A NEW 4 HANDS DUO IS BORN
The two pianists are well known on the music scene in both islands. Both are experienced performers and this was their premiere performance as a duo. The idea to perform piano-4 hands music occurred very recently. Going by this debut performance, things seem to be very promising for them within this genre. One looks forward to more.
During the concert the two ladies exchanged positions at the keyboard from middle to upper part and from middle to the lower one. The first work they performed was Pupazzetti, Op. 27 by Alfredo Casella (1883-1947). Composed in 1915 and later orchestrated as well arranged for a nonet the work. The title means little puppets or marionette. It is not surprising that throughout the different moods evoked in its five movements, there are many rhythmic allusions to the jerky movements of the marionettes. Beginning with Marcetta (little march) it continued with a calm Berceuse, a delicious Serenata and a Notturno notable firbuts clusters of trills. It ended with a lively Polka.
The only living composer present and included in this programme was Ruben Zahra (b.1972). His Constellations III (2005) originally was scored for solo piano and later (2007) he arranged it for piano four hands. Its performance this evening was a world premiere. Its dominant ostinato pattern and contrasting rhythmic colour the compact piece which lasts a little over four minutes. As in a constellation there is more than one element involved in the structure. One is akin to jazz improvisation, registers change and the driving force behind it made for some very exciting moments, ending a little indeterminately. The composer was very warmly applauded by the audience.
The quirky title Morceau en forme de Poire (1903), is not surprising coming from its half-French and half-English and very eccentric composer Erik Satie (1866-1925).
Yet there is a great sense of humour and satire in this work which takes a dig, among others, at Impressionism. The opening movement is a prologue to the second part which is sub-divided into seven sections. Eccentric and confrontational “enfant terrible” as he could be, Satie did compose beautiful music in different shades of colour and mood as could be heard in this worthy interpretation.
Our Karl Fiorini (b 1979) was the other Maltese composer with a work in this programme. His quirky and misleading Maltese Quicky (2011) satirises certain local idiosyncrasies, the target this time is Carnival. The “quicky” refers to the mostly fast tempo in the dominant theme of il-(kuntradanza) Maltija which almost reached whirlwind proportions yet remained very articulate.
The penultimate work was Five Pieces for piano. Op 4 by György Ligeti (1923- 2004). Composed in 1973, i t began with a resolute March, followed by a very interesting atonal Polyphonic Étude. Three Wedding dances consist of a middle slow second one, flanked by two fast and lively first and third dances. The following lovely Sonatina preceded the lively and spirited final Allegro. This was a thoroughly enjoyable and approachable set.
Rounding off the concert was La Vida Breve n.1 (1904-13) by Manuel de Falla (1876-1946).
What was performed was an arrangement for piano four hands of the main dance from the dramatic La Vida Breve. One of de Falla’s most popular and characteristic as well as iconic, and this arrangement was all energy, colour and drama after which the audience would not let go of the ladies. They conceded an encore with the Allegro from Ligeti’s Op.4.
Albert George Storace.