Peter Scott Lewis: Pacific Triptych
Sono Luminus

As two of the three works on Pacific Triptych illustrate, Peter Scott Lewis, like many an American artist has before him, finds creative inspiration in the landscapes of the great country he calls home. The three-part title composition is the San Francisco-based classical composer's attempt to render the grandeur of the ocean and the limitless sky above it into musical form, whereas the four-movement first book of An American Travelogue draws more broadly for inspiration from places in the western, southwestern, and Gulf Coast parts of the United States. The recording's third piece, on the other hand, was written with uncut gemstones in mind and is thus aptly titled Seven Nuggets. All three pieces, as diverse as they are, collectively provide a solid account of Lewis's persona as a composer and grant interpreter Blair McMillen a terrific showcase for his solo piano artistry.

In addition to being a composer, conductor, and guitarist, Lewis, whose output includes solo, chamber, vocal, and orchestral music, is a pianist too but for this recording cedes the keyboard duties to McMillen. As a piano soloist, music festival director, and educator, he's multi-faced also and has advocated fervently for living composers and contemporary music but also early keyboard music and neglected masterworks. His presentation of Lewis's material was recorded at Mount Vernon's Oktaven Audio studio in May 2024 using a 1987 Hamburg Steinway D 9' concert grand that was rebuilt in 2009.

The works themselves are recent creations, with the titular piece stemming from 2019 (though based on an unperformed version for orchestra completed in 2006) and the others 2023. McMillen's version of Pacific Triptych is thus a premiere, and it's a good one. An epic tone is established by aggressive chords at the beginning of “Following the Sunrise” before the mood turns playful as the excursion unfolds. Lewis's music could pass for a soundtrack to a travel video of the Pacific locale and its panoramic, spirits-lifting vistas. Moments of calm are woven into the oft-energized piece, as if to suggest the reflective state such a setting might encourage. Momentum is naturally pronounced in the central “Travelling Music” movement, the music here wending in lyrical and expansive directions. Some vague hint of a classical minimalism influence emerges on occasion, but Lewis largely distances himself from any association with a particular style or group. At work's close, “Toccata” delivers an assertive statement rich in billowing chords and rollicking rhythms.

At twenty-one minutes, the miniatures composing Seven Nuggets present vivid evocations of distinct gemstone types. Multiple moods and tonalities are explored in the work, starting with the jazz harmonies and flourishes that irradiate “Fire Opal.” While each is a compact expression, Lewis nevertheless works a number of contrasting episodes into each one. Lewis imbues “Carved Jade,” for example, with tender introspection before letting a more playful tone emerge. Whereas “Raw Sapphire” flirts in moments with a nachtmusik character, “Rough Diamond” wends a similarly chromatic path whilst also exhibiting a mischievous side. Mischievous too and even a tad cheeky is “Gleaming Chrysocolla,” in contrast to the expansive majesty of “Lapis, with Gold Crystals.” As a title, Seven Nuggets is effective, but the work could also be seen as a septet of challenging etudes created with developing piano students in mind.

Imaginatively named, the four movements in An American Travelogue, Book 1 allude clearly to the parts of the country with which they're associated (as expected, the second book continues the exploration in other regions of the United States). Washington's the state locale for the ruminative “Chief Seattle Walks the Pike Place Market,” “Dancing in New Orleans” is as lively as anticipated, and “Austin Sun” evokes the awe-inspiring sprawl of the Texas outdoors. Fittingly, “Beyond the Golden Gate” returns us to the composer's home base with a gentle reflection, even as it's casting its gaze beyond it.

As a nearly hour-long document of Lewis's writing style and McMillen's pianistic artistry, Pacific Triptych succeeds handsomely on its self-delineated terms. Impressions of both artists are enhanced when the performances resonate with the greatest possible clarity, that detail attributable to both Lewis's production of the recording and Oktaven Audio's renowned acoustics.

October 2025

‍

Peter Scott Lewis: Pacific Triptych
Sono Luminus

As two of the three works on Pacific Triptych illustrate, Peter Scott Lewis, like many an American artist has before him, finds creative inspiration in the landscapes of the great country he calls home. The three-part title composition is the San Francisco-based classical composer's attempt to render the grandeur of the ocean and the limitless sky above it into musical form, whereas the four-movement first book of An American Travelogue draws more broadly for inspiration from places in the western, southwestern, and Gulf Coast parts of the United States. The recording's third piece, on the other hand, was written with uncut gemstones in mind and is thus aptly titled Seven Nuggets. All three pieces, as diverse as they are, collectively provide a solid account of Lewis's persona as a composer and grant interpreter Blair McMillen a terrific showcase for his solo piano artistry.

