FIRST LOVES
November 8

The title First Loves evokes the passions and inspirations that shape an artist’s early voice. Every composer has a beginning — a first work in a genre, an initial declaration of style, or a piece that captures the urgency of youth. The program explores these beginnings, from Brahms and Shostakovich’s youthful piano trios to contemporary works that channel deeply personal expression. These pieces reveal not only where each composer started but also how early creative sparks can ignite lifelong artistic journeys. Through moments of lyricism, turmoil, and introspection, this evening invites listeners to witness the first loves that set these prominent musical voices in motion. Each piece speaks to a moment of discovery: the first attempts to shape a personal sound, the first confrontation with emotion too powerful for words, the first steps on a lifelong path of artistic exploration. Through these musical first loves, we glimpse the universal story of finding one’s voice.

J. Brahms (1833–1897)
Piano Trio No. 1 in B major, Op. 8

Brahms’ Piano Trio No. 1 occupies a unique place in his oeuvre — both his first published chamber work and, unusually, one of his last to be revised. Originally written in 1854 when the composer was just 20 years old, the trio reflects the fervor and expansive emotion of youth. Decades later, in 1889, Brahms revisited the work, reshaping its structure while retaining its original spirit. The trio opens with a sweeping and noble first theme, embodying Brahms’ signature warmth and grandeur. The slow movement offers an intimate, song-like dialogue among the instruments, while the Scherzo dances with energy and rhythmic playfulness. The final movement combines turbulence with lyricism, ultimately concluding in a mood of triumphant resolve. As both a youthful creation and a mature reflection, this work captures the full arc of Brahms’ artistic growth, making it a fitting opening to a program devoted to origins and first expressions.

Sophia Jani (b. 1989)
WORLD PREMIERE
Cadenza for Violin and Piano

We are proud to share tonight the world premiere of Sophia Jani’s new work, Cadenza, commissioned by DYNAMIKfest and debuting right here in Salzburg. From the voice of the composer: “When I was invited to compose a new piece for DYNAMIKfest Salzburg 2025, my mind immediately went to Mozart’s Sonata in E minor for piano and violin. It’s not one of his most celebrated works, but it holds a special place in my heart—I practically grew up with it. I’ve played both the violin and piano parts, and for a long time, I considered it one of the most beautiful and emotional pieces I knew. At some point, I lost the CD of my favorite recording—a version I couldn’t find again, not even online. So, strangely, I hadn’t heard the sonata again throughout my entire adult life. When I finally listened to it again, prompted by the idea of composing this new piece, I was surprised. The music felt different from what I remembered. As a child immersed mostly in classical music, “minor-key Mozart” had a profound influence on me. His melancholy spoke to me in a way that shaped my emotional connection to music. But now, after two decades and countless hours of listening, studying, and exploring music, what fascinates me even more is something else: the elegant precision with which Mozart navigated the strict musical conventions of his time—and how he turned those rules into something effortlessly alive. My new composition will be a five-minute cadenza for violin and piano, inspired by this journey.Here, the violin emerges as a protagonist, weaving intricate lines that range from lyrical to explosive, while the piano offers both support and contrast. The piece captures a sense of improvisational freedom and emotional immediacy — a dialogue between instruments that feels spontaneous and deeply personal.”

Giovanni Sollima (b. 1962)
Lamentatio for Solo Cello

Italian composer and cellist Giovanni Sollima is celebrated for his bold, genre-defying works that blend classical tradition with contemporary influences. Lamentatio is one of his most striking solo pieces, a modern lament that combines haunting chant-like melodies with raw, almost percussive effects. The work takes listeners on a journey through grief and resilience. At times meditative and still, at other times intense and fiercely dramatic, Lamentatio stretches the expressive range of the cello, showing it as both voice and body — a singular instrument carrying an entire world of emotion. As a deeply personal, almost spiritual meditation, this piece provides a moment of intimate reflection within the evening’s narrative.

D. Shostakovich (1906–1975)
Piano Trio No. 1 in C minor, Op. 8

Composed in 1923 when Shostakovich was just sixteen years old, this early trio is a remarkable glimpse into the beginnings of a composer who would later become one of the defining musical voices of the 20th century. The piece was originally entitled Poème, and was dedicated to Shostakovich’s first girlfriend, Tatiana Glivenko. Written in a single movement, the trio brims with youthful energy and dramatic contrasts. It blends bold rhythmic ideas with lyrical themes, revealing Shostakovich’s early fascination with tension and irony. While the work hints at the mature voice he would later develop, it remains unfiltered and direct, capturing the immediacy of youthful creation. In its brevity and intensity, this trio acts as a mirror to Brahms’ first — two composers, separated by generations, each finding their musical identity in the form of musical love letters.