Rossini at 12, Mozart at 19, Karłowicz at 20. Their ages suggest that the compositions on the programme should be described as youthful. Yet in the case of these composers, time is counted differently.
Berlin, April 1897. Mieczysław Karłowicz, who will go on to be one of Poland’s finest symphonists, completes his studies. Although he travelled there in the hope of learning to play violin with Joseph Joachim, he did not get into the class of that renowned virtuoso and ended up studying composition. His debut is a dream come true: his first important work, a Serenade for Strings, is played by the Berliners. Compared to Karłowicz’s later music, it seems only a trial run. However, from the perspective of the late nineteenth century, the work’s light, carefree character fits perfectly into the Romantic line of concert serenades. One could even venture to place the Pole just behind the great Dvořák and Tchaikovsky.
Ravenna, summer 1803. Gioachino Rossini, who will become one of the most important Italian composers and a master of opera, has just begun studying composition, and already he has produced evidence of his skilful use of form and contrast. The absence of the viola from his String Sonatas is also no mistake: when composing, he simply had no viola player to hand. The host of the house where he spent the summer was a double bass player – hence the work’s forces. The most interesting thing, however, is how the music of the mature Rossini is already evident in the work of the 12-year-old. The sensual lyricism and brilliant comedy for which he became famous are already clearly audible here.
Salzburg, December 1775. Wolfgang Amadeus Mozart finishes writing his Violin Concerto in A major, K. 219, ‘unsurpassed for brilliance, tenderness and wit’ (Alfred Einstein). Not only will the composer never return to the form of the violin concerto, he will also slowly set aside his own violin. This work is virtuosic, rich in colour, and has an almost operatic sweep (from the soloist’s first entrance to the Janissary-band stylisation in the finale), but Mozart has even greater things in mind…
The youthfulness here consists of spontaneity, evocativeness and a willingness to experiment, but also knowledge and intuition – perhaps characteristics of the great composers.
Piotr Mika (Ruch Muzyczny)
After the concert, we invite you to the Mirror Hall for a meeting with the artists!