In addition to being a composer, conductor, and guitarist, Lewis, whose output includes solo, chamber, vocal, and orchestral music, is a pianist too but for this recording cedes the keyboard duties to McMillen. As a piano soloist, music festival director, and educator, he's multi-faced also and has advocated fervently for living composers and contemporary music but also early keyboard music and neglected masterworks. His presentation of Lewis's material was recorded at Mount Vernon's Oktaven Audio studio in May 2024 using a 1987 Hamburg Steinway D 9' concert grand that was rebuilt in 2009.

The works themselves are recent creations, with the titular piece stemming from 2019 (though based on an unperformed version for orchestra completed in 2006) and the others 2023. McMillen's version of Pacific Triptych is thus a premiere, and it's a good one. An epic tone is established by aggressive chords at the beginning of “Following the Sunrise” before the mood turns playful as the excursion unfolds. Lewis's music could pass for a soundtrack to a travel video of the Pacific locale and its panoramic, spirits-lifting vistas. Moments of calm are woven into the oft-energized piece, as if to suggest the reflective state such a setting might encourage. Momentum is naturally pronounced in the central “Travelling Music” movement, the music here wending in lyrical and expansive directions. Some vague hint of a classical minimalism influence emerges on occasion, but Lewis largely distances himself from any association with a particular style or group. At work's close, “Toccata” delivers an assertive statement rich in billowing chords and rollicking rhythms.

At twenty-one minutes, the miniatures composing Seven Nuggets present vivid evocations of distinct gemstone types. Multiple moods and tonalities are explored in the work, starting with the jazz harmonies and flourishes that irradiate “Fire Opal.” While each is a compact expression, Lewis nevertheless works a number of contrasting episodes into each one. Lewis imbues “Carved Jade,” for example, with tender introspection before letting a more playful tone emerge. Whereas “Raw Sapphire” flirts in moments with a nachtmusik character, “Rough Diamond” wends a similarly chromatic path whilst also exhibiting a mischievous side. Mischievous too and even a tad cheeky is “Gleaming Chrysocolla,” in contrast to the expansive majesty of “Lapis, with Gold Crystals.” As a title, Seven Nuggets is effective, but the work could also be seen as a septet of challenging etudes created with developing piano students in mind.

Imaginatively named, the four movements in An American Travelogue, Book 1 allude clearly to the parts of the country with which they're associated (as expected, the second book continues the exploration in other regions of the United States). Washington's the state locale for the ruminative “Chief Seattle Walks the Pike Place Market,” “Dancing in New Orleans” is as lively as anticipated, and “Austin Sun” evokes the awe-inspiring sprawl of the Texas outdoors. Fittingly, “Beyond the Golden Gate” returns us to the composer's home base with a gentle reflection, even as it's casting its gaze beyond it.

As a nearly hour-long document of Lewis's writing style and McMillen's pianistic artistry, Pacific Triptych succeeds handsomely on its self-delineated terms. Impressions of both artists are enhanced when the performances resonate with the greatest possible clarity, that detail attributable to both Lewis's production of the recording and Oktaven Audio's renowned acoustics.

October 2025

‍

Peter Scott Lewis: Pacific Triptych
Sono Luminus

As two of the three works on Pacific Triptych illustrate, Peter Scott Lewis, like many an American artist has before him, finds creative inspiration in the landscapes of the great country he calls home. The three-part title composition is the San Francisco-based classical composer's attempt to render the grandeur of the ocean and the limitless sky above it into musical form, whereas the four-movement first book of An American Travelogue draws more broadly for inspiration from places in the western, southwestern, and Gulf Coast parts of the United States. The recording's third piece, on the other hand, was written with uncut gemstones in mind and is thus aptly titled Seven Nuggets. All three pieces, as diverse as they are, collectively provide a solid account of Lewis's persona as a composer and grant interpreter Blair McMillen a terrific showcase for his solo piano artistry.

