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1. What's been the most defining moment in your music career so far? Growing up in a very musical family has undoubtedly played a major role in shaping my musical journey. From a very young age, I was encouraged to learn and engage with music, and I have always been surrounded by music within the family. I would say that there have been several defining moments rather than one single event. Joining the Malta Youth Orchestra at a young age and later becoming part of the Malta Philharmonic Orchestra were important milestones that helped shape my identity as a musician and provided me with valuable professional experiences. Moving abroad to study was, however, the major turning point, both musically and personally. Being awarded the Ian Tomlin scholarship and studying in Edinburgh, followed by my Masters at the Royal Welsh College of Music & Drama, opened up a completely different world of musical experiences and perspec- tives. Performing internationally, including at venues such as Carnegie Hall, has also been something I treasure greatly. More recently, making my conducting debut in 2023 and gradually becoming more involved in con- ducting, alongside performing on the violin and teaching, has added another dimension to my musical journey. This year marked another important milestone, as I made my conducting debut in Italy, leading an all-Bach programme. More recently, I also conducted a programme consisting mainly of music by Antonio Vivaldi in Venice. 2. As a musician and music professional, how do you navigate the world and speed of social media? Social media has become an important part of the modern world, particularly in terms of visibility and communication with people and audiences. At the same time, I think it is important not to allow it to dictate how we ap- proach our daily lives or our relationship with music. Music requires patience, discipline and long-term development, while social media often encourages the opposite—immediacy and constant content. For musicians, it can be a useful platform to share performances, projects and opportunities, but ultimately, the quality and impact of music are best experi- enced live. Personally, I use social media mainly to share what I am doing musically and to keep people informed about my musical activities. It also serves as a record of some of the important musical commitments and experiences I have had along the way. However, I do not think that everything needs to be shared. 3. Do you consider artificial intelligence a threat to the music industry, or an opportu- nity? I think it can be both, depending on how it is used. AI can certainly provide useful opportu- nities, particularly in areas such as education, accessibility of musical information, organisa- tion, recording and other practical tools that can assist musicians. However, I still think we need to be careful about replacing the human element of music. Music is ultimately about communication, emotion and interpretation. A technically per- fect performance does not necessarily make a meaningful musical experience, and I strongly believe that individuality and expression are fundamental to what makes one musician different from another. Emotion remains extremely important. At the moment, widely accessible AI platforms are still relatively limited when it comes to genuinely understanding the emotional and expressive aspects of music, particularly in composition, interpretation and performance. As for replacing real musicians, especially instrumentalists and string players, I think robots still have quite a long way to go! Technology can certainly assist musicians and open up new possibilities, but I do not think it can replace the personal experiences, emotions and human connection that are at the heart of music-making. 4. How do you stay motivated and musically inspired, especially during tough times or when the creative work feels hard? Life as a musician is certainly not a linear one, and in Malta, opportunities can sometimes be limited. However, I believe that you have to continue to strive, dream and work hard to create your own opportunities. Again, life as a musician is not always straightforward, and periods such as the COVID-19 pandemic can bring further doubts about the sustainability of pursuing such a career. There are periods when things are extremely busy, with several engagements and com- mitments coming together, and other periods when opportunities are limited. What keeps me motivated, however, is the fact that I gen- uinely cannot imagine myself without a direct link to music and the musical world. My relationship with music has also changed over the years. When I was a student, I could practise for five or six hours a day. Nowadays, with other work commitments, teaching, per- forming and everything else that comes with life, time is more restricted. The challenge is to remain proactive, to make the most of the time available and to continue finding ways of de- veloping musically, but above all, to maintain the passion for music. I also think that inspiration comes from many different places, including performing, listening to other musicians, discovering new repertoire, working with young musicians and simply remaining curious about music. 