This 11th concert was another well-attended one featuring a young,energetic duo founded in 2018, based on friendship, shared studies and a great love for music-making.

Samuel Cutajar is a leading Maltese violinist of his generation and plays on an 1800 Giovanni Gagliano violin. Kolja Gibbs is an ace guitarist and of German-Australian origin.

The programme began with a Baroque work by Tommaso Albinoni (1671-1751) contemporary of and much longer lived than his fellow Venetian Vivaldi. During that period chamber works were composed in dozens or half-dozens. Albinoni’s Op.6 (first published in 1712) was a set of Sonate da chiesa fir violin and continuo, with no dance movements. The latter alternate in a slow/fast pattern. N.6 is in 4 movements and was arranged for violin and guitar by Kolja Gibbs. From the beginning there was clear evidence of the duo’s mastery of their craft. Balance, clarity, texture and technique. So very refreshing it was.

The next piece was an original work for the two instruments by the great virtuoso Niccolò Paganini (1782-1840) who composed dozens of chamber works for violin and guitar. After the violin he had a genuine fondness for the guitar as his second instrument. His Sonata in E minor Op. 3 n.6 begins with a very disarming Allegro innocentemente followed by a very energetic rather pyrotechnical movement which one wished would never end.

Completely different and testimony to the duo’s versatility was the Sonatina Bulgarica (1997) by (of course) Bulharian composer Atanas Ourkouzounov (b.1970). The idiom is very different and the work which the duo were performing for the first time was projected with restful commitment. In three movements it began with self-explanatory flavour marked Allegro ritmico which had both performers plucking a series of jagged single notes. In the central Largo a deeply effective interaction was clearly projected in what was a close and intimate chat. Concluding with Vivo con fuoco

there were echoes not only of specifically Bulgarian origin but also of a general Balkan flavour.

Back to more familiar ground was the Danza Española Op. 37, n.3 (1890) “Fandango” by the ill-fated Enrique Granados (1867-1916). Originally for piano, this work like other companion pieces have ment themselves marvellously well for guitar or violin and guitar as in this case. These transcriptions are so beautiful and successful that many do not realise they were composed for piano. Although not specified, it would not be a very wild guess to think that this was a transcription by Kolja Gibbs.

The concluding work of the concert was the quite monumental Histoire du Tango, (1985) originally for flute and guitar by pastor Piazzolla (1921-92). Introducing the work Samuel Cutajar said this work history has to be performed by violin and guitar and the work proceded to unfold step by step. From Bordel 1900 to Café 1930 then on to Nightclub 1960 to concert d’aujourd’hui. It was indeed an episodic story during which many different forms and trends were projected. Colour and rhythm, emotions and arresting harmonies trace the story from steamy origins to a kind of respectable metamorphosis yet one of never ending development.

This was the longest part of the concert following which co ti used applause resulted in an encore. It was all about another dance but Baroque Courante by Handel (1685-1759) from an undisclosed solo harpsichord piece. It was an arrangement concocted in just three days by Kolja Gibbs. From the sound of it Samuel played the right hand part of the original piece while Kolja took the left hand.

This was the duo’s first participation in the VIAF. I am certain that they would be more than welcome in future editions.

Albert George Storace