In addition to being a composer, conductor, and guitarist, Lewis, whose output includes solo, chamber, vocal, and orchestral music, is a pianist too but for this recording cedes the keyboard duties to McMillen. As a piano soloist, music festival director, and educator, he's multi-faced also and has advocated fervently for living composers and contemporary music but also early keyboard music and neglected masterworks. His presentation of Lewis's material was recorded at Mount Vernon's Oktaven Audio studio in May 2024 using a 1987 Hamburg Steinway D 9' concert grand that was rebuilt in 2009.

The works themselves are recent creations, with the titular piece stemming from 2019 (though based on an unperformed version for orchestra completed in 2006) and the others 2023. McMillen's version of Pacific Triptych is thus a premiere, and it's a good one. An epic tone is established by aggressive chords at the beginning of “Following the Sunrise” before the mood turns playful as the excursion unfolds. Lewis's music could pass for a soundtrack to a travel video of the Pacific locale and its panoramic, spirits-lifting vistas. Moments of calm are woven into the oft-energized piece, as if to suggest the reflective state such a setting might encourage. Momentum is naturally pronounced in the central “Travelling Music” movement, the music here wending in lyrical and expansive directions. Some vague hint of a classical minimalism influence emerges on occasion, but Lewis largely distances himself from any association with a particular style or group. At work's close, “Toccata” delivers an assertive statement rich in billowing chords and rollicking rhythms.

At twenty-one minutes, the miniatures composing Seven Nuggets present vivid evocations of distinct gemstone types. Multiple moods and tonalities are explored in the work, starting with the jazz harmonies and flourishes that irradiate “Fire Opal.” While each is a compact expression, Lewis nevertheless works a number of contrasting episodes into each one. Lewis imbues “Carved Jade,” for example, with tender introspection before letting a more playful tone emerge. Whereas “Raw Sapphire” flirts in moments with a nachtmusik character, “Rough Diamond” wends a similarly chromatic path whilst also exhibiting a mischievous side. Mischievous too and even a tad cheeky is “Gleaming Chrysocolla,” in contrast to the expansive majesty of “Lapis, with Gold Crystals.” As a title, Seven Nuggets is effective, but the work could also be seen as a septet of challenging etudes created with developing piano students in mind.

Imaginatively named, the four movements in An American Travelogue, Book 1 allude clearly to the parts of the country with which they're associated (as expected, the second book continues the exploration in other regions of the United States). Washington's the state locale for the ruminative “Chief Seattle Walks the Pike Place Market,” “Dancing in New Orleans” is as lively as anticipated, and “Austin Sun” evokes the awe-inspiring sprawl of the Texas outdoors. Fittingly, “Beyond the Golden Gate” returns us to the composer's home base with a gentle reflection, even as it's casting its gaze beyond it.

As a nearly hour-long document of Lewis's writing style and McMillen's pianistic artistry, Pacific Triptych succeeds handsomely on its self-delineated terms. Impressions of both artists are enhanced when the performances resonate with the greatest possible clarity, that detail attributable to both Lewis's production of the recording and Oktaven Audio's renowned acoustics.

October 2025

‍

Peter Scott Lewis: Pacific Triptych
Sono Luminus

As two of the three works on Pacific Triptych illustrate, Peter Scott Lewis, like many an American artist has before him, finds creative inspiration in the landscapes of the great country he calls home. The three-part title composition is the San Francisco-based classical composer's attempt to render the grandeur of the ocean and the limitless sky above it into musical form, whereas the four-movement first book of An American Travelogue draws more broadly for inspiration from places in the western, southwestern, and Gulf Coast parts of the United States. The recording's third piece, on the other hand, was written with uncut gemstones in mind and is thus aptly titled Seven Nuggets. All three pieces, as diverse as they are, collectively provide a solid account of Lewis's persona as a composer and grant interpreter Blair McMillen a terrific showcase for his solo piano artistry.

In addition to being a composer, conductor, and guitarist, Lewis, whose output includes solo, chamber, vocal, and orchestral music, is a pianist too but for this recording cedes the keyboard duties to McMillen. As a piano soloist, music festival director, and educator, he's multi-faced also and has advocated fervently for living composers and contemporary music but also early keyboard music and neglected masterworks. His presentation of Lewis's material was recorded at Mount Vernon's Oktaven Audio studio in May 2024 using a 1987 Hamburg Steinway D 9' concert grand that was rebuilt in 2009.

