Spira Mirabilis takes on Schubert Octet

by Gwen Herat

There is always excitement in the air when a new young violinist takes on a Romantic composer which is exactly what happened at Queen Elizabeth Hall, Southbank Theatre when the ravishingly talented Spira Mirabilis came on stage with the rest. After a round of applause, he settled on his violin while Malcolm Martineau ran off a few notes on the piano. With Shubert's Octet in full swing, rising over a full-house audience and fading off in a whiff, it was a night to remember.

Spira Mirabilis, the young Schubert expert at the Queen Elizabeth Hall, Southbank

With all eyes on the young virtuoso violinist, Spira Mirabilis, Schubert's cycle of songs in symphony unleashed their magic overtures.

The evening was dedicated to Schubert's ravishing romantic music performed by some of the young musicians in Europe. Schubert's Octet remain as one of the best loved and greatest of all chamber music. They were in the company of British soprano, Kate Royal.

This evening a most enduring popular Octet weaves its way into one of the most heart stopping musical narratives.

Schubert, a lone virtuous was thundering and eulogising against a surging, soaring strings combination. Mirabilis gave its composer his symphonic credentials.

The gentle and soft soprano, Kate Royal energised the cycle of songs, elaborating especially on Schubert's An Die Musik.

But it was the pianist Malcolm Martieau who manoeuvred the evening with his brilliant sparkling keyboard wizardry.

Transcendent music

He balanced against the transcendent music of Schubert unimpeded by the physical power therein. His profound interpretation of the Octet was overwhelming in romanticism and was well received. He played with unaffected gusto and a powerful impulse full of exotic harmonies and the irresistible rhythm in all the notes he caressed, was lyrical mastery.

The night belonged to Malcom Martieau.Spira Mirabilis celebrated Schubert on strings gloriously. When he had so many other works of Schubert, why did he have to go for Octet? It drove me up the wall and to top it I am no vocal lover. However, he is a great communicator and may have had his own reasons for Octet. Mirabilis brought his expertise of Schubert in richly coloured interpretations of the Romantic repertoire. No doubt, he is an exciting young violinist with a great future.

Spira Mirabilis with another violinist

Octet in F. D803 Scored in 1824, no doubt, is a marvellous work, the result of a commission entrusted to Schubert to provide companion overture to Beethoven's Septet, built on the scale of a symphony which is airy and light-hearted and tuneful.

Opinion

If someone were to ask me my opinion in this union, I will call both Schubert and Beethoven crazy for the simple reason that Beethoven's Septet in E flat, Op 20 was an unbuttoned score, cheerful, joyous and influenced by Mozart's divertimentos and serenades, scored mainly for the clarinet, bassoon, horn and string quartet whereas Schubert's Octet was mainly for strings and piano.

I cannot unravel the threesome union. Mirabilis let go the situation as he guided Kate Royal over the An Die Musik. He is a formidable violinist with prodigious technique and intellect. He played gleefully with grace making his instrument to speak up. This is the fist time I saw and heard Spira Mirabilis and never will I miss his appearance if I am around Southbank, when in London in mid-winter.

Franz Schubert who rattled me tonight with his Octet was born in Vienna which makes his music utterly romantic and difficult on separate occasions. He was a gifted child who played the piano, organ, violin and viola at ten. A genius the moment he became a member of imperial court chapel choir in Vienna which meant he was granted free education, board and lodging at the Chapel School. One of its teachers, Antonio Salieri told young Schubert that he could do everything though he was a timid, diffident little boy because he was already a genius.

Schubert jump started his spectacular career and there was no looking back. By 1820 he had composed over 500 works, but the audience' response was negative. The death of his idol, Beethoven came as a terrible blow and from this point his only ambition was that he be buried next to him. He was just 31 years old when he died and buried close to Beethoven. 'Here lies rich treasure and still fairer hopes'!