Baroque Conversations

              Brandenburg Concerto No 5 ...& other works

The majestic place that is Verdala Palace, built in 1586 by the architect Gerolamo Cassar – with its third floor added during the magistracy of Grand Master António Manuel de Vilhena (1722-1736) – will be the setting for our celebration of the magnificence of the Baroque era, culminating in Johann Sebastian Bach’s Brandenburg Concerto No 5 in D major, BWV 1050, with its intricate, interweaving lines of conversation between both the soloists themselves, as well as the concertino – soloists from the Valletta International Baroque Ensemble, led by Sarah Spiteri as solo violin, Laura Cioffi on flute, Michael Laus taking centre stage with the harpsichord, and Jacob Portelli on continuo – and the ripieno. Much-loved leader of the Malta Philharmonic Orchestra, Marcelline Agius, will be leading the second violins.  The manuscript for the full set of concertos, listed then as “six concertos for several instruments” was completed in 1721, which aligns this perfectly with the venue.  The rest of this programme will be full of surprises and different combinations of instruments to create an evening full of musical interplay.  This will be followed by a “wine and conversation” evening with all the artists, as well as the audience!

Johann Sebastian Bach                             Orchestral Suite No 2 in B minor BWV 1067

I.                        Overture

II.                      Rondeau

III.                    Sarabande

IV.                  Bourrée I & II

V.                     Polonaise

VI.                  Minuet

VII.                Badinerie

Heinrich Ignaz Franz von Biber             Battalia à 10

I.                        Sonata 

II.                      Die liederliche Gesellschaft von allerley Humor (The dissolute society of all sorts of humor)

III.                    Presto

IV.                  Der Mars (The March)

V.                     Presto 

VI.                  Aria 

VII.                Die Schlacht (The Battle )

VIII.              Lamento der Verwundten Musketirer (The Lament of the Wounded)

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Johann Sebastian Bach                             Brandenburg Concerto No 5 in D major, BWV 1050

I.                        Allegro

II.                      Affettuoso

III.                    Allegro

Antonio Vivaldi                                                Concerto for strings in D major RV 121

I.                        Allegro molto

II.                      Adagio

III.                    Presto

Dating from Bach’s final years in Leipzig, BWV 1067 opens with a grand French-style overture – not dissimilar to the structural style of Jean-Baptiste Lully in his operas and ballets – with its stately opening full of gravitas, followed by a fugal allegro.  The work can be dated quite precisely to 1738-39, using handwriting and the paper used for the parts.  No original orchestral score survives.  The use of the flute in the instrumentation allows Bach to highlight this, in almost concertante style.  The suite continues with a series of French dances, fashionable at the time of Louis XIV in his court, closing with the famous Badinerie, again with the sprightly flute taking centre stage.

Bravado and lyricism. Sarcasm and poignancy.  Some musicologists claim that the work is a reflection (years on) of the Thirty Years War and its impact on a young Biber. A hugely unusual work by of the greatest violin virtuosos of the time,  Battalia à 10 was composed in 1673, yet its compositional techniques are of way beyond the time, including polytonality, striking the bow on the instrument, and passing paper through strings.  Sounds imitate gunshots and canon fire, troop drunkenness is portrayed through different countries’ folk tunes played together in various keys and time-signatures, with a chaotic racket as a result – almost as if a number of tracks were being played simultaneously by accident, the use of concitato style evokes agitation.  Its dedication to Bacchus – the god of wine – adds to the notion of the absurdity of war. One thing is for sure – you shall not forget this Biber!

