The most common string trio line-up is for violin, viola and violoncello. In this concert’s case the line-up was quite unusual because it included a viola d’amore. The programme was also a bit unusual in that it consisted of a number of short works or selected movements from longer works. The trio performed together in the majority (eight) of pieces with rest being well-spaced solo or duo formations.

Whether some would have preferred a lesser number of works but of longer duration, agreement was unanimous in the appreciation of the Primrose Ensemble’s high quality performance.

As one could imagine the repertoire for the three instruments involved is very limited with the result that almost all works were arrangements. This was definitely the case with a one-movement (Allegro) Sonata in D Major, K.353 by Domenico Scarlatti (1685-1757). Bright and lithe as most of his 555 keyboard sonatas, it was a refreshing introduction to the concert. It continued with an Andante (2nd movement) from the Trio Sonata n.4 in E minor (c.1730) by J.S. Bach, originally for organ. It has been arranged for other instruments. The one for two violas and cello sounded very pleasant and soothing.

The sweet sound of the viola d’amore was much to the fore in Sonata for Viola d’amore and Viola by Karel Stamić (1717-57) famously connected to the renowned Mannheim School. It is in four movements of which only the final and longest one, a theme and variations was performed.

It is known as Marlbruck s’en va t’en guerre ( [the Duke of] Marlborough is going off to war). Truly, he very successfully did that some 30 years earlier. It is also known as Mort et convoi de l’invincible Marlbruck (Death and buria of the invincible Marlbruck). A case of understandable French wishful thinking because the Duke died in his bed, in 1722.

The heyday of the viola d’amore was in the Baroque period but interest still lingered with some composers in later times. Same family but of different tones the two performers enjoyed the interaction the work provides.

A complete change of idiom and style was the Allegro for Viola and Violoncello (1897) by Gabriel Fauré (1845-1924). Originally for two violoncellos, it short but technically very demanding because it was meant as an exam/test piece for a competition launched by the Paris Conservatoire. The performers passed the test whether they sight-read or not.

Something closer home created but in Paris were Two Melodies by Maltese-born. Composer Niccolò Isouard (1773-1818). He was a prolific composer during his brief, almost 45 years of life. Incidentally he composed operas staged in Malta, Italy and the bulk of them in France. The charming melodies were based arias from two of his very successful Paris operas: Cendrillon.(1810) and Joconde (1814).

The only lady composer featured in this concert and still very much alive was Florentine Mulsant (b. 1962) with her Chant for Viola d’amore and Viola, Op. 117. This was commissioned by Pierre-Henri Xuereb in 2022. The work is dedicated to him was a Gozo premiere. Its brief single movement is actually in three distinct movements it sections. The first of them evolves in even more sub-sections. Both instruments have moments of prominence and also share equal interaction. New material derived from earlier sources marked the central section with the final one being a recapitulation of theme A.

The gentle coda concludes to a finely finished sense of serenity.

An early work by Beethoven (1770-1827) was composed in 1796 and bears the amusing nickname of Eyeglass Duo, in E flat Major WoO, 32. It is an original work in two movements Allegro and Minuet. Both Beethoven and his friend the amateur cellist Baron Nikolaus Zmeskall (1759-1833) had poor eyesight and used eyeglasses (which we call “spectacles”). Beethoven himself had written (With Two Eyeglasses Obbligato). The Allegro was performed. It has a touch of humour, from the pre-deafness and crisis years.

Few associate the dour, often boorish-looking composer of his later years with something like this, full of interactive amicable banter between the two instruments.

Mozart (1756-91) was also included in this concert by means of a string trio arrangement of the Adagio from his Piano Sonata n.17 in Bflat major (1789). This lovely late work’s Adagio is in rondo form and begins on a sombre note provided with two contrasting episodes. The latter are both rather fast, expansive and l exploit a wider melodic range. They return to a more staid refrain at the end of this well-projected piece.

‘In a Pensive Mood’ for Solo Viola, Op. 141 (2014) is a late work by the ever-lamented Joseph Vella (1942-2018) the VIAF’s founder and its Artistic Director for its first score years.

A little over four minutes long the work exploits the mellow tone of the viola in order to project and convey a wide spectrum.of moods and contrasts. In this brief space of time one could sense aggression, lyricism, frustration and resignation. Unusual technical effects emphasise these conflicting moods. They included playing “con legno”.on the viola’s bridge or tapping its sound-box or body for greater effect. Highly meditative and almost ominous it was performed with great heart by Pierre-Henri Xuereb who had premieted it in Montpellier in January 2015 shortly after the composer’s 73rd birthday.

The latter part of the programme continued with music by the third member of the contemporary “trinity” based on Habsburg territory, namely Beethoven, Mozart and Haydn (1732-1809). The eldest’s music featured last with two works. Both were String Trios: in C Major Op. 110 and in D Major Op. 113. Both in three contrasting movements. The principal common factors were both have minuets and the dark tone of the baryton an instrument which influenced the arrangements which include two violas. Both had their merry moments, graceful minuets and some lip service to more sober moments. All told they sparkle as typical salon music of the time.

The conclusion came with a completely different style: with Ravel (1875-1937), born 150 years ago. (Makes me wonder how come Bizet’s 150th from his death has hardly raised a whimper…or am I out of touch?)

The final work was just one four-minute movement Laideronnette, Empress of the Pagodas, M.62 (1908-10) originally for piano-four hands. It is a movement from the ballet Ma mere I’Oye. The music sounds exotic in line with the subject matter evoking sounds of the Orient. It is a world of fantasy and adventure, danger and shipwreck. It was after all originally meant for children.

Albert George Storace