Ipsilon Musica (Portugal)

One of the most important elements for the assessment of contemporary music, or any kind of music for that matter, is the quality of its interpretation. The two recently composed Concerti for violin by composer Karl Fiorini, born in Malta in 1979, trained in London and based in Paris, are subject to interpretation at the highest level by the Portuguese violinist Emanuel Salvador, to whom the Concerto for violin and chamber orchestra (2007) is dedicated, and the Polish soloist Marta Lelek in the Concerto No. 2 (2012).

Fiorini ‘s writing is rooted in expressionism and finds points of contact with composers such as Bartók and Lutoslawski . It is extremely lyrical and intense, very effective for instrumental soloists, linearly and polyphonically well constructed. His greatest achievement is perhaps how to finely balance very expressive melodies with bold, complex atmospheres. There will be those who identify his music with conservative currents but Fiorini is a voice to be reckoned with in the international arena. In both concertos the solo instrument has a musical score playing in a personality in contrast with the orchestra. It is similar to the concertante principle which was manifested in the opposition between the lyricism of the violin and the magnitude, sometimes overwhelming, of the orchestra. In the Chamber Concerto, a work in five movements, there is an extremely fine complicity in the relative timbres between soloist and orchestra. Emanuel Salvador, trained in the Guildhall and the Royal College of London and concertmaster of Orquestra do Norte, has absolute control, and his stirring voice is a revelation on the CD. In Concerto No. 2, a work with a more dense orchestral fabric, Marta Lelek also demonstrates a flowing tone with equal authority. **** (4 stars=“Very good”)

—Rui Pereira, translation by Stephen Sutton