To His Royal Highness Christian Ludwig, Margrave of Brandenburg, etc., etc., etc.  Sire:  Since I had the happiness of playing at the command of Your Royal Highness a few years ago, and I saw that you took some pleasure in the small talents for music that Heaven has given me, and that, in taking leave of Your Royal Highness, you did me the honour of asking that I send you several of my compositions: therefore, following your gracious command, I take the liberty of offering my most humble respects to Your Royal Highness with the present concertos, which I have arranged for several instruments… [Dedication by Johann Sebastian Bach to the Margrave of Brandenburg, Six concertos with several instruments, March 24, 1721]

The birth of the harpsichord concerto.  The instrument was previously known mostly for its accompanying qualities – a realisation of the basso continuo with full harmonic spread on the keyboard.  Not only is the harpsichord one of the concertante – it becomes the dominant soloist in this concerto, playfully, and, in the second movement, lyrically, conversing with the flute and violin, making sure it is taking absolute centre stage, particularly in its ‘senza stromenti’ section – a rhapsodic, virtuosic cadenza in everything but name, indicating that perhaps this was first performed by Bach himself? – a genius at the keyboard – possibly on a newly-acquired instrument from Berlin. More counterpoint ensues as the full instrumental forces join the conversation in sections, in a jubilant, although complex dancelike movement.  The Brandenburg Concertos are the crowning glory of the Baroque Concerto.

It has become one of The Three Palaces Festival’s missions to nurture our younger talented musicians. Therefore, the musicians from the Valletta International Baroque Ensemble have worked with younger artists for this project.  Apart from this being central to what we want to achieve with the festival, it is sure to guarantee extra effervescence and enthusiasm in the coming together of our most established and loved musicians on the island together with the up-and-coming exciting younger artists.  I am immensely grateful to Sarah Spiteri for always being willing to be my partner-in-crime on these projects, with commitment – but also bringing extra verve!

We conclude this evening with an energetic, joyful Vivaldi concerto, before going downstairs for more conversation over wine, where the musicians will be joining us. Orchestra Violin Sarah Spiteri, Stefano Gullo, Sonia Mallia, Marcelline Agius, Orietta Beaumer, Carol Ciantar

Viola Matthew Fenech, Joseph Mallia, Elena Muscat

Cello Akos Kertesz, Matthias Conrad

Double Bass Michelle Agius

Harpsichord Michael Laus

Flute

Laura Cioffi Artist profile ViBE The Valletta Baroque Ensemble (ViBE) was founded in December 2012, following a casual conversation among friends who recognized the absence of a specialist group dedicated to Malta’s rich baroque repertoire. Its debut concert, featuring Dame Emma Kirkby, marked the start of a journey committed to historically informed performances on original instruments, exploring music from the Renaissance to the early Baroque.

The ensemble’s name, ViBE, reflects both its energy and mission: uniting established and emerging musicians to bring early music to life. As the resident ensemble of the Valletta Baroque Festival, ViBE has performed some of the genre’s most iconic large-scale works, including Händel’s Water Music, Music for the Royal Fireworks, and Messiah, Monteverdi’s Vespro della Beata Vergine, Biber’s Requiem, Bach’s St John’s Passion, and Stradella’s San Giovanni Battista.

Beyond the festival, ViBE presents standalone concerts and participates in seasonal events, with a strong focus on Maltese composers such as Girolamo Abos, Giuseppe Balzano, and Mikiel Anġ Vella, often drawing from the archives of Mdina Cathedral. The ensemble has also championed Maltese baroque music abroad, notably on its 2017 European tour in Madrid, Berlin, and Paris, and at Belgium’s Intra Muros Festival in 2022.

ViBE frequently collaborates with international early music specialists, including Steven Devine, Catherine Martin, Mahan Esfahani, Stefano Molardi, and Christian Curnyn. Its ongoing partnership with KorMalta, Malta’s National Choir, has resulted in acclaimed performances of major choral works and innovative joint projects, reinforcing ViBE’s role as a cornerstone of Malta’s baroque music scene. Sarah Spiteri Sarah began her musical studies in Malta, obtaining a Licentiate from Trinity College London, before continuing training in Lyon, Siena, and the UK with renowned musicians. She holds advanced degrees in both music and education, including an MSc in Profound and Complex Learning Difficulties from the University of Manchester, and PGCert in Sound of Intent from the University of Roehampton.

