I have had the pleasure to know both components of this duo. Since the beginning of their respective careers. Like so many of their fellow musicians, it has been a great pleasure to have followed their continuous growth as professional, highly competent and reliable performers.

I beg forgiveness for not remembering whether I had ever heard them together. If this were the first time, then it was even more amazing how very compatible they were. They were little less than a pair of live-wires with tremendous energy and faultlessly incisive precision whenever called for, as well as in calmer moments. This was a case of not just listening to their music-making but also watching this fascinating process which conquered the audience lucky enough to be present and witness it.

Gofdrey Mifsud and Maria-Elena Farrugia immediately launched into the first work on the programme. This was the two-movement Sonatina for Clarinet and Piano Op. 2, by Matthew Arnold (1921-2006). It began with a dominant, perky fast movement followed by the second movement, slow and doleful at first but continued to an even more energetic phase which was a showcase of sudden staccato stops, strongly co-ordinated and perfectly timed providing a taste of what was to come in some of the following works.

Before continuing Godfrey Mifsud back announced the work, adding certain details like when it was composed and premiered by the composer in 1951 at the piano, and the future (Sir) Colin Davis playing the clarinet before he eventually became a conductor of great fame.

Godfrey Mifsud introduced the rest of the programme. The next work was by Alan Cassar (b.1974) a friend of his and local clarinettist who has mainly turned to composition. He lives abroad and the duo performed his Tango. More or less with a technique quite like the previous work, but finished with a very soft pianissimo.

Leonard Bernstein (1918-90) composed his Sonata for Clarinet and Piano in 1941-42. Premiered in the latter year it begins with a Grazioso, rather wistful at first but becoming a little more energetic. The Andantino was of a certain expansive quality with some depth. The concluding Vivace was of a well-controlled, lively nature yet one which was pretty lithe.

The concert continued with two works by Astor Piazzolla (1921-92). His Oblivión (1982), one of his most popular works originally was for bandeneón, piano and harp. It was later arranged and recorded for various other instruments and stood well for clatmrinet and piano. The second work was a bit earlier, from 1969, originally composed for Piazzolla’s own quintet. Fugata is from a Tangata, a larger work of which Fugata is the first of three pieces, the others being Soledad and Final. It was performed in fine style, as were Tre Danze Latine by Michele Mangani (b.1966). Mangani is known for his particular style and his Contradanza had a very Italian flavour. The second, Valse had a pleasant lilt while the last was a dance influenced by the colourful Brazlian chorosinho.

Andy Scott, also born in 1966 is a noted clarinettist and saxophonist. In his Paquito he pays tribute to the Cuban-American saxophonist and clarinettist Paquito de Riveira (b.1977). It was performed with great feeling and style worthy of the piece. This was received with acclaim by the audience.

If ever it were possible, but it was, the concert finale generated more plaudits for them when the duo performed Blues, a mix of selected music by Gershwin (1898-1937). This was arranged by the Italian composer Henghel Gualdi (1924-2004).

Again, as in this concert, the VIAF continued to include and support the best local talent has to offer. Well done to all involved!

Albert George Storace