The heart of classical music

Rebecca Anastasi talks to composer Karl Fiorini about the importance of bringing classical music to the public.

“There is a big need for classical music to reach a wider sphere of people in Malta,” states Karl Fiorini, a classical music composer and self-professed “fetishist of the belle époque”, currently living in Paris.

He points out how there is still a void when it comes to knowing certain music, music which is well-known to the casual concert-goer abroad.

To help fill the void, Fiorini is organising a classical music concert to take place on the last day of the International Spring Orchestra Festival, at the Sala Isouard at the Manoel Theatre, Valletta on April 30.

The marathon will only be a part of a whole series of events during the festival, which will be completely free and open to the public. People will only need to give a contribution at the door.

Fiorini’s dedication to bringing music into a more social context is strengthened by the links the festival has to the Malta Heart Foundation.

During the final concert of the 2009 edition of the International Spring Orchestra Festival, the Prime Minister officially launch­ed the Malta Heart Foundation.

Last year, one of the concerts during the festival was organised at Mater Dei Hospital, again to raise awareness among people about the importance of heart issues.

“This year, I thought it might be a good initiative to again work hand in hand with the Malta Heart Foundation.

The day will kick off with two orchestral concerts aimed at children at 10 a.m., in the main theatre, followed by continuous music in the smaller hall till 7.30 p.m., which will then be followed by an orchestral concert back in the main theatre, ending the festival.

The marathon will feature local musicians who have already made a name for themselves as well as more inexperienced players.

Indeed, in keeping with his determination to open up classical music to everyone, Fiorini insists one of the aims of the festival is also “to create a platform for young participants or debutantes who can play an instrument. There is no level of dexterity as long as what is played is performed well.”

Moreover, there will be no limitations on what will be played, he insists, saying “there are no set musical pieces of preference, neither specific ensemble combination. Different formations are actually encouraged as long as they are acoustic.

Exposure to classical music is essential in educating the wider public on the importance and relevance of the art form.

“If people are exposed to classical music at a tender age and within the right framework, they eventually will assimilate it better within their own lives and will be aware of the importance of these works of art.

The importance of understanding the art and not, simply, discovering it, is also stressed by Fiorini.

“A listener cannot fully comprehend the value of such works because a discovery doesn’t essentially lead to understanding.

“For example, the reason why someone would go to listen to a Mahler symphony would not merely be to listen to the piece but equally and possibly, more importantly, to discover a new rendition of the work.

“Few Maltese concert-goers have listened to local performances of Mahler, let alone good ones.”

He also points to the proactive stance artists, musicians and creators need to take to encourage the show and creation of artistic expression.

“Unfortunately, more than ever before, the younger generation needs something extrinsic to motivate them.

“The excitement to go and listen to a cycle of the last Beethoven quartets is not there anymore, if it had ever been there in the first place.”

“Therefore, creators as well as musicians and artists need to come up with strategies, though this is not their job, to find a means to showcase their work.

“This, despite the fact that the necessity of pleading, before an arts committee, to be allowed to give a concert and the effort invested in finding a social context to justify this expenditure is totally alien to the actual music itself.”

When asked on the future for classical music, both locally and abroad, he is cautious yet optimistic.

“I really cannot say. I am neither a qualified cultural statistician nor a sightseer. What one needs to do locally is to understand the difference between what is culture and what is not, that is, to distinguish between shows which encourage the display and performance of art and those which are more materialistic and consumer related.”

He stresses the need for more activity and investment in the field of the arts:

“There is always more that needs to be done. I think both government and private individuals need to seriously evaluate what should or should not be sponsored.”

Auditions for the classical music marathon will be held at the Sala Isouard, Manoel Theatre, Valletta, on April 16 at 9 a.m.

For more information e-mail kfiorini@rcm.ac.uk.