The works themselves are recent creations, with the titular piece stemming from 2019 (though based on an unperformed version for orchestra completed in 2006) and the others 2023. McMillen's version of Pacific Triptych is thus a premiere, and it's a good one. An epic tone is established by aggressive chords at the beginning of “Following the Sunrise” before the mood turns playful as the excursion unfolds. Lewis's music could pass for a soundtrack to a travel video of the Pacific locale and its panoramic, spirits-lifting vistas. Moments of calm are woven into the oft-energized piece, as if to suggest the reflective state such a setting might encourage. Momentum is naturally pronounced in the central “Travelling Music” movement, the music here wending in lyrical and expansive directions. Some vague hint of a classical minimalism influence emerges on occasion, but Lewis largely distances himself from any association with a particular style or group. At work's close, “Toccata” delivers an assertive statement rich in billowing chords and rollicking rhythms.

At twenty-one minutes, the miniatures composing Seven Nuggets present vivid evocations of distinct gemstone types. Multiple moods and tonalities are explored in the work, starting with the jazz harmonies and flourishes that irradiate “Fire Opal.” While each is a compact expression, Lewis nevertheless works a number of contrasting episodes into each one. Lewis imbues “Carved Jade,” for example, with tender introspection before letting a more playful tone emerge. Whereas “Raw Sapphire” flirts in moments with a nachtmusik character, “Rough Diamond” wends a similarly chromatic path whilst also exhibiting a mischievous side. Mischievous too and even a tad cheeky is “Gleaming Chrysocolla,” in contrast to the expansive majesty of “Lapis, with Gold Crystals.” As a title, Seven Nuggets is effective, but the work could also be seen as a septet of challenging etudes created with developing piano students in mind.

Imaginatively named, the four movements in An American Travelogue, Book 1 allude clearly to the parts of the country with which they're associated (as expected, the second book continues the exploration in other regions of the United States). Washington's the state locale for the ruminative “Chief Seattle Walks the Pike Place Market,” “Dancing in New Orleans” is as lively as anticipated, and “Austin Sun” evokes the awe-inspiring sprawl of the Texas outdoors. Fittingly, “Beyond the Golden Gate” returns us to the composer's home base with a gentle reflection, even as it's casting its gaze beyond it.

As a nearly hour-long document of Lewis's writing style and McMillen's pianistic artistry, Pacific Triptych succeeds handsomely on its self-delineated terms. Impressions of both artists are enhanced when the performances resonate with the greatest possible clarity, that detail attributable to both Lewis's production of the recording and Oktaven Audio's renowned acoustics.

October 2025

‍

Peter Scott Lewis: Pacific Triptych
Sono Luminus

As two of the three works on Pacific Triptych illustrate, Peter Scott Lewis, like many an American artist has before him, finds creative inspiration in the landscapes of the great country he calls home. The three-part title composition is the San Francisco-based classical composer's attempt to render the grandeur of the ocean and the limitless sky above it into musical form, whereas the four-movement first book of An American Travelogue draws more broadly for inspiration from places in the western, southwestern, and Gulf Coast parts of the United States. The recording's third piece, on the other hand, was written with uncut gemstones in mind and is thus aptly titled Seven Nuggets. All three pieces, as diverse as they are, collectively provide a solid account of Lewis's persona as a composer and grant interpreter Blair McMillen a terrific showcase for his solo piano artistry.

In addition to being a composer, conductor, and guitarist, Lewis, whose output includes solo, chamber, vocal, and orchestral music, is a pianist too but for this recording cedes the keyboard duties to McMillen. As a piano soloist, music festival director, and educator, he's multi-faced also and has advocated fervently for living composers and contemporary music but also early keyboard music and neglected masterworks. His presentation of Lewis's material was recorded at Mount Vernon's Oktaven Audio studio in May 2024 using a 1987 Hamburg Steinway D 9' concert grand that was rebuilt in 2009.

The works themselves are recent creations, with the titular piece stemming from 2019 (though based on an unperformed version for orchestra completed in 2006) and the others 2023. McMillen's version of Pacific Triptych is thus a premiere, and it's a good one. An epic tone is established by aggressive chords at the beginning of “Following the Sunrise” before the mood turns playful as the excursion unfolds. Lewis's music could pass for a soundtrack to a travel video of the Pacific locale and its panoramic, spirits-lifting vistas. Moments of calm are woven into the oft-energized piece, as if to suggest the reflective state such a setting might encourage. Momentum is naturally pronounced in the central “Travelling Music” movement, the music here wending in lyrical and expansive directions. Some vague hint of a classical minimalism influence emerges on occasion, but Lewis largely distances himself from any association with a particular style or group. At work's close, “Toccata” delivers an assertive statement rich in billowing chords and rollicking rhythms.

