The Malta International Arts Festival presents the Malta Philharmonic Orchestra with an exciting programme for string orchestra. This concert features Michael Laus behind the baton and the piano keyboard for Alfred Schnittke’s Concerto for Piano and String Orchestra (1979). In this concerto Schnittke contrasts driving virtuosity with evocative episodes of lyricism and dissonance. Unfolding as a single-movement, this concerto is a journey through a kaleidoscope of musical styles and emotional states. The programme includes two 20th century masterworks for the string orchestra: Concerto in D (1946) by Igor Stravinsky and Divertimento for Strings (1939) by Béla Bartók. Both works were commissioned by Paul Sacher for the Basler Kammerorchester . Bartók’s Divertimento displays the rhythmic vitality of Eastern European folk music, mixing exuberant dance-like passages with expressive contrasts. Stravinsky’s Concerto in D highlights the composer’s crisp neoclassical style with sharply etched rhythms and inventive string writing. Structured in three movements, the piece alternates energetic drive with poignant lyricism, making full use of contrasts and timbral colour within the string ensemble. The programme also includes Orawa (1986) by Wojciech Kilar and Emboldening (2024) by Albert Garzia.
Programme
Wojciech Kilar Orawa (1986)
Alfred Schnittke Concerto for Piano and String Orchestra (1979)
INTERVAL
Béla Bartók Divertimento for Strings (1939)
I Allegro non troppo
II Molto adagio
II Allegro assai
Albert Garzia Emboldening (2024)
Igor Stravinsky Concerto in D (1946)
I Vivace
II Arioso: Andantino
III Rondo: Allegro
Credits
Malta Philharmonic Orchestra
Michael Laus - pianist and conductor
Programme Notes
Orawa (1986) - Wojciech Kilar
Orawa is one of Wojciech Kilar’s most celebrated works and the culmination of his series of compositions inspired by the folk music and landscapes of the Tatra Mountains in southern Poland. Written for string orchestra, the piece captures the raw vitality and rhythmic drive of Highlander (Góral) folk traditions, blending earthy dance rhythms with a minimalist sense of repetition and gradual transformation. Kilar achieves an exhilarating sense of momentum through short, insistent motifs that build toward a jubilant climax, ending with the players’ spontaneous shout — a gesture that celebrates both the joy of music-making and the spirit of the Orawa region itself. Orawa exemplifies Kilar’s mature style, where folk energy, clarity of form, and emotional immediacy merge into a uniquely Polish expression of modern minimalism.
Concerto for Piano and String Orchestra (1979) - Alfred Schnittke
Written during a period of intense creative conflict, Concerto for Piano and String Orchestra fuses baroque and classical conventions with modernist dissonance and emotional volatility - a hallmark of Schnittke’s “polystylistic” approach. The concerto unfolds in a single, continuous movement, weaving passages of fragile lyricism with moments of violent contrast. The piano shifts roles constantly - now a defiant soloist, now a voice entangled in the strings’ dark textures. Gradually, the music gravitates toward a haunting choral-like theme that seems to reconcile turmoil with transcendence. Beneath its stark contrasts lies a sense of moral and spiritual struggle, characteristic of Schnittke’s late‑Soviet milieu.
Divertimento for Strings (1939) - Béla Bartók
Béla Bartók composed his Divertimento for Strings in 1939 while in exile in Switzerland, shortly before the outbreak of World War II. Commissioned by conductor Paul Sacher, the work was written in just two weeks and became one of Bartók’s final European compositions. The Divertimento revisits the 18th-century tradition of light orchestral music, yet beneath its surface brilliance lies a sense of tension and unease. Its three movements contrast lively rhythmic play and folk-inspired vitality with moments of introspective melancholy. The opening Allegro is buoyant and dance-like, while the central Molto adagio unfolds with deep expressive power, foreshadowing wartime darkness. The finale restores energy through bold counterpoint and dazzling virtuosity. Throughout, Bartók’s distinctive blend of classical form, folk idioms and modern harmonic language creates music both spirited and haunting — a farewell to his homeland and a testament to his resilient creativity.
Emboldening (2024) - Albert Garzia
In this eight-minute narrative, a melodic motif struggles to find its voice. It begins as a remnant—a tiny shard of music cast off by a towering and intimidating introductory theme. What starts as tentative, playful exploration slowly transforms into genuine growth. The work is defined by the friction between this developing motif and the relentless return of the opening’s “bold” tyranny. After a period of retreat, the motif finally emboldens itself to face its oppressor. In the final resolution, the motif earns its independence, yet the music hints at a lingering irony: this hard-won freedom is merely one chapter in a much larger, recurring cycle.
Concerto in D (1946) - Igor Stravinsky
Igor Stravinsky’s Concerto in D for string orchestra (1946), often nicknamed the Basle Concerto, was commissioned by Paul Sacher for the Basle Chamber Orchestra and belongs to the composer’s late neoclassical period. Cast in three concise movements, it revives Baroque concerto grosso energy within a lean, modern idiom. The opening Vivace is brisk and rhythmically incisive, full of sharp accents and playful exchanges between sections. The central Arioso: Andantino offers a more lyrical, introspective contrast, with long-breathed lines and bittersweet harmonies hovering between elegance and tension. The final Rondo: Allegro returns to driving motor rhythms and bright, biting sonorities, bringing the work to a witty, energetic close. Stravinsky’s transparent scoring, clear forms, and cool emotional tone make the Concerto in D both approachable and sophisticated.
Biographies
Michael Laus - Conductor
Michael Laus is the resident conductor of the Malta Philharmonic Orchestra (MPO). He was previously the Principal Conductor for twenty-five years and has led the orchestra in numerous symphonic concerts and opera productions. Laus has guest-conducted prestigious orchestras such as the Bournemouth Symphony, Slovak Philharmonic and New Slovak Radio Symphony Orchestra. He graduated from the Conservatorio Giuseppe Verdi in Milan and participated in masterclasses with George Manahan and Vladimir Delman. Laus has collaborated with renowned soloists like Joseph Calleja and Katia Ricciarelli. He is also Associate Professor in Music Studies at the University of Malta and founder of the Malta Youth Orchestra and Goldberg Ensemble. Laus has recorded works for various labels and appeared on international television channels.
Malta Philharmonic Orchestra, MPO
The Malta Philharmonic Orchestra was founded in 1968 as the Manoel Theatre Orchestra, evolving from the defunct "Commander-in-Chief" orchestra. It became the National Orchestra of Malta in 1997 and expanded into a full-size symphony orchestra as the MPO in 2008. The MPO collaborates with local and international artists, performing over 50 concerts annually, including symphonic concerts and opera productions. It has toured globally, showcasing Maltese composers' works and premiering new compositions. The orchestra also supports the development of young musicians through the MPO Academy and Malta Youth Orchestra. In 2021, its digital program reached over 32 million people worldwide. The MPO is Malta's leading musical ensemble, engaging in community outreach and educational initiatives alongside its performances.
In collaboration with Teatru Malta & Malta Philharmonic Orchestra
