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1. What's been the most defining moment in your career so far? There have been several of these moments, but there are some that stand out, although I am only 20 years old. The moment that I sat down on the stool to perform Villa Lobos' Guitar Concerto with the orchestra at the Manoel Theatre is one of the most memorable. This performance was the result of winning the first prize in the Classical Category of the Concerto Competition 2024, which was open to all types of instruments. This work is one of the most complex guitar concertos ever written, and it had never been performed in Malta up to that date. I also performed with internationally highly acclaimed operatic singers in different operas, in occasions accompanied by the Malta Philharmonic Orchestra. Apart from Classical music, my exploration of other types of music, such as Flamenco, is also another defining characteristic of my career. The Flamenco guitar requires a complex technique for both hands. Apart from being a soloist, the flamenco guitar is also used to assist the cante (singing) and the baile (dancing), which are treated in different ways, in which I am profoundly involved. Another notable aspect of my career is my ongoing research into the development of the guitar in Maltese traditional music. 2. As a creative, how do you navigate the world and speed of social media? Social media has surely made life easier by helping people stay connected and giving artists and creators a powerful platform to share their work, reaching audiences around the world. As a musician, I see it as an important tool rather than just a platform for enter- tainment. It allows me to advertise my work, connect with people in the industry, and reach a much wider audience than would otherwise be possible. This often leads to collaborations and opportunities that might not have arisen otherwise. Through social media, I can keep up with what is happening in the arts scene both locally and internationally, discover new ideas and trends, and access a wealth of information that supports my practice. Moreover, platforms can serve as a record of one's artistic journey, making it easy to revisit past performances, projects, and ideas. Whereas in the past, resources and materials were often scarce and difficult to obtain, today we have an abun- dance of information literally at our fingertips. This accessibility is a tremendous advantage, but it also requires discernment. Not everything we encounter online deserves equal attention, so it is important to engage with social media mindfully and critically. 3. Do you consider artificial intelligence a threat to your career, or an opportunity? I consider artificial intelligence to be more of an opportunity than a threat. AI can be a valuable support in certain types of research, since musical research can take many forms, most of which AI cannot meaningfully replace or fully support, such as the in-depth study of scores, interpretative decisions, and analysis of live performances. However, when it comes to exploring different styles, composers, works, or historical contexts, AI can be a very useful starting point. Personally, I have used it to discover new repertoire and composers that I was previously unaware of. Works by contem- porary composers are not always immediately accessible or widely known, as it naturally takes time for music to gain broader recognition and establish its place. I tend to use AI as an initial point of reference, not a definitive source. I have encountered instances of inaccuracies in its responses, which is understandable, so I always verify the information through reliable sources to ensure its accuracy. Personally, I do not believe artificial intelligence can reproduce the fundamental nature of music, since music is, at its core, an art form that expresses the human inner self through sound and is shaped by each individual's personality, beliefs, and lived experiences. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? One of the main ways I stay motivated is by maintaining a daily timetable and setting clear goals. Knowing in advance what I will be work- ing on the following day helps me wake up with a sense of direction and purpose. During prac- tice, I divide my sessions into different sections that address various aspects of my studies, as it is very easy to lose focus and waste time. Mindful and structured practice is therefore essential. Setting and preparing for different projects and performances is another key source of motivation for me. I am constantly thinking about new ideas, collaborations, and artistic ventures, which keeps music fresh and allows each project to offer something unique My artistic career extends beyond performance, as composition also forms a major part of my work. Thinking about new pieces and musical ideas is a constant source of inspiration. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? As a performer, I always try to find a balance between presenting well-known works and in- troducing audiences to less familiar repertoire. Ultimately, this depends on the audience and their level of familiarity with music, but I be- lieve it is important to cater to different listeners and create programmes that speak to both experienced concertgoers and newcomers alike. When designing a programme, I usually combine works that audiences are likely to recognise with pieces that may be entirely new to them. I am constantly drawn to different sounds, styles, and musical languages, and I find it rewarding to present this variety in per- formance. In my experience, listeners are often very interested in unfamiliar music when it is thoughtfully presented alongside more familiar repertoire. Such variety introduces audiences to different sounds and styles and creates a well-rounded musical experience. While it is important to take into account the expectations of audiences and collaborators, I also believe it is essential to preserve one's own artistic identity. Simply following expectations without bringing something personal to the stage risks creating performances that are predictable and lack individuality. Collaboration, likewise, requires a balance between individuality and respect towards collaborators. 6. How do you approach a new project? Do you have a specific process or routine you follow? I do not follow a fixed process when approach- ing a new project, as my work covers different genres and settings, each requiring a different approach. However, some aspects always remain the same. The first step is becoming familiar with the repertoire and fully internalis- ing the music. If I am working on a piece for the first time, I take time to understand its harmony, structure, and technical demands. Likewise, if I am studying a composer whose music, I am not well familiar with, I read about their life and listen to or study other works to become more aware of their style. One aspect that I apply to all genres is aiming to understand why a com- poser made certain musical decisions. I also listen to different interpretations by various art- ists and take inspiration from ideas that appeal to me while still maintaining my own artistic identity. As a guitarist, I pay particular attention to tone colour and fingering choices. I spend time experimenting with these colours and nuances, as I believe these details can elevate a performance. Even simple works can reveal a great deal when treated with care and atten- tion. When composing, I first aim to understand the purpose and requirements of the project before deciding on the most suitable musical ideas and compositional approaches. I do not see performers simply as people who perform the score. I try to write music that brings out their strengths and allows them to express their own artistic voice. 7. Can you let us in on some of the future projects, works? Currently, I am involved in several projects, both as a performer and as a composer. One of the major works I am currently composing is a concerto for classical guitar and orchestra, an idea that I have wanted to explore for quite some time. It is a challenging task, as one has to think not only about the guitar, which is my main instrument, but also about how it interacts with the orchestra. I am particularly interested in experimenting with ways in which the guitar and orchestra can work together effectively, rather than treating the orchestra purely as an accompaniment. Since the guitar is often associated with solo performance and its sound can easily be overshadowed, writing effectively for guitar and orchestra requires careful handling. Alongside this project, I am composing other works for guitar and various chamber settings for upcoming performances and collaborations. Another aspect of my work that remains very important to me is the pres- ervation and extension of Maltese music. Over the years, I have composed a number of works for classical guitar based on Maltese melodies, developing them into pieces for solo guitar that I frequently include in my concert programmes. maltatoday | SUNDAY • 28 JUNE 2026 Books Connecting to history through fiction ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A KAROL AQUILINA 7 questions for... Extra round What does music mean to you on a per- sonal level? Is it a form of expression, therapy, or something else? Music means a great deal to me on many different levels. Above all, it is a form of self- expression. I find that communicat- ing through my instrument allows me to express thoughts and emotions that words alone cannot fully explain or con- vey. It is also something that I feel a daily need for. Music is constantly present in my life; I am always listening, thinking, practising, composing, or reflecting on it in one way or another. Music is also a source of connection. It has created a strong bond between my father and me, as we are both guitarists and musicians and regularly perform together. Karol Aquilina is a Maltese concert guitarist specialising in both classical and flamenco music and a third-generation musician from a family with a strong musical tradition. Active as a soloist, chamber musician, and composer, he regularly collaborates with a wide range of artists and ensembles in various musical settings. Currently, he is pursuing a Bachelor of Music (Honours) degree at the University of Malta while continuing to undertake numerous concerts and creative projects locally and internationally Books Malta Book Festival to feature crime writer Ian Rankin as special guest PAGES 2-3 PAGE 8 MaltaToday is supported by Arts Council Malta