A highly emotive grand finale to the festival

Saturday 9th October was a big day for Gaulitana: A Festival of Music. “GauLive”, the third series in this year’s ‘abnormal’ 14th edition of the festival, was brought to a grand ending by a symphonic concert featuring the Malta Philharmonic Orchestra – who was thus returning to Gozo for the first time since the pandemic struck.

Making the event more glorious and memorable was the fact that this was an all-Beethoven concert, indeed a forcibly belated commemoration of the German master’s 250th birth anniversary, with the overture to “Egmont” and the grandiose Symphony No. 3, “Eroica” on the programme. The festival meant this also a tribute to all who have played their part during the past extremely challenging times – as was also the case with the festival itself. Indeed, as reflected in the both works, triumph finally overcomes over adversity.

Conducted by Gaulitana artistic director, Colin Attard, the concert was held at the Teatru tal-Opra Aurora in Victoria, and the audience was led by H.E. the President of the Republic, Dr George Vella, and Mrs Vella.

This concert was held  with the support of Dr Anton Tabone, the Victoria Local Council and BOV.

(Photo credits: Anthony Grech)

Meanwhile, the online review by Albert G. Storace reads:

STILL WALKING ON AIR: TREMENDOUSLY GOOD AND FITTINGLY SUPERB FINALE
MALTA PHILHARMONIC ORCHESTRA
Leader: MARCELLINE AGIUS
Dir: COLIN ATTARD
AURORA OPERA HOUSE, GOZO
End of the GAU(L)IVE Concert series within the 14th GAULITANA FESTIVAL of MUSIC
The GAULITANA FESTIVAL is supported by:
The GOZO CULTURAL SUPPORT PROGRAMME

That is how I felt after one of the most extraordinary concerts I have been to. Walking on air, drained, no energy left because all of it was spent absorbing the magic of Beethoven at one of the highest peaks of his achievement.
No amount of very well-deserved superlatives could do full justice to the MPO and Colin Attard, who with his customary drive and energy and a strong team of musicians, produced a well-shaped, formidable, clear projection of a work of epic proportions.
Could one be lost on a planet of superlatives? Few of the many present would beg to differ. One did hear many an elated remark, some even suggesting that both Attard and the MPO surpassed themselves. They did, and for the doubters who were not present, I am sorry for their having missed this performance.
Now this concert was dedicated to all those who since March last year have endured loss, sickness, more than one lockdown and all the disruptions the trying period brought in its wake. While it is in the nature if some to despair and lose heart the human spirit is such that resilience, determination and optimism look ahead to better times. Said dedication was to all, who in their different ways stuck it out and look toward a brighter future.
The opening piece of this concert was the overture to the incidental music (op. 83) for a performance of Goethe’s play Egmont. This music was composed some seven years after the Eroica, but, they have much in common. The former is dedicated to a Netherlandish nobleman and hero who gave his life for love of country and fought against oppression. The latter’s dedication is well-known. Beethoven’s opinion regarding oppression and i justice is equally well-known. The overture augured well for the rest of the concert.
After being disappointed with Napoleon, Beethoven rededicated his E flat Major Symphony n. 3 , op. 55 “to a great man”. The clarion calls especially in the symphony’s outer movements are prophetic forerunners of those in the Egmont. A call to arms, to break a lance for freedom to crush arrogance and oppression. This and more was racing in my mind. Even the staid nobility of the funeral march: a daring novelty to put such a tempo indication as second slow moment, looks forward to something beyond the grave and mortality. The briefest of the four movements the Scherzo: allegro vivace moved on in a joyful sweep that was soon to merge with the concluding Allegro molto. An irresistible flow, a surge of hope and the apotheosis of the Great Man.
Beethoven may have left an enigmatic dedication for posterity: that same posterity which before the composer died had already recognised its greatness and dubbed it “Eroica”. I suppose it would not at all be out of place to consider this work as a monument to Beethoven himself, erected here in this performance. After God Almighty this is the only kind of human being worthy of worship.
Thanks to Gaulitana Festival of Music who through thick and thin, through streaming and lately, live performances, have brought light, joy and to many a stressed heart. Thank you ALL musicians and ALL those in any way involved.
The concert was held in the presence of H. E. The President of the Republic and Mrs. George Vella.