Denise Azzopardi interviews internationally-acclaimed, London-based Maltese violinist Carmine Lauri, who will be interpreting Alexander Glazunov’s Violin Concerto in A minor during the Malta Philharmonic Orchestra’s Russian Masters II concert.

Who was Alexander Glazunov, and how were his works perceived during his time and beyond?

Glazunov was one of Russia’s greatest composers to emerge from the late Russian Romantic period. He also was a conductor and music teacher, with his best-known student being Dmitri Shosta­kovich. Although younger composers of his time, such as Prokofiev and Shostakovich, eventually saw his music as “old fashioned”, he was acknowledged as a great prodigy in his field. Rimsky-Korsakov taught the young Glazunov after they were introduced by Mily Balakirev, though he considered Glazunov to be more of a colleague rather than a student, having acknowledged his prodigious talents from the very start. Glazunov composed eight symphonies, two piano concertos, and three ballets, among others. But his Violin Concerto in A minor and The Seasons ballet are his most renowned.

Alexander GlazunovAlexander Glazunov

Is there any historical curiosity worth mentioning about his Violin Concerto in A minor?

Written in 1904, the concerto was dedicated to violinist Leopold Auer, one of Russia’s violin pedagogues who also taught Jascha Heifetz. Auer gave the first performance at a Russian Musical Socie­ty concert in St Petersburg on February15, 1905, and the great violinist Mischa Elman premiered it in the UK a year later.

Which are the most taxing parts of the concerto for the soloist?

The concerto is rather short in length, just lasting around 23 minutes. I could almost say it’s short and sweet. However, ‘sweet’ would not be the right word to describe its technical challenges. I personally think that the whole concerto is challenging for any violinist, due to the way it’s written, especially the left-hand-part composition. It doesn’t always lie naturally under the fingers, especially the polyphonic writing in the fiendish cadenza that utilises extensive double stopping techniques. The concerto comprises three movements, but there’s no pause between them.

The whole concerto is challenging for any violinist, due to the way it’s written, especially the left-hand-part composition

Are there any special techniques or effects involved?

I wouldn’t say that this concerto involves the level of technicality found in concertos by Paganini, for example. But it’s worth mentioning that in the last movement, which is a brilliant rondo, the composer makes use of a pizzicato guitar effect just before the concerto reaches the coda section.

Which are your most favourite sections of Glazunov’s oeuvre and why?

The soaring melody at the very start of the piece, the romantic theme in the second movement, and the entire last movement that charges up in speed little by little till it reaches an overwhelming ending, are breathtaking. The concerto is a work of bravura for the soloist from start to finish, with incredible orchestration that even includes a harp and glockenspiel.

What are you aiming to portray in your interpretation of this work?

In my debut performance of this concerto in Malta, I aim to deliver utter beauty in every note that I play to engage the audience in the beautiful musical journey that the entire piece involves. I want my audience to fall in love with this work that they might not have heard before. I believe that this concerto hasn’t yet been performed in the Maltese islands.

Would you like to share a special message with your audience for the concert night?

To all those who will be so kind as to join myself and the MPO on this occasion: I hope that you will have a great night listening to and perhaps discovering these Russian masterworks for the first time. The concert consists of a great programme for all to enjoy, and I promise to live every note and hopefully deliver to you the deep message that Glazunov’s violin concerto can offer with its richness and technical bravura sections.

The Russian Masters II concert will take place on April 7 at 8pm at the Manoel Theatre, Valletta, under the baton of Mro Michael Laus. The concert will also feature Rimsky Korsakov’s Russian Easter Festival Overture and Tchaikovsky’s Symphony No. 2. A pre-concert talk will be held at 7.30pm. Tickets are available by calling on 2124 6389 or by sending an e-mail to bookings@teatrumanoel.com.mt.

www.maltaorchestra.com

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