Chamber Concert: Contrasts of Youth and Age

Youth and age – how much artistic relevance do they have? How much weight can we give to the idea that a composer’s later work is inherently characterised by greater structural complexity, more profound philosophical depth, and a more fully realised, unique artistic voice? Does this risk relegating works of youth to mere modes of apprenticeship and development? Whatever the answer, it is clear that early and mature compositions often contrast starkly in how they resonate with audiences and performers. Musical works from different stages of a composer’s life can be viewed as snapshots of the formation of a unique cultural and artistic language, which is all the while evolving its own structural and stylistic aesthetic.
The programme today features works from various stages of composers’ lives as we explore these questions together.

We will begin our concert with Dmitry Shostakovich’s Piano Trio No. 1 (or Poème to give it its original title), which possesses hallmark characteristics of a student work,- rambling form, verbose musical syntax, and a musical identity rooted in the then-established aesthetic and style of 20th century Impressionism (for example in the piano accompaniment) and Romanticism (in the style of chromatic language and the spirit of the work). Perhaps predictably, he wrote it aged only seventeen. However, the genesis of the late Shostakovich style that is now so familiar to us can be clearly detected even this early in his artistic output.

Next piece will transfer us into the atmosphere of composer’s late work. Krzysztof Penderecki was 75 years old when he presented the final version of his Polish Requiem, an endeavour which had begun 25 years previously. One of the composer’s most significant works, Polish Requiem is massive, and scope in scale, requiring huge forces of vocal soloists, chorus, and large orchestra. The violin and cello arrangement of the Chaconne movement that we perform today was the last movement to be added. Penderecki composed Chaconne in memory of John Paul II in 2005 to sit between the Agnus Dei and Sanctus of the requiem. The music offers a brief respite from the pain and despair of its neighbouring movements and narrative. It is the emotional and structural heart of the work, and the culmination of sorrow, humility, and reconciliation.

Following piece is Amid a Place of Stone, in which young contemporary composer Andrea Casarrubios uses solo violin to traverse a range of phases exploring themes of vulnerability and survival, using a combination of elements from nocturne and pasacaglia forms.

Another piano trio we will perform at the end of our concert. A baroque dance suite inspired the form of Horatio Parker’s 1904 Suite for Piano Trio. The 41-year-old American was at a moment of particular career success when he composed the suite, which embodies a delightfull combination of Romantic spirit and the lightness of youth.

”The contrasts of youth and age”, let’s think about it through the language of music. Welcome to our concert!

Duration about 60 min (no intermission)

Free admission