PRELUDIUM II / Hope, Joy & Youth

ABOUT

A trio of performers from the youngest generation

This program presents a broad panorama of Romantic and early modern chamber and solo repertoire, juxtaposing canonical masterpieces with contemporary composition to highlight the expressive range and evolving language of Western art music. It opens with Camille Saint-Saëns’ (1835 – 1921) Allegro appassionato Op.43 for cello and piano, composed in 1864. This work exemplifies the French Romantic cello tradition, balancing lyrical introspection with virtuosic brilliance. Its structure demonstrates Saint-Saëns’ characteristic clarity of form and the intricate interplay between the two instruments, creating a dialogue that oscillates between passionate expression and refined elegance.

The recital continues with Alexander Scriabin’s (1871 – 1915) Piano Sonata Nr.2 in G-sharp minor, Op.19, composed in 1892. This sonata, often called the Sonata-Fantasy, represents a transitional phase in Scriabin’s compositional development, bridging late-Romantic idioms with the early stirrings of his highly individual harmonic language. The work alternates lyrical passages with dramatic climaxes, forming a concentrated musical narrative that foreshadows the mystical and chromatic innovations of his later oeuvre.

The program further explores contemporary sensibilities through Matteo Hager’s (2003)  Rêverie for violin, a work that engages with extended tonal colors and expressive nuance. Hager’s composition reflects a modern lyricism rooted in the Romantic tradition, emphasizing subtle harmonic and timbral contrasts and the meditative possibilities of melodic line. Its reflective character provides a bridge between historical chamber music practices and contemporary aesthetic approaches, inviting a contemplative engagement with sound and texture.

Henryk Wieniawski’s (1835 – 1880) Polonaise de concert, Op.4 for violin and piano follows, a virtuosic showpiece exemplifying 19th-century Polish musical nationalism. The work combines dazzling technical demands with rhythmic vitality, blending the spirited character of the polonaise with a refined, lyrical sensibility. Its structure, alternating brilliant passagework with expressive melodies, positions it as both a technical tour de force and a culturally significant emblem of Wieniawski’s artistry.

The program concludes with Felix Mendelssohn’s (1809 – 1847) Piano Trio No.1 in D minor, Op.49, composed in 1839. This trio remains a cornerstone of the Romantic chamber repertoire, demonstrating Mendelssohn’s synthesis of formal rigor, contrapuntal sophistication, and melodic warmth. Its four-movement structure balances virtuosic display with intimate conversational interplay, exemplifying the chamber music ideal of democratic musical dialogue among piano, violin, and cello.

Together, the program spans nearly a century and a half of musical development, from the virtuosic elegance of Saint-Saëns and Wieniawski to the lyrical intensity of Scriabin and Mendelssohn, concluding with the contemplative modern voice of Hager. It offers an immersive exploration of the evolving languages of chamber music, illuminating the aesthetic, structural, and expressive dimensions that continue to define the genre

Programme and performers

Camille Saint-Saëns: Allegro appassionato, Op. 43 for cello and piano

Josef Bárta – cello, Ayla Bártová – piano

Alexander Scriabin: Piano Sonata No. 2 in G-sharp minor, Op. 19
I. Andante
II. Presto

Ayla Bártová – piano

Matteo Hager: Rêverie for violin

Matteo Hager – violin

Henryk Wieniawski: Polonaise de concert, Op. 4

Matteo Hager – violin, Ayla Bártová – piano

Felix Mendelssohn: Piano Trio No. 1 in D minor, Op. 49
I. Molto allegro agitato
II. Andante con moto tranquillo
III. Scherzo: Leggiero e vivace
IV. Finale: Allegro assai appassionato

Ayla Bártová – piano, Matteo Hager – violin, Josef Bárta – cello