At twenty-one minutes, the miniatures composing Seven Nuggets present vivid evocations of distinct gemstone types. Multiple moods and tonalities are explored in the work, starting with the jazz harmonies and flourishes that irradiate “Fire Opal.” While each is a compact expression, Lewis nevertheless works a number of contrasting episodes into each one. Lewis imbues “Carved Jade,” for example, with tender introspection before letting a more playful tone emerge. Whereas “Raw Sapphire” flirts in moments with a nachtmusik character, “Rough Diamond” wends a similarly chromatic path whilst also exhibiting a mischievous side. Mischievous too and even a tad cheeky is “Gleaming Chrysocolla,” in contrast to the expansive majesty of “Lapis, with Gold Crystals.” As a title, Seven Nuggets is effective, but the work could also be seen as a septet of challenging etudes created with developing piano students in mind.

Imaginatively named, the four movements in An American Travelogue, Book 1 allude clearly to the parts of the country with which they're associated (as expected, the second book continues the exploration in other regions of the United States). Washington's the state locale for the ruminative “Chief Seattle Walks the Pike Place Market,” “Dancing in New Orleans” is as lively as anticipated, and “Austin Sun” evokes the awe-inspiring sprawl of the Texas outdoors. Fittingly, “Beyond the Golden Gate” returns us to the composer's home base with a gentle reflection, even as it's casting its gaze beyond it.

As a nearly hour-long document of Lewis's writing style and McMillen's pianistic artistry, Pacific Triptych succeeds handsomely on its self-delineated terms. Impressions of both artists are enhanced when the performances resonate with the greatest possible clarity, that detail attributable to both Lewis's production of the recording and Oktaven Audio's renowned acoustics.

October 2025

‍

Peter Scott Lewis: Pacific Triptych
Sono Luminus

As two of the three works on Pacific Triptych illustrate, Peter Scott Lewis, like many an American artist has before him, finds creative inspiration in the landscapes of the great country he calls home. The three-part title composition is the San Francisco-based classical composer's attempt to render the grandeur of the ocean and the limitless sky above it into musical form, whereas the four-movement first book of An American Travelogue draws more broadly for inspiration from places in the western, southwestern, and Gulf Coast parts of the United States. The recording's third piece, on the other hand, was written with uncut gemstones in mind and is thus aptly titled Seven Nuggets. All three pieces, as diverse as they are, collectively provide a solid account of Lewis's persona as a composer and grant interpreter Blair McMillen a terrific showcase for his solo piano artistry.

In addition to being a composer, conductor, and guitarist, Lewis, whose output includes solo, chamber, vocal, and orchestral music, is a pianist too but for this recording cedes the keyboard duties to McMillen. As a piano soloist, music festival director, and educator, he's multi-faced also and has advocated fervently for living composers and contemporary music but also early keyboard music and neglected masterworks. His presentation of Lewis's material was recorded at Mount Vernon's Oktaven Audio studio in May 2024 using a 1987 Hamburg Steinway D 9' concert grand that was rebuilt in 2009.

The works themselves are recent creations, with the titular piece stemming from 2019 (though based on an unperformed version for orchestra completed in 2006) and the others 2023. McMillen's version of Pacific Triptych is thus a premiere, and it's a good one. An epic tone is established by aggressive chords at the beginning of “Following the Sunrise” before the mood turns playful as the excursion unfolds. Lewis's music could pass for a soundtrack to a travel video of the Pacific locale and its panoramic, spirits-lifting vistas. Moments of calm are woven into the oft-energized piece, as if to suggest the reflective state such a setting might encourage. Momentum is naturally pronounced in the central “Travelling Music” movement, the music here wending in lyrical and expansive directions. Some vague hint of a classical minimalism influence emerges on occasion, but Lewis largely distances himself from any association with a particular style or group. At work's close, “Toccata” delivers an assertive statement rich in billowing chords and rollicking rhythms.

