On Tuesday 22 June 2010, as Chopin’s 200th birthday was being celebrated throughout the world, the Music Department at Sevenoaks School offered its own take on the enduring music of this great Polish composer. The purpose of the day’s events was to explore what links Chopin to the past, and to find ways of renewing his music and taking it into the future.

In his pre-concert lecture, Mr Thomas Bielinski argued, to the surprise of many Music Scholars in the audience, that Chopin’s music was in fact deeply influenced by the counterpoint of Bach, and the classicism of Mozart. Unlike his Romantic contemporaries, Chopin resisted overtly programmatic music, preferring to write Sonatas, Preludes and Etudes. Although these genres suggest absolute music, in Chopin they seem to hide within them dramatic narratives and nostalgic overtones, giving them that powerful and personal romanticism that most of us so enjoy listening to in his music.

Mr Bielinski, a pianist, writer and critic, also argued that Chopin, one of the greatest composers for the piano of all times, exhausted the musical and technical possibilities of the instrument. This was certainly evidenced as pupils explored the expressive depths in the Fantasie-Impromptu and the pianistic pinnacles in the Etudes in the Piano Masterclass, led by guest artist Mr Mikhail Shilyaev. An advanced postgraduate student at Trinity who has already given his Wigmore Hall debut, Mr Shilyaev inspired the pupils with his brilliant demonstrations at the piano, and the clarity of his musical insights.

The evening’s concert started with two early chamber works, which the pupils performed alongside Tau Wey on the piano. Marcus Mok performed the Polonaise Brilliante for cello, bringing to life this Polish ceremonial march with exuberance and exhilaration. Tabea Haas-Heger (violin) and Oliver Blackwell (cello) played the Piano Trio, revelling in the delight of the folk-inspired themes coupled with the rigours of Bach’s counterpoint. Natalie Chau triumphed over the technical challenges of the Revolutionary Etude in C minor, giving it a committed and powerful rendition. Charlotte Shieh continued with two more Etudes, and again here the poetry of the music rose over the technical demands. Jacob Rainbow’s Second Scherzo was played at a breath-taking speed. There was much contrast of drama and poetry, before the exhilarating rollercoaster ride coda.

Just as the audience was recovering from the high-octane excitement, they were led into the world of deep feelings and complex thoughts that is embedded in the Fourth Ballade. This was performed by Alexander Ying, whose very mature interpretation led the audience from the peaceful beginning to the mighty catharsis in a truly wonderful performance. Much of the concert was of such a high standard that one could have forgotten the fact that it was still a school concert!

In the second half, Mr Shilyaev returned with a programme that explored the influences on and legacy of Chopin. His varied programme of Bach, Chopin, Rachmaninoff and Shchedrin made use of the warm tone and wonderful colours and timbres of the recently purchased Steinway grand piano. In his capable hands, the piano sang with an expressive and full sound in the Pamoja Hall, whose warm and vibrant acoustic is undoubtedly among the best in the world.

And what of Chopin and the future? Witnessing today’s concert, there is no question that young performers and audiences continue to enjoy Chopin’s music even 200 years on. Alongside traditional ways of performing Chopin, the Chopin Soundscape attempted to provide a new way of experiencing the composer’s music. In the interval, the Performing Arts Centre was transformed into an interactive soundscape devised by Mr Wey, with music by Chopin played by pupils in each practice room at the same time. As the visitors toured the building, which was visually enhanced with balloons and artworks by Chris Thomas, they were drawn into the surreal world of hearing sounds and noises coming from all directions. Hearing multiple pianos is a common, daily experience in a music school. However, rarely do people stop and listen to the collage of different pieces being played simultaneously at random, appreciating the richness of such a musical texture. The visitors were invited to open and close doors to change the sound effects, and many could not resist joining in the Chopin Soundscape by playing their favourite piece of Chopin on a piano!