For the second time in six months, Israeli mandolinist Alon Sariel was back in the Maltese Islands. This time to take part in the fourth concert of the current edition of the VIAF.

I believe this is the fourth time that this versatile musician has been in our country. This year he came as soloist because on other occasions he formed part of chamber ensembles.

Had things turned out differently this concert of music for solo mandolin risked being cancelled. That’s because Alon Sariel had a nasty fall and fractured his left arm. It could have been worse but thanks to a protective device bolstering his left arm he could easily perform. His left hand fingers could easily grasp the neck of the mandolin and press the strings. He could also freely pluck at his mandolin’s strings with a plectrum. He did say too that once he had arrived in Gozo he already felt better

The small, humble mandolin has a long history. Yet in the hands of a leading mandolinist of world wide fame like Sariel, the effect is magical. It also raises the instrument’s image as one capable of producing previously unheard sonorities. Many famous composers left works for the mandolin, including J.S. Bach, Vivaldi, Mozart and Paganini

Alon Sariel’s programme was of works by J.S. Bach originally for violin and for organ, one work for violin by Telemann and Sariel’s own original Mandolin Partita n.1. He said that the Corona virus pandemic resulted in his spending more time than usual at home. He worked on the transcriptions and judging by the numbering of his Partita, more of that ilk could be expected in due course.

The concert began with the Prelude from Bach’s Violin Partita in E Major, BWV 1006. It was a refreshing introduction and projected with precision and style. A work for cello may sound different on mandolin. The Prelude and Fugue from Bach’s Cello Suite n.5 in C minor, BWV 1011 still sounded pleasant and with a certain degree of clear versatility.

The super-prolific Telemann’s Violin Fantasia n.10 in D major was performed next. The opening energetic Presto was followed by a gentle contrasting Largo. A little less energy marked the final movement (Un poco vivace) which changed into an Allegro.

Originally for organ, the splendid Toccata and Fugue in D minor, BWV 565 was next . It is a bit difficult to banish one’s recollection of the original majestic organ sound. Yet the small mandolin’s “daring to speak in such powerful language” made it deserving of admiration from beginning to end.

In his Mandolin Partita n.1, Alon Sariel kept the Baroque form, beginning with a Prelude and followed by a series of dances: Allemande, Courante, Sarabande, Minuet 1 and 2; Gigue. It was colourful and fresh in his own musical language.

Back to a transcription for mandolin it was for the finale item. It was Bach’s immortal Chaconne from the Violin Partita n. 2 in D minor. The glorious monumentality of the work could still be clearly hinted at in wave after wave of sound. Frequent climaxes seemingly made one expect a final resolution, yet it continued with fresh waves taking over. It was amazing how all this was mustered so well on this delightful little instrument.

Albert George Storace.