5. How do you balance your musical instincts with the expectations of your audience or collaborators? I think musical instinct and individuality are fundamental parts of being a musician. Every performer brings something different to a piece, and that personal interpretation is what makes live music so interesting. Above all, communication is very important; sometimes even more so than achieving a technically perfect performance. At the same time, instinct and individuality have to exist within an understanding of the music itself. Stylistically informed and historically inspired performance practice can give us valuable insight into a composer's intentions and the way music of a particular period may have been performed. However, I see this knowledge as a guide rather than a limitation. Ultimately, I try to respect the composer and the musical style while still allowing room for my own interpretation and expression. The same applies when working with collabora- tors. Listening, communicating and under- standing each other's musical ideas are es- sential, particularly in chamber music-making. Some concerts involve very limited rehearsal time, so musical instinct, clear communication and an understanding between the musicians become extremely important. Whether I am performing as a player or leading as a conduc- tor, it is about giving the music a clear shape while finding a way to achieve a convincing musical interpretation. When it comes to audience expectations, I also try to create variety in the repertoire. I enjoy including lesser-known works, giving audiences the op- portunity to explore different music, and also presenting works by local composers from time to time. At the same time, it is important to include works that audiences already know and can relate to. Ultimately, I think there should be a balance—something familiar alongside something less popular or new that encourages the audience to discover music, while still keeping them engaged. 6. How do you approach a new musical project? Do you have a specific process or routine you follow when creating or working on music? I am not someone who follows very strict routines. I tend to work and adapt according to what is needed, and, perhaps inevitably, I sometimes find myself chasing deadlines! It depends very much on the nature of the project. Preparing as a soloist is obviously different from preparing for an orchestral performance, chamber concert or conducting project. Often, the first step is choosing the appropriate repertoire for the occasion. From there, the real starting point is understanding the music—the score, the composer, the style and what the music is trying to communicate. I then work on the technical aspects while gradually developing the interpretation and the overall musical direction. Time manage- ment has become increasingly important as well. I also think that preparation is never purely technical. Listening to recordings, studying scores, and learning from other musicians and collaborators are all part of the process. When it comes to composing a new piece, which I do occasionally and mainly for personal enjoyment, the process is somewhat different. Often, the initial idea is already there, and the challenge is to materialise it by writing it down, revising and refining it until it becomes a complete work ready to be performed. 7. Can you let us in on some of your future musical projects or works? My musical work continues to be divided between performing, teaching and other musical projects. I particularly enjoy moving between these different areas and main- taining a healthy balance, while remaining active within the musical world. I do not necessarily plan everything far in advance, and sometimes opportunities arise quite unexpectedly. I perform in a number of concerts locally, and I particularly enjoy the three annual chamber string orchestra concerts, which I organise logistically, select the repertoire for, and perform in both as a violinist and conductor. I am also part of the artistic team of the annual Gaulitana: A Festival Of Music, where I am involved not only musically, but also in the coordination and organisation of the festival. Coming up is another edition of Intermezzo For Strings in October, during the month dedicated to opera in Gozo, followed later in the year by another edition of Strings For Christmas, a concert which has traditionally taken place on Boxing Day in Gozo. These are among the projects I particularly look forward to. Whilst they can be challenging, given the organisational and musical responsibility involved, they also give me the opportunity to conduct and, in selected works, perform as a solo violinist. I am also continuing my work as a violin teacher at the Gozo Visual & Performing Arts School. Teaching certainly comes with its challenges, but working with young students can also be extremely rewarding. maltatoday | SUNDAY • 13 SEPTEMBER 2026 Food The secret ingredient to a good pastizz? Patience ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A PIERRE LOUIS ATTARD 7 questions for... Born into a highly musical family, Pierre Louis Attard has been described as "one of the most promising and accomplished local violinists of his generation". With a busy performing schedule, Attard appears as a soloist both locally and abroad, while also occasionally joining the Malta Philharmonic Orchestra. In recent years, Attard has also ventured into the field of conducting, regularly directing programmes for string orchestra and other ensembles. Attard also plays the viola and currently teaches violin at the Gozo Visual & Performing Arts School Music The fifth edition of the concert A Night at the Palace is successfully staged PAGES 2-3 PAGE 8 MaltaToday is supported by Arts Council Malta