Elements developed with passion

Beethoven's Piano Concerto No. 5 in E Flat Major, Op. 73, known affectionately as "The Emperor", reigns supreme over all Piano Concertos. Coupled with Schubert's Symphony No. 9 in C Major, D 944, termed "The Great", they are two magnificent stalwarts in the classical music repertoire which never fail to draw the crowds.

This was the case last Saturday when the Manoel Theatre opened its doors to its new season with a concert featuring these wonderful works which were performed by the Malta Philharmonic Orchestra to the baton of Brian Schembri with piano soloist Stefan Cassar.

A majestic orchestral chord heralded the start of The Emperor Piano Concerto, soon to be followed by the piano's contribution in a rhapsodic style. The orchestra then exposed the two main themes, reaching an impressive climax after the development of epic proportions. After a brief pause the pianist embarked on the cadenza, which reflects the dramatic and poetic characteristics of the work. The ethereal second movement, adagio un poco mosso, started beautifully on muted strings, eventually unfolding into the final rondo, with the all-too-well-known gentle portending notes soon to be taken up exuberantly by full orchestra. Beethoven's Emperor Concerto has been performed so often that it is difficult for any pianist to do something new in his performance of it. Stefan Cassar too preferred to keep to a conventional interpretation, which unfortunately suffered from being muffled and subdued in places, and insufficiently polished in others.

The performance of Schubert's "Great" Symphony, so called because of its impressive dimensions, was another milestone in the annals of the Malta Philharmonic Orchestra, whose repertoire is ever widening to include more demanding works. The long introduction to the first movement is dominated by a dignified theme, first given softly by the horns and then tenderly repeated by the woodwinds. A stormy crescendo led to the main body of the movement, beginning with a strong, rhythmic theme, divided deftly and gracefully between strings and woodwinds, oboes and bassoon and eventually trombones.

Brian Schembri developed these elements with a passionate intensity and a dramatic interest, reminiscent of Beethoven. The second movement was pure Schubert, mostly evident in the broadly lyrical section which is quietly introspective and gentle. Strings and woodwind combined exquisitely and brought this movement to a sublime end.

A vigorous start with a pleasant change in rhythm heralded the scherzo, which was characterised by a very beautiful development. This paved the way for the finale, which overflowed with musical invention, gaiety and an excited flurry, ending with a recapitulation in which all the thematic ideas of the movement are restated. A persistent rhythm maintained with military precision by the orchestra at the hands of Mro Schembri dominated and unified the entire piece.

The orchestra's performance augured well for the forthcoming season at the Manoel, which is characterised by a highly attractive programme of events worth looking out for.