Malta Arts Festival - Spectacular music-making

Enrico Dindo's performance with the Solisti di Pavia on July 4 played a key note in the Malta Arts Festival and was nothing short of exhilarating. Playing on a Pietro Giacomo Rogari cello of 1717 (ex Piatti) entrusted to him by the Pro Canale Foundation, Mr Dindo embarked on a marvellous musical voyage from the baroque to the contemporary and back in a programme brimming with excellence from all quarters.

He took us to the very beginning of the Concerto Grosso, the new form of instrumental concerto which was just emerging in the late 17th century. The first decisive step was taken by Arcangelo Corelli in his Concerti Grossi Opus 6, which though not published until 1714 were probably in being as early as 1682. The Concerto Grosso No. 4 Opus 6 is a particularly fine specimen and was played as such, proving it to be expressive, beautifully lyrical and dignified - a model of refinement which was to be the hallmark of all that followed throughout the evening.

In this piece Mr Dindo performed as a conductor, guiding the ensemble from a serene adagio to a sparkling allegro and back to a totally contrasting adagio, gradually coaxing the first violin to insert itself with a beautifully executed melody and gradually making way for the introduction of all the instruments in a bright vivace. The final movement allegro evolved out of an interesting dialogue between violins and cello with a rise in register running parallel with a prominent crescendo, guaranteeing interest and excitement.

With Corelli as a starter there was no room for looking back. Vivaldi seemed to evolve as a natural sequel to the stupendous Corelli because it was he who brought the trend of the baroque concerto to its height and he is in fact considered as the chief concerto composer of the early 18th century. The virtuosity of his solo passages is clearly superior to that of his predecessors, and they more than found their match in Mr Dindo, this time around in the role of both conductor and soloist.

After an assertive plunge into the first movement allegro, Mr Dindo took the lead on the cello, finding enough élan to conduct the ensemble even though he was performing with his back to them. With a flick of the finger, a side-long glance, a shake of the head, a wave of the arm and the thrust of a leg, he controlled them to perfection. The second movement largo was characterised by a lovely monologue for cello solo, eventually engaging in a meaningful dialogue with the rest. The third impeccably-timed movement allegro reverted to the initial assertion which this time developed giocose, wonderfully-bright performance led by much "singing" on Mr Dindo's part.

Mr Dindo and the Solisti di Pavia were indeed a treat for the eye as well as the ear. This was particularly evident while they were performing Roberto Molinelli's Twin Legends for Cello and Strings, composed explicitly for them. A gorgeously jazzy piece, this was in total contrast with what had gone before and that which was to follow. Twin Legends was enormous fun to listen to and apparently to perform, judging by the body language of the ensemble. Musically it confirmed that they were true professionals - equally at home with the old as with the new.

Mendelssohn's String Symphony No. 2 in D Major featured next. Reminiscent of Bach, it was in three contrasting moods in just as many movements, allegro, andante and allegro vivace. Haydn's Cello Concerto in C Major, Hob.viiib:1, the tour de force of the programme, composed immediately following his appointment as Kapellmeister of the Esterhazy Orchestra in 1761, affirmed Mr Dindo as an exceptional master, performing wonderful surges of melody with his entire being.

Bach's Sarabande in G Major for cello solo was given as a much appreciated encore to an evening of spectacular music-making.