Pawlu Grech, who was born in 1938, evolved into a musician and artist of international recognition, but you would never guess. Before we met, we spoke several times on the phone. He sounded down-to-earth, humble even, and was rather hesitant about being interviewed, preferring to keep a low profile. Eventually I received a call to say that he was willing, and our meeting proved that not only did the man possess all those great qualities, but so much more.
Our interaction was immediately relaxed and friendly, and chatting over an El Grec(h)o espresso coffee (another of his passions), we were often side-tracked to other topics of mutual interest and a spot of story-telling of days gone by.
Grech has an infinitely interesting story of achievement without the arrogance or the ambition. Life has simply dealt him a fair deal – he got what he deserved. It is true that the works of an artist or musician can prove themselves, but getting to know the person behind those works simply adds to their value – because they are simply an extension of the man himself.
An unlikely combination: a musician AND a visual artist. How do music and art each fulfil you in their unique way?
To me they are interdependent, but during the application of one I don’t think about the other. Still, I am the same person, so my expression is simply manifested by a different means. I have even been told that my paintings sometimes evoke a musical movement, and this was said by other musicians so I was quite impressed that they could sense this.
Ultimately, nobody knows why art can satisfy what music doesn’t, and vice versa. Nothing fits in a box; everything is influenced and related. It is something subtle: we know it exists but we do not know what it is. However, surely I could not be complete with one alone.
How did Pawlu Grech evolve from a youth leaving his homeland to study music in Rome in 1953 to conducting the English Chamber Orchestra in 1968?
I just followed that which I felt impelled to follow, or rather, that which I could not refuse! It was almost an urgent need. I studied at the Conservatorio Santa Cecilia of Rome, and spent 10 years in Italy before I moved to London to study conducting at the Royal Academy of Music and at Trinity College.
I looked for and had occasion to meet great people, associate with them and learn from them. That is the best aspect of my destiny – what I wished for materialised. Not only that, but they looked for me in turn! Several people from all artistic fields helped me lose my conditioning and develop myself.
Once I was at an audition in London and Hans Keller, a famous Austrian musicologist, was part of the jury. It was a chance meeting that was to be very fruitful for me. He was involved with BBC London and offered me the opportunity of conducting the English Chamber Orchestra, although I was there for something totally unrelated. BBC London also broadcast several of my own compositions, albeit conducted by somebody else.
I began teaching piano, music theory, history of art, ear training and so on at the Inner London Education Authority (ILEA). Meanwhile, painting was my own personal passion but this too soon flourished in a most unexpected way.
What led you to move from an essentially musical career to exploring the world of visual art and ultimately exhibiting your work around Britain?
I had been painting throughout the time I spent in Italy, where I also studied at the Scuola Galli, and carried on doing so during my stay in London. For some years, I associated with, and learnt music composition from, Hans Keller. On one occasion, in 1985, I was with him and his wife Milan Cosman, who was a great painter, and had with me a collection of paintings I wanted to show Milan for her opinion and critique, and in walked the secretary of the Yehudi Menuhin School at Cobham in Surrey. He was impressed and offered to exhibit my works there. That was my first solo exhibition. I have also subsequently exhibited in Malta.
Prior to that I had participated in some joint exhibitions, but only because my friend had presented my pieces without my knowledge! I was always a little reluctant to expose myself too much, and never looked to exhibit, but I received offers, and those in turn spurred others. In much the same way, I have been included in Who’s Who International from about 1997 onwards, and this led to even more invitations. This year I will again exhibit at the 2e Salon Internazionale des Petit Formats which will be hosted by Christiane Peugeot in November and December in Paris.
The latest surprise, last September, was an invitation to participate in the Biennale Internazionale Dell’Arte Contemporanea in Florence, to be held in December 2007. I am not sure whether to attend, as I don’t like travelling very much, but I must admit that the joyfully unexpected in life is the most fulfilling!
What was your greatest artistic achievement?
The Ordine Academica Internazionale Greci-Marino, which keeps a library of information about artists, comedians, scientists and writers, wrote me a letter saying: “We have been following your career for many years… we would like to offer you a title… will you accept it?” They choose as they deem appropriate, and there is no fee involved. It is therefore rather prestigious and a legally recognised title. Therefore I received my title as Chevalier Académique in the Department of Arts in February 2002.
When and why did you make the conscious decision to retreat from the public eye and the cultural social scene?
In the 1960s I began to observe the changing world, but by the 1980s I had had enough of the present. The world of art and music was in a mess. After 21 years of living in London, in the English climate, I was ready to return to Malta in semi-retirement. I wanted to live in a less active environment, where by comparison London offered 10 or so events a week! I wanted to cut myself off and reflect. I also began to take a real interest in young people, wishing to impart what I knew.
Did you visit Malta during the 31 years you lived abroad, and what were your impressions of the island when you returned to settle?
In 31 years, I visited Malta just four times on holiday! My parents would visit me so I didn’t need to come more often. I have seen some obvious changes in Malta since I left, like people are better-dressed and have more money. However I can also see that some things have not changed very much, for example political and catholic sectarianism is still very prominent, although there are also many individuals who are broadening their views to accommodate other
perspectives.
What are you doing at the moment and what are your future plans?
I do not compose or paint as much any more. We live in terrible chaos and whereas before I would have said: “Compose as much as you can; paint as much as you can”, I am now saying: “Compose and paint less, and observe and reflect more.” There is too much superficiality and pretension surfacing in the world of creative activity – people and their work are less
profound. I would like to encourage people to look more within themselves rather than confine themselves to text-book techniques. That is why I willingly agree to give consultations with regard to art and music.
What was the most fulfilling moment in your diverse and colourful life?
At any time, a most fulfilling moment for me is divided into three parts: a) a pasta dish; b) a very good bottle of wine like Barolo or Brolo and c) a good night’s sleep!
Is there anything you would have changed?
I do not think about what has happened in my life, and I look forward to the unexpected – hoping is beautiful!
* * *
While Pawlu Grech chooses not to dwell too much on his past, several people throughout Europe are celebrating his achievements. Art critic and historian Emmanuel Fiorentino has contributed to documenting the lives and works of a number of well-known Maltese artists, including Giuseppe Calì (1846-1930), Willie Apap (1918-1970) and others. Now, with the book Pawlu Grech – The Visual Artist, we can appreciate a biographical and critical essay he has completed about a Maltese artist during the artist’s lifetime.
The beautifully presented book, published by Amanda Tabone, gives a brief overview of Pawlu Grech’s life, from his early life in Malta, his musical beginnings in Rome and continued excellence in London, to his return to the land of his birth. Most of all, it aims to bring out an aspect of the man that remains lesser known by comparison, that of a visual artist. Not only are his artistic achievements detailed, but Emmanuel Fiorentino goes further by giving his critique of Grech’s works, from the early days to the present. Numerous illustrations take the reader through a journey of colour,while time is standing still.
It is not necessary to be a musical or art expert in order to appreciate the contents of the book, and most of all to appreciate the person behind the works. Pawlu Grech is another name that will be remembered as one of Malta’s greatest people, in the fields of both artistic and musical talent.
To obtain a copy of the book, contact BDL (Book Distributors Ltd) at info@bdlmalta.com or tel. 2138-0351 or contact the artist directly on info@pawlugrech.com or 2141-7180.
Alternatively, it can be purchased online from Aplus Trading on ww.maltaproducts.com or by email info@maltaproducts.com
More paintings by the artist may also be viewed on www.pawlugrech.com
