This was the 5th event in this current edition and by the look of it considering past and later goodies on the programme it stands the chance of having been one of this year’s highlights.

The title refers to the manner in which this concert was presented. The all-Bach programme involved a plucked instrument or instruments. Obviously so in the case of the mandolin but let not it be forgotten that the harpsichord is also a plucked instrument.

Both performers are distinguished performers in their own right. Alon Sariel, on yet another visit to our islands is one of the world’s leading mandolinists. He is such a versatile performer who could be as deeply intense in his interpretation as he could be in lighter vein. He strikes me as one whose mandolin is an extension of his persona. He also immediately establishes a warm rapport with his audience.

Michael Salka’s main role was that of a supportive and very reliable accompanist. There is a deep bond of understanding between him and Alon Sariel, and this made possible a very pleasant and successful performance.

None of the music performed was composed for mandolin. All but one however featured the harpsichord in one way or another. Neither was all the music by J.S. Bach because there was one work by Handel and one by Domenico Scarlatti. All three were born in 1685: Handel on 23 February, Bach on 21 March and Scarlatti on 26 October. Indeed, what a great “vintage” year that was!

The concert began with a Sonata for mandolin and harpsichord based on Handel’s best known Organ Concerto Op. 4 n. 6 (1735-6). It was in four slow/fast movements

The opening Andante was quite lithe and the more sedate Largo betwee the faster movements were bright and breezy.

The first of the Bach transcriptions was that of one of his very famous Solo Cello Suites from his Cöthen period. After the initial introductory Prelude the expected setof dance movements followed in all their contrasting glory. The two Bourrées were not exactly identical and the Gigue provided a lively conclusion. This arrangement for solo mandolin was by Alon Sariel.

It was then Scarlatti’s turn to be given an airing he probably never dreamt of having.

The transcription is based on a Sonata for harpsichord in E minor, K. 81 and as it was likely intended for basso continuo as well, it sounded in this performance as if it were always meant to be like that. It was delightful and very Scarlattian.

Michael Talka performed what he called in his introduction to J.S. Bach’s CaprIccio for solo harpsichord, BWV 992. It dates to c.1704 when the Great Northern War (1700-21) had already begun. At the centre of it there was Sweden surrounded by Russia, Prussia and Denmark-Norway eager to destroy her Baltic hegemony. Bach’s elder brother Johann Jacob joined the Swedish army as oboist. In several contrasting movements there are echoes of sadness, worry, marching and even the remote sound of a postillion’s cornet.

The concluding work was also J.S. Bach’s and last of the duo pieces. It was Sonata in C Major originally for flute and harpsichord BWV 1033 (1736). In four movements beginning with an Andante it ended with two very charming minuets.

The performance ended to great acclaim from the audience. The duo eventually conceded an encore which was performed with great humour. It was an arrangement by Jean Francaix (1912-97) of the Serenata Deh vieni alla finestra, from Mozart’s Don Giovanni (1787). It was brilliant and very funny.

Albert George Storace