At twenty-one minutes, the miniatures composing Seven Nuggets present vivid evocations of distinct gemstone types. Multiple moods and tonalities are explored in the work, starting with the jazz harmonies and flourishes that irradiate “Fire Opal.” While each is a compact expression, Lewis nevertheless works a number of contrasting episodes into each one. Lewis imbues “Carved Jade,” for example, with tender introspection before letting a more playful tone emerge. Whereas “Raw Sapphire” flirts in moments with a nachtmusik character, “Rough Diamond” wends a similarly chromatic path whilst also exhibiting a mischievous side. Mischievous too and even a tad cheeky is “Gleaming Chrysocolla,” in contrast to the expansive majesty of “Lapis, with Gold Crystals.” As a title, Seven Nuggets is effective, but the work could also be seen as a septet of challenging etudes created with developing piano students in mind.

Imaginatively named, the four movements in An American Travelogue, Book 1 allude clearly to the parts of the country with which they're associated (as expected, the second book continues the exploration in other regions of the United States). Washington's the state locale for the ruminative “Chief Seattle Walks the Pike Place Market,” “Dancing in New Orleans” is as lively as anticipated, and “Austin Sun” evokes the awe-inspiring sprawl of the Texas outdoors. Fittingly, “Beyond the Golden Gate” returns us to the composer's home base with a gentle reflection, even as it's casting its gaze beyond it.

As a nearly hour-long document of Lewis's writing style and McMillen's pianistic artistry, Pacific Triptych succeeds handsomely on its self-delineated terms. Impressions of both artists are enhanced when the performances resonate with the greatest possible clarity, that detail attributable to both Lewis's production of the recording and Oktaven Audio's renowned acoustics.

October 2025

‍

Peter Scott Lewis: Pacific Triptych
Sono Luminus

As two of the three works on Pacific Triptych illustrate, Peter Scott Lewis, like many an American artist has before him, finds creative inspiration in the landscapes of the great country he calls home. The three-part title composition is the San Francisco-based classical composer's attempt to render the grandeur of the ocean and the limitless sky above it into musical form, whereas the four-movement first book of An American Travelogue draws more broadly for inspiration from places in the western, southwestern, and Gulf Coast parts of the United States. The recording's third piece, on the other hand, was written with uncut gemstones in mind and is thus aptly titled Seven Nuggets. All three pieces, as diverse as they are, collectively provide a solid account of Lewis's persona as a composer and grant interpreter Blair McMillen a terrific showcase for his solo piano artistry.

In addition to being a composer, conductor, and guitarist, Lewis, whose output includes solo, chamber, vocal, and orchestral music, is a pianist too but for this recording cedes the keyboard duties to McMillen. As a piano soloist, music festival director, and educator, he's multi-faced also and has advocated fervently for living composers and contemporary music but also early keyboard music and neglected masterworks. His presentation of Lewis's material was recorded at Mount Vernon's Oktaven Audio studio in May 2024 using a 1987 Hamburg Steinway D 9' concert grand that was rebuilt in 2009.

The works themselves are recent creations, with the titular piece stemming from 2019 (though based on an unperformed version for orchestra completed in 2006) and the others 2023. McMillen's version of Pacific Triptych is thus a premiere, and it's a good one. An epic tone is established by aggressive chords at the beginning of “Following the Sunrise” before the mood turns playful as the excursion unfolds. Lewis's music could pass for a soundtrack to a travel video of the Pacific locale and its panoramic, spirits-lifting vistas. Moments of calm are woven into the oft-energized piece, as if to suggest the reflective state such a setting might encourage. Momentum is naturally pronounced in the central “Travelling Music” movement, the music here wending in lyrical and expansive directions. Some vague hint of a classical minimalism influence emerges on occasion, but Lewis largely distances himself from any association with a particular style or group. At work's close, “Toccata” delivers an assertive statement rich in billowing chords and rollicking rhythms.

At twenty-one minutes, the miniatures composing Seven Nuggets present vivid evocations of distinct gemstone types. Multiple moods and tonalities are explored in the work, starting with the jazz harmonies and flourishes that irradiate “Fire Opal.” While each is a compact expression, Lewis nevertheless works a number of contrasting episodes into each one. Lewis imbues “Carved Jade,” for example, with tender introspection before letting a more playful tone emerge. Whereas “Raw Sapphire” flirts in moments with a nachtmusik character, “Rough Diamond” wends a similarly chromatic path whilst also exhibiting a mischievous side. Mischievous too and even a tad cheeky is “Gleaming Chrysocolla,” in contrast to the expansive majesty of “Lapis, with Gold Crystals.” As a title, Seven Nuggets is effective, but the work could also be seen as a septet of challenging etudes created with developing piano students in mind.

