The cellist Jay Campbell is part of a generation of young musicians with a fresh center of gravity in its repertory. At this point in Mr. Campbell’s career — he is a master’s student at the Juilliard School — he should, by all traditional rights, be focusing on Beethoven, Brahms and the like, with perhaps a polite nod here and there to modern and contemporary music.

There are still rising artists along these lines, some without even the polite nods. But thankfully, they’re growing rarer. None of the works Mr. Campbell played in a concert at Carnegie’s Weill Recital Hall in March or another at the Italian Academy at Columbia University on Wednesday were written before 1900. Debussy and Stravinsky were ancient history at Weill.

Even a 1981 monodrama for voice, piano and cello by Salvatore Sciarrino, played at Columbia, was old music. A majority of Mr. Campbell’s choices were from our century.

Any Beethoven on Wednesday was heard in fractured form in Jonathan Dawe’s new Cello Sonata. Played with the sensitive pianist Stephen Gosling, the work’s single movement quotes and deconstructs strands of the master’s Cello Sonata in A, with flashes of idiosyncrasy: frenetic bursts and then passages of pristine calm.