Concert
MPO String Quartet
Jesuit Oratory, Valletta
In this country there are many spaces which cry out to be used for holding recitals in an intimate atmosphere. Ideal for chamber music performances, the splendid baroque Jesuit oratory in Valletta is one of them.
A series of Sunday teatime recitals has been launched at the oratory, which is tucked away at the side of the church with the entrance being between St Paul Street and Merchants Street. These recitals begin at 4.30pm, last about an hour and they are being held on a fortnightly basis.
The venture is an initiative of the University of Malta’s Research Innovation and Development Trust (RIDT).
The opening concert featured the Malta Philharmonic Orchestra String Quartet. The publicity campaign which created awareness of this event paid off because there was hardly an unoccupied seat in the oratory.
The quartet’s members are Marcelline Agius, violin and leader of the MPO; Klara Nazaj, violin; Nadya Debono viola (and leader of the MPO’s viola section); and cellist Akos Kertesz.
The first of the two works performed was an early composition by Christopher Muscat. Clepsydra was composed in 1999, when Muscat was just into his 20s. It is a brief and aleotoric piece which leaves to chance certain elements in its performance – giving some free improvisatory rein to the performers but, at the same time, posing certain limitations.
No two interpretations are ever exactly the same, which in any case is the same with all music.
Within its brief five minutes, the quartet’s projection of Clepsydra came across with a lot of intense vigour and energy which swept along from the beginning until it reached a great climax. The viola then launched a plaintive melody later echoed by the first violin, and the other instruments had their say too until the piece ended in a beautifully sustained, long hush.
This was the second time in 10 days that I heard an interesting Muscat piece, the other one being the Malta premiere of his very vibrant Geryon for violin and piano four hands during the Three Palaces Festival.
The recital ended with Beethoven Quartet in C minor, Op. 18, N. 4. Chronologically, it was probably the last of this set to be written and it is the most popular one. Very true that in Beethoven the key of C minor is very significant and no less this work which singles it out from its companion works. The work bears that strong Beethovenian stamp echoed in the very decisive and crisp delivery the performers ensured in the opening movement.
There was no lack of energy and high spirits in the following scherzo-andante scherzoso, quasi allegretto which was perky and full of cheek.
At this stage Beethoven still clung to the formal inclusion of a genteel minuet but even here his trademark is unmistakable and the playing was at its most elegant. The work finished with lots of elan in the concluding boisterous allegro.
The recital was introduced by Sarah Spiteri at her communicative best. The next recital is due on November 30. Entrance is at a recommended donation of €10, proceeds going in aid of University of Malta research projects.