This was the 28th VIAF edition’s 8th event which made VIAF history because of the unusual chamber trio formation of piano, clarinet and bassoon in the very hall named after this edition’s dedicatee.

A trio formed of the three instruments heard today is a very rare thing. The pianist a Triestan, the Slovene clarinetist and Northern Macedonian bassoonist with professional Austrian and Slovene connections are from.very close the heartland of the old Habsburg dominions within which was one of the amazingly productive multi-ethnic pool that focussed on Vienna, uniting all via the music which was created and flowed so richly for so many centuries. I could not keep this out of my mind as I enjoyed a programme which extended to works by a Russian composer, a Maltese composer from Gozo and a British one to add to this wonderful mix.

I suppose it was meet and just to begin the concert with the really delightful Trio in E flat Major, Op. 43 (c.1825) by the German Konradin Kreutzer (1780-1849). He born when the Holy Roman Empire controlled from Vienna still existed. He worked there for a while and died in Riga when Latvia was part of the Russian Empire. Such was the cosmopolitan life of many composers.

The Trio was performed in great taste by three masters with individual careers, but very able at performing as one ensemble in balanced interaction. Always in a warm mutual rapport which never flagged. The trio began with a commanding Maestoso which became a Romanze marked Allegro moderato. The slower Andante grazioso was very charming was followed by an extended Rondo: Allegro.It was really beautiful and the three instruments together were a revelation as to the unique sound which was projected forth.

The next work was the Trio in D minor “Pathétique” (1832) by Mikhail Glinka (1804-57), the Father of Russian Music. Most of us know the familiar version for piano, violin and cello whereas it was originally for today’s formation.

The music is very beautiful, most probably the fruit of delusional amorous mishaps.The opening Allegro moderato does not give away much and far from intense. The highly contrasting and very energetic Scherzo vivacissimo is a form of escapism. The Largo beautiful and quite intense more over an emotional undercurrent which maintains a dignified stance, never going to extremes. The finale, Allegro con spirito maintains that same spirit. Always in balanced manner the work ends with a feeling that Glinka could have said more. It still remains a masterpiece to be enjoyed, be it for piano and strings or piano and wind.

The only work originally not for piano, clarinet and bassoon is Karba, Op.102 (2002) by our own Joseph Vella (1942-2018) the founder of the VIAF and its Artistic Director for its first twenty years. His scoring was for piano, clarinet and bass clarinet. Karba is Maltese for lament and marked Adagio. A little short of 8 minutes it is a continuous and to quote Dr Maria Frendo’s note, “..unfolds in triple meter, but as often happens with the composer it inspired with a time signature shifts to further help give the music a spatial, dreamy and evocative atmosphere.” The music succeeds in doing exactly that.

What a pity that British composer William Yeates Hurlstone (1876-1906) died so young.

His Trio in G minor for clarinet bassoon and piano (1907) added anothe page in this not so common genre. Marked Andante maestoso-

Allegro vivace, Andante and Allegro moderato

It was a really pleasant experience to listen to something like this, and utterly new as well. It was rich in different emotions very colourful and so late Romantic too.

Very well done and thanks VIAF for this unusual and very welcome chapter.

Albert George Storace