An accomplished violinist and violist, Sarah has recorded extensively, featuring works by Charles Camilleri, Nicolò Isuard and P. P. Bugeja. In 2004, she founded the ProMuzika Ensemble, touring in Germany, Finland, Prague, Tunisia, the UK and Italy. Her chamber music collaborations remain an important part of her artistic life, performing a wide-ranging repertoire across varied ensembles.

Sarah has played a pioneering role in music education and cultural development in Malta. She developed the Malta Philharmonic Orchestra’s Education Programme, was music consultant for the Manoel Theatre’s educational arm Toi Toi, and in 2011 served as the first Artistic Director of the Ziguzajg Kids and Youth Arts Festival, now a cornerstone of Malta’s cultural calendar.

Sarah is currently Director of the Valletta Baroque Ensemble (ViBE), resident ensemble of the Valletta International Baroque Festival. ViBE has established itself as a dynamic ensemble dedicated to historically informed performance, with a particular focus on reviving Malta’s baroque heritage alongside the wider European repertoire. Together with ViBE musicians, Sarah has brought this repertoire to international audiences, strengthening Malta’s presence in the early music scene.

Laura Cioffi Maltese born, Glasgow-based flautist Laura Cioffi has performed all over the UK, from the back of a trailer van in the Highlands to the 02 arena in London. She started her studies at the Malta School of Music with Silvio and Ramona Zammit, before continuing at Edinburgh Napier University with Andrea Kuypers and Trinity Laban with Anna Noakes and Chris Green.

She performs for the Scottish Chamber Orchestra, Scottish Opera, London City Philharmonic, London Gay Symphony Orchestra, Malta Philharmonic Orchestra, VIBE as well as the Improvisers' Orchestras in Glasgow and London. She has appeared as concerto soloist with the Towpath Camerata, and behind famous names like Andrea Bocelli, Bryn Terfel, Hans Zimmer and Billie Eilish. Her practice portfolio includes historically-informed performance on Baroque flute, orchestral and recording work (available on Spotify and Bandcamp), solo recitals, and contemporary and improvisation work with a particular emphasis on creative collaboration.

Laura balances her performing work with teaching at Dollar Academy, Sistema Scotland, and at her old alma mater, Edinburgh Napier University. Outside of music, Laura will take recommendations for audiobooks (to listen to on long journeys) and coffee shops (to fuel said long journeys).

Michael Laus Michael Laus graduated in piano, harpsichord and composition at the Conservatorio Giuseppe Verdi of Milan in 1982. He later participated in master classes in conducting given by George Manahan in the United States and Vladimir Delman in Bologna. As Principal Conductor of the Malta’s Philharmonic Orchestra, he has conducted symphonic concerts in Malta, Brussels, Rome and Bologna. He was the founder and first music director of the Malta Youth Orchestra and of the Goldberg Ensemble. In 2016, he conducted the first European performance of Arvo Pärt’s Greater Antiphons. He opened the first edition of the Valletta International Baroque Festival with Vivaldi’s Quattro Stagioni and performed in the first cycle in Malta of Beethoven’s 32 piano sonatas. Michael Laus has conducted the Bournemouth Symphony, the Slovak Philharmonic, the New Slovak Radio Symphony Orchestra and the Orquesta Sinfonica de Asturias. He has directed several operatic productions at the Berne State Theatre and in Oviedo, including Adriana Lecouvreur, Otello, Madama Butterfly and L’amico Fritz. He regularly appears in the double role of pianist/harpsichordist and conductor in a concerto repertoire ranging from baroque to twentieth-century works. In this double role, he has won international critical acclaim for his recording of Cyril Scott’s Harpsichord Concerto. He has recorded for Discover International, Unicorn-Khanchana, Cameo Classics and Naxos. He is Associate Professor in Music Studies at the University of Malta.

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