Imaginatively named, the four movements in An American Travelogue, Book 1 allude clearly to the parts of the country with which they're associated (as expected, the second book continues the exploration in other regions of the United States). Washington's the state locale for the ruminative “Chief Seattle Walks the Pike Place Market,” “Dancing in New Orleans” is as lively as anticipated, and “Austin Sun” evokes the awe-inspiring sprawl of the Texas outdoors. Fittingly, “Beyond the Golden Gate” returns us to the composer's home base with a gentle reflection, even as it's casting its gaze beyond it.

As a nearly hour-long document of Lewis's writing style and McMillen's pianistic artistry, Pacific Triptych succeeds handsomely on its self-delineated terms. Impressions of both artists are enhanced when the performances resonate with the greatest possible clarity, that detail attributable to both Lewis's production of the recording and Oktaven Audio's renowned acoustics.

October 2025

‍

Peter Scott Lewis: Pacific Triptych
Sono Luminus

As two of the three works on Pacific Triptych illustrate, Peter Scott Lewis, like many an American artist has before him, finds creative inspiration in the landscapes of the great country he calls home. The three-part title composition is the San Francisco-based classical composer's attempt to render the grandeur of the ocean and the limitless sky above it into musical form, whereas the four-movement first book of An American Travelogue draws more broadly for inspiration from places in the western, southwestern, and Gulf Coast parts of the United States. The recording's third piece, on the other hand, was written with uncut gemstones in mind and is thus aptly titled Seven Nuggets. All three pieces, as diverse as they are, collectively provide a solid account of Lewis's persona as a composer and grant interpreter Blair McMillen a terrific showcase for his solo piano artistry.

In addition to being a composer, conductor, and guitarist, Lewis, whose output includes solo, chamber, vocal, and orchestral music, is a pianist too but for this recording cedes the keyboard duties to McMillen. As a piano soloist, music festival director, and educator, he's multi-faced also and has advocated fervently for living composers and contemporary music but also early keyboard music and neglected masterworks. His presentation of Lewis's material was recorded at Mount Vernon's Oktaven Audio studio in May 2024 using a 1987 Hamburg Steinway D 9' concert grand that was rebuilt in 2009.

The works themselves are recent creations, with the titular piece stemming from 2019 (though based on an unperformed version for orchestra completed in 2006) and the others 2023. McMillen's version of Pacific Triptych is thus a premiere, and it's a good one. An epic tone is established by aggressive chords at the beginning of “Following the Sunrise” before the mood turns playful as the excursion unfolds. Lewis's music could pass for a soundtrack to a travel video of the Pacific locale and its panoramic, spirits-lifting vistas. Moments of calm are woven into the oft-energized piece, as if to suggest the reflective state such a setting might encourage. Momentum is naturally pronounced in the central “Travelling Music” movement, the music here wending in lyrical and expansive directions. Some vague hint of a classical minimalism influence emerges on occasion, but Lewis largely distances himself from any association with a particular style or group. At work's close, “Toccata” delivers an assertive statement rich in billowing chords and rollicking rhythms.

At twenty-one minutes, the miniatures composing Seven Nuggets present vivid evocations of distinct gemstone types. Multiple moods and tonalities are explored in the work, starting with the jazz harmonies and flourishes that irradiate “Fire Opal.” While each is a compact expression, Lewis nevertheless works a number of contrasting episodes into each one. Lewis imbues “Carved Jade,” for example, with tender introspection before letting a more playful tone emerge. Whereas “Raw Sapphire” flirts in moments with a nachtmusik character, “Rough Diamond” wends a similarly chromatic path whilst also exhibiting a mischievous side. Mischievous too and even a tad cheeky is “Gleaming Chrysocolla,” in contrast to the expansive majesty of “Lapis, with Gold Crystals.” As a title, Seven Nuggets is effective, but the work could also be seen as a septet of challenging etudes created with developing piano students in mind.

Imaginatively named, the four movements in An American Travelogue, Book 1 allude clearly to the parts of the country with which they're associated (as expected, the second book continues the exploration in other regions of the United States). Washington's the state locale for the ruminative “Chief Seattle Walks the Pike Place Market,” “Dancing in New Orleans” is as lively as anticipated, and “Austin Sun” evokes the awe-inspiring sprawl of the Texas outdoors. Fittingly, “Beyond the Golden Gate” returns us to the composer's home base with a gentle reflection, even as it's casting its gaze beyond it.

