Joyce Guillaumier reviews the premiere of the Malta Philharmonic Orchestra’s new season, with Carmine Lauri as special guest.

The first in the concert series by the Malta Philharmonic Orchestra for the new season was held at the Manoel Theatre and the MPO invited internationally–renowned Maltese violinist Carmine Lauri to perform Max Bruch’s much-loved Violin Concerto No. 1in G minor, Op. 26.

The centrepiece of this work is of course the Adagio, full of lyrical ideas straight from the Rhenish area where Bruch came from – he was born in Cologne. These melodic themes were confronted by much stronger ones from the outer movements, providing gripping, well-marked moments which Carmine and the orchestra exploited to the full. Well conceived for the violin, the themes were developed to fine effect, especially in vigorous passages of strong figuration.

The Violin Concerto’s opening Prelude starts with a theme introduced by the woodwinds after a short timpani roll. Mro Michael Laus’s control over the orchestra was certainly commendable. There followed a relaxing transition to the Adagio, the heart of the concerto. This Adagio has been called “a great vocal scene”. It is technically very intense but it offered no difficulty to the musicians on stage. The solo violin was very intense, very ardent with more intricate passages to play, leading to three highly emotional notes.

In the impassioned finale, symphonic motive development in the orchestra enriched the movement’s layout, creating a colourful background to the bravura solo part. Thunderous applause broke out as soon as the Concerto came to an end and this lead to an encore which was a tribute to Ruggiero Ricci, the Italian violin virtuoso who died last August and was a mentor for Carmine. The encore was the 2nd Capriccio by Paganini, a work requiring supreme virtuosity and inspiration which were so very apparent in Carmine’s solo interpretation.

Lauri was again on stage for the second part of the evening when he took his place as newly-nominated co-leader of the MPO as it played Brahm’s Symphony No. 1 in C minor Op. 68. This four-movement work was composed during different periods of his life and in fact it took him over 20 years to present it to his public. When it was first played it did away with the idea that Brahms was an old antediluvian, sitting among old, dusty papers, firmly against innovations and new ideas. Instead, Brahms showed that he was able to express his true stature by composing tremendous musical edifices, almost too big to have grown from the mind of one man.

The first movement opened with a broad introduction presenting low drumming, a rising figure in the strings and falling figures in the wind. It must be noted that this part was written after the remainder of the score had been composed. This Un Poco Sostenuto lead to an Allegro, which was a sonata where ideas were discussed, developed and restated.

The second and third movements, Andante Sostenuto and Un Poco Allegretto e Grazioso – in triple and duple metres – are lighter in tone. The Andante Sostenuto was gentle and lyrical and it included a solo by the first violin, perfectly played by Lauri. The third movement, the Adagio, marked piu andante, seemed very easy but featured complex rhythms and much interweaving of different textures. The fourth and last movement began with a slow introduction, which however gave way to a new theme introduced by the horns and timpani leading to a grand melody.

No wonder the maestro asked several sections of the orchestra to receive their acclamation.