Some days ago, a coffee shop in Valletta was the site of a very interesting conversation with composer Karl Fiorini.

Fiorini was eager to speak about his musical career and his brand new composition, which recently premiered during this year’s edition of Notte Bianca. At the moment, he is serving as composer-in-residence at the Conservatory of Avignon, devoting a good chunk of his time towards writing new works.

Fiorini’s music evolved over the years, owing to his ongoing research and inquisitiveness. He explained that one of his main interests lies in harmonies, especially how some particular chords recur across different genres such as classical, jazz or pop. It is through such harmonies that he aims to colour his works. He is inspired by the profound expression of composers such as Mahler, Bartók and Scriabin and Silvestrov’s approach of emphasising traditional harmonies without sounding passé.

Fiorini feels that if his music is to be relevant to a contemporary audience, it should be written in a contemporary idiom. Some of his works give the impression of a collage of different components, and therefore appreciating them requires some familiarity with contemporary or 20th-century classical works.

The composer aims to communicate with his audience, although this does not necessarily imply that people are expected to ‘like’ his music! For instance, he is equally satisfied when listeners identify with his works after perceiving an aura of disturbance. This is a bit similar to the literature he appreciates, such as particular works by Louis-Ferdinand Céline. Fiorini’s compositions are not intended to cheer people, but rather to touch listeners and maybe entice them towards deeper thinking.

Our conversation drifted towards his Sinfonietta Pro Populo which was premiered during Notte Bianca. Fiorini explained that it is structured in four sections, featuring two main melodies, which re-surface in different guises across this 20-minute work. The sinfonietta was written at the request of the CEO and chairman of the Malta Philharmonic Orchestra Mro Sigmund Mifsud. Fiorini was specifically asked for a variety of orchestral effects, such as a tarantella-like melody, prominent passages for brass and percussion, and mezzo-soprano and choral parts, to lyrics by Manwel Dimech (1876-1921).

In addition, there were visual and location-specific aspects relating to the commission. The choir, orchestra, mezzo-soprano and dancers were being positioned in prominent locations across St George’s Square in Valletta, not necessarily where they could readily interact with the director. The fact that the sinfonietta was intended for open-air performance impacted on the orchestration. For instance, some instruments were doubled to ensure that they would not be overshadowed by others.

Some of his works give the impression of a collage of different components

Fiorini considers the ‘accessibility’ requirement as the main challenge he had to grapple with. The work had to come across as spontaneous and direct, without sounding cliché. I was particularly interested in how the composer reconciled his overall ‘sober’ mood with the more upbeat connotations of a celebratory work. He pointed out that he does not believe in relinquishing artistic integrity to write a popular piece. In addition, works imbued with a festive mood are not necessarily second-rate. Beethoven’s symphonies often feature such occurrences and still sound relevant to contemporary audiences, with their artistic merit undisputed.

We also spoke about the socio-political dimension of the Sinfonietta Pro Populo, being based on two of Manwel Dimech’s poems: Sliem Għalik, O Malta Tagħna! and L-Innu Malti. Fiorini considered these texts as sources of inspiration, since after all, they are in line with the overall intention that this work be written ‘for the people’. He is also intrigued by Dimech’s preoccupation that individuals should be more aware of their role in society and dissociate themselves from sources of oppression.

Considering that most people are more than ever engulfed in a daily work routine, which inhibits them from emancipating themselves and their thoughts to a higher level, one may deduce that Dimech’s writings are still centrally relevant to contemporary society.

What about the interpreters of the sinfonietta, with particular reference to his working relationship with Mro Brian Schembri, who premiered other compositions of his in the past. Fiorini was confident that even this time Schembri would render a diligent and colourful performance, partly on account of extensive interactions about the nature of the sinfonietta.

On the other hand, this was the first time that Fiorini’s music was being interpreted by the Malta Philharmonic Orchestra. As with every novel working relationship, one might expect some initial uncertainties, yet he was satisfied that the players were offering a refined rendition of the score.

The premiere of the Sinfonietta Pro Populo involved the participation of the Chorus Urbanus under the direction of Mro Sigmund Mifsud, after rehearsing with Mro John Galea. Claire Ghigo interpreted the mezzo-soprano part.