This is a very compact, well-knit family chamber ensemble. Sisters Natascha and Tatjana Chircop perform with Natascha’s husband Marco Rivoltini. They have had a distinguished career since their founding in 1996 performing locally and abroad. Apart from that they are also successful soloists with a very wide experience.

Janascharco Trio’s VIAF performances have been several. This evening’s was a welcome return, as Artistic Director Fr.George J. Frendo said in his introduction to the concert.

The first music performed was by Jacques Ibert (1890-1962), namely the Deux Interludes which he composed in 1946. These were from the incidental music Ibert composed for a play Le Burlador (The Seducer) by Belgian poet and playwright Suzanne Lilar (1901-92). The first interlude which felt very French yet the second interlude had a definitely Spanish flavour. Both were performed with elegance and style.

The music continued with more Ibert. Thst same elegance marks his Aria (1930). This earlier work is very beautiful, brief, originally for voice and piano. It became so popular that it has had several arrangements. One is for piano, violin and flute. Despite its brevity it is packed with an attractive wide range of tonal colour as well as the dynamic variety. It was performed with great balanced interaction.

The Janascharco Trio are known for the wide repertoire they tap to make their concerts more varied and interesting. The next work Fresh Air, by US composer Gary Schocker (b.1959). Although composed in 2019 it did not have its premiere performance until 2022.

It is in three movements: Hatched; Thatched; Unlatched. These give a clear picture of the work’s meaning. The birth of new life (a new work. While Hatched brims with energy Thatched is more inward looking lyrical and evokes the protection and cosiness as would be experienced in a thatched, protected space. In Unlatched there is a feeling of freedom and release from the confining effect of the thatched dwelling. Throughout the work there was highly evocative interplay between the three instruments.

One of the evening’s most enjoyable works, because of the chord which endeared it to it to the “native” element of the audience was Fakriet, by Christopher Muscat b.1977). I presume (and stand to be corrected), that the title means “recollections”. Originally it was composed in 2004 for clarinet and piano. The composer arranged it for flute, violin and piano in 2024.

The composer cleverly weaves a number of popular Maltese folk songs, better remembered by the older generation and simply just attractive music. From a lullaby to a nursery rhyme, a doleful lament and a merry barcarolle not to mention a vibrant dance. Each instrument had some prominence coming their way beginning with underlining the distinct character and colour of the times. The violin ably shaped the rich, sonorous melodic lines. The flute’s role was lighter, eventually and effortlessly sailing through a very ornamental cadenza. The piano came more to the fore in the latter part of the work. Particularly significant when dealing with the lilting lament to be followed by the more vibrant dominance of il-Maltija. It gradually accelerated the pace which led to a conclusion with a great flourish.

A different style pervades Promenades, H 274 (1939) by the prolific Czech Bohuslav Martinů (1890-1959). Originally for flute, violin and harpsichord it is in four very contrasting movements. Begin with a well-controlled Poco

Allegro but nevertheless not bereft of energy. The Adagio was of course slow and reflective. The following Scherzo was happy and sprightly. The work ended in the work’s same opening tempo: Poco Allegro.

Back to the USA it was with Three Dances (2017) by Bruce Stark (b.1933). Groove was beautifully ethereal, the Waltz was a rather quiet one and in very clear contrast with the concluding and very energetic Jig.

The end of the concert came with Trio (2013), by Slovene composer Blaż Pucihar (b.1977). He originally scored it for flute, oboe and piano. It is in what is recognised as a work in Pucihar’s own style wherein he blends “classical traditions with modern sensibilites”.The work went down well with this very approachable work, and if course, its rendition by the trio.

The three musicians were acclaimed for their performance and this led to a welcome encore. It was Prelude, n.1 from Five Piano pieces, by Dmitri Shostakovich (1906-75).

Albert George Storace