The first recital, held within the intimacy of the Aula Mgr Ġużeppi Farrugia, featured works for piano quartet with in between something else for violin and viola. Oddly enough, the four musicians involved did not perform as members of an ensemble with a particular name. They come from different countries: pianist Biliana Tzinlikova is from Bulgaria, violinist Klara Flieder, Thomas Selditz (Germany) and cellist Christophe Pantillon is Swiss-American.

Music-making has no frontiers and such is the case with this quartet whose affinity and mutual rapport guaranteed fine results. What they also have in common is that they are based in Vienna’s Conservatory and the Salzburg Mozarteum where they teach. They often perform together and this time they got together specially for the VIAF.

In Mozart’s Piano Quartet N. 1 in G minor, K. 478, there was an immediate sparkle to the music, the balance and texture between piano and strings in a form rare for the time was very good, the exchange of ideas was continuous. There was a definite contrast between the energetic outbursts in more dramatic moments and those of more deeply lyrical. That kind of purposely created unease lingered in the adagio and also in the concluding rondo.

Normally, his would have been rather light and carefree, but here underlying dark elements raised their voices in a work written in a key to which Mozart often resorted when he wanted to express some deeper meaning.

Martinů’s rarely performed Madrigals (3) for Violin & viola, H. 313 were impeccably performed by Klara Flieder and Thomas Selditz. This late set of duos by the very prolific  Martinů provide a vehicle for technical abilities of a high order but also strike a deep note, at times, with a very intense sense of anguish. Ideas flew and were exchanged between violinist and viola player in perfect rapport and whom the composer treats in an equal manner.

From the poco allegro of N. 1, which came with an assertively and crisply decisive touch, the duo plumbed some mysterious depths in the poco andante of Madrigal N.2. This was further enhanced by muting the strings during its first half. The final Madrigal’s Allegro hearkened to bustling Baroque ideas.

Concluding with Fauré’s Piano Quartet N. 1 in C Minor, Op. 18, the quartet launched into a different sound-world with equal proficiency. Very assertive in the opening allegro moderato it swept on in the scherzo even if carried on the back of a mainly pizzicato contribution by the strings. The adagio was marvellous and oasis of some deep thought in a sea of sweeping energy which was brought to a glorious conclusion in the allegro molto.

The encore was an arrangement for piano quartet of the theme which opens Bach’s Goldbergs, introduced by the pianist as the quartet’s tribute to the late Joseph Vella.

In the following evening’s recital at the basilica of St George, Martinů was around again, not because any work of his was performed by four musicians from the Czech Republic.  It is because The Martinů String Quartet bears the name of their fellow countryman. This quartet is popular with VIAF audiences as they have taken part in other editions of the festival. It consists of Lubomir Hávlak and Libor Kanka (violins), Zbynek Padourek (viola) and Jitka Vlašánka (cello).

Normally, a string quartet performance attracts smallish audiences in our islands, but, not so this quartet who drew a pretty large audience to their recital at the basilica.

 They began with the very approachable String Quartet in B minor, Op. 64 N. 2, full of high spirits in the opening movement, followed by a more sober Adagio.

Haydn’s minuets are ever so refreshing, carefree in mood but well-crafted and this was no exception. He is a master craftsman at that, as the intricacies of the final movement were expertly revealed by the quartet, because there is more to the ear than what this charming bonhomie offers.

As homage to Debussy on the first centenary of his death, the Martinů String Quartet performed his only string quartet, in G Minor Op. 10. It is a work which is brilliantly multi-faceted and appeals to the mind as well as to the senses. For indeed, while being in a sense and in part forward-looking, it is still deeply sensual and Romantic especially in the lavish Andantino doucement expressif.

The opening movement offers several thematic ideas which are the source of much that follows in the rest of the work and was projected with the necessary energy. So was the second movement, a scherzo which alternated with vigorous pizzicato and bowed passages.

All the above elements came together in the Finale which ranged from very moderately paced music, a slow crescendo and ending with very energetic and passionate playing.

The recital lasted only 50 minutes but it was packed with highly concentrated music which definitely left a deep imprint.

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