The Horszowski Trio added musicians as the concert progressed.
A Mimir Chamber Music Festival performance with, from left, violinists Jesse Mills and Curt Thompson, pianist Rieko Aizawa, cellist Ole Akahoshi and violist Jessica Thompson at Texas Christian University's PepsiCo Recital Hall in Fort Worth on July 9, 2024.FORT WORTH — Concerts at the annual Mimir Chamber Music Festival normally present ad hoc ensembles of musicians drawn from major symphony orchestras, chamber groups and conservatory faculties.
A particularly enterprising program also advanced chronologically, from Bohemian composer Bedřich Smetana’s 1855 Piano Trio to the 1931 A minor Piano Quartet of the Spaniard Joaquín Turina to Russian composer Sofia Gubaidulina’s Piano Quintet of 1957.The Smetana, the program’s one standard-rep work, was a response to the death of the composer’s gifted eldest daughter.
Gubaidulina, still alive at age 92, has embraced a rich range of inspirations, from her Orthodox faith and folk idioms to avant-garde techniques. In a single movement, quite disparate gestures and textures can bump up against one another.Gubaidulina was still a student when she composed the Piano Quintet, which understandably betrays bits of influence from preeminent Russian composers of the day.
An exuberant opening is followed by interplays suggestive of Shostakovich string quartets. The piano supplies an underlying pulse, as it does through much of the four movements. The viola starts the second movement, a cheeky march animated by dotted rhythms; the music seems to look over its shoulder and wink at Stravinsky’sThe mood turns tragic in the third movement, the first violin beginning a lament soon taken up by the cello.
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