chong struck a contemplative mood at the opening of the first movement, with light and bright melodic lines from the right hand overlaying driving, demanding rhythms from the left. Dramatic, dark staccatos gave way to the prettiest lines, before darkness returned.

Flawlessly executed key changes in descending phrases conveyed torment and tempest, Chong inhaling before each climax. The accompanying wine, the Cullen ‘Grace Madeline’ (sauvignon blanc/semillon) 2024 really did fit, with stone fruit sweetness over a dry mineral-driven platform.

The Andante sostenuto turns inwards further, Schubert seeming to return to memories and an unfinished life’s unresolved mysteries.  This more fugal movement was matched with the Chalmers Falanghina 2024, which had a long, clean, sweet finish and balanced acidity.

The Chalmers Col Fondo 2022 was prescribed for the Scherzo: a less refined (and slightly cloudy) sparkling rosé, with cider-like tones complementing the brighter, more optimistic musical opening: a summery character with not too much deep-thinking.

Schubert & Syrah. Kristian Chong (piano). Photo © Peter Hislop.

Chong commanded the full keyboard for the final Allegro/Presto. A full-throated, encompassing sound filled the hall, again achieved through the fully-deployed left hand on the lower half of the keyboard.

As bells tolled, phrases are interrupted and horns pull the audience’s attention back to inescapable mortality. Yet the musical tools don’t suggest fevered dreams, rather a mind rushing to finish things before the final unconsciousness descends.

The accompanying wine was the Canberra region’s iconic Shiraz Voignier 2023 from Clonakilla. Retailing at around $130 a bottle, it’s a charmingly restrained and gentle Shiraz, but with rich cedar and sandalwood at its foundation.  An inspiringly good match, especially for the gentler finale of the work where torment gives way to calm.

This was a fine Schubert sonata, expertly performed.  The wine accompaniments merely added to the sensational experience.

The Canberra International Music Festival continues until 3 May.