As a nearly hour-long document of Lewis's writing style and McMillen's pianistic artistry, Pacific Triptych succeeds handsomely on its self-delineated terms. Impressions of both artists are enhanced when the performances resonate with the greatest possible clarity, that detail attributable to both Lewis's production of the recording and Oktaven Audio's renowned acoustics.

October 2025

‍

Peter Scott Lewis: Pacific Triptych
Sono Luminus

As two of the three works on Pacific Triptych illustrate, Peter Scott Lewis, like many an American artist has before him, finds creative inspiration in the landscapes of the great country he calls home. The three-part title composition is the San Francisco-based classical composer's attempt to render the grandeur of the ocean and the limitless sky above it into musical form, whereas the four-movement first book of An American Travelogue draws more broadly for inspiration from places in the western, southwestern, and Gulf Coast parts of the United States. The recording's third piece, on the other hand, was written with uncut gemstones in mind and is thus aptly titled Seven Nuggets. All three pieces, as diverse as they are, collectively provide a solid account of Lewis's persona as a composer and grant interpreter Blair McMillen a terrific showcase for his solo piano artistry.

In addition to being a composer, conductor, and guitarist, Lewis, whose output includes solo, chamber, vocal, and orchestral music, is a pianist too but for this recording cedes the keyboard duties to McMillen. As a piano soloist, music festival director, and educator, he's multi-faced also and has advocated fervently for living composers and contemporary music but also early keyboard music and neglected masterworks. His presentation of Lewis's material was recorded at Mount Vernon's Oktaven Audio studio in May 2024 using a 1987 Hamburg Steinway D 9' concert grand that was rebuilt in 2009.

The works themselves are recent creations, with the titular piece stemming from 2019 (though based on an unperformed version for orchestra completed in 2006) and the others 2023. McMillen's version of Pacific Triptych is thus a premiere, and it's a good one. An epic tone is established by aggressive chords at the beginning of “Following the Sunrise” before the mood turns playful as the excursion unfolds. Lewis's music could pass for a soundtrack to a travel video of the Pacific locale and its panoramic, spirits-lifting vistas. Moments of calm are woven into the oft-energized piece, as if to suggest the reflective state such a setting might encourage. Momentum is naturally pronounced in the central “Travelling Music” movement, the music here wending in lyrical and expansive directions. Some vague hint of a classical minimalism influence emerges on occasion, but Lewis largely distances himself from any association with a particular style or group. At work's close, “Toccata” delivers an assertive statement rich in billowing chords and rollicking rhythms.

At twenty-one minutes, the miniatures composing Seven Nuggets present vivid evocations of distinct gemstone types. Multiple moods and tonalities are explored in the work, starting with the jazz harmonies and flourishes that irradiate “Fire Opal.” While each is a compact expression, Lewis nevertheless works a number of contrasting episodes into each one. Lewis imbues “Carved Jade,” for example, with tender introspection before letting a more playful tone emerge. Whereas “Raw Sapphire” flirts in moments with a nachtmusik character, “Rough Diamond” wends a similarly chromatic path whilst also exhibiting a mischievous side. Mischievous too and even a tad cheeky is “Gleaming Chrysocolla,” in contrast to the expansive majesty of “Lapis, with Gold Crystals.” As a title, Seven Nuggets is effective, but the work could also be seen as a septet of challenging etudes created with developing piano students in mind.

Imaginatively named, the four movements in An American Travelogue, Book 1 allude clearly to the parts of the country with which they're associated (as expected, the second book continues the exploration in other regions of the United States). Washington's the state locale for the ruminative “Chief Seattle Walks the Pike Place Market,” “Dancing in New Orleans” is as lively as anticipated, and “Austin Sun” evokes the awe-inspiring sprawl of the Texas outdoors. Fittingly, “Beyond the Golden Gate” returns us to the composer's home base with a gentle reflection, even as it's casting its gaze beyond it.

As a nearly hour-long document of Lewis's writing style and McMillen's pianistic artistry, Pacific Triptych succeeds handsomely on its self-delineated terms. Impressions of both artists are enhanced when the performances resonate with the greatest possible clarity, that detail attributable to both Lewis's production of the recording and Oktaven Audio's renowned acoustics.

October 2025

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