FINAL EVENT

XVth GAULITANA FESTIVAL 2022

FINALE WITH MALTESE MUSIC FOR STRINGS

Soloist: PIERRE-LOUIS ATTARD violin and viola

GAULITANA STRING ORCHESTRA, Leader REGGIE CLEWS

DIRECTOR, COLIN ATTARD

HOTEL KEMPINSKI SAN LAWRENZ, GOZO

Every good thing comes to an end and so was it yesterday evening with a selection of music for strings by various Maltese composers. They ranged from Bormla-born Paolino Vassallo (1856-1923) to Gozo-born Pierre-Louis Attard, (b.1994).

Vassallo’s Andante for strings (ed. Christopher Muscat) had its origin in his String Quartet n.1. It was a fitting introduction to what turned out to be a delightful evening. Vassallo was just about the only Maltese composer of his generation who rather than Italy chose to study in Paris, with, among others the likes of Massenet. The French influence such as melody, charm and finesse were well projected. In some ways this contrasted with the Andante by Paul Nani (1906-86).The fifth and last generation of the popular and distinguished Nani musical dynasty which for more than two centuries dominated the local scene. Not without having its rivals to deal with, but, competition usually breeds higher standards. This Andante, dating from 1963 was calm and relaxed but Nani seems to have been unable to resist adding a touch of the popular and very Italianate ‘festa’ antiphons which were staple fare of his ancestors.

The page and style changed to some music by one of our Islands’ most distinguished composers: the late and much-lamented Joseph Vella (1942-2018). Vella hardly ever used local folk themes in his music but an exception is his Rapsodija Maltija, Op. 26 (d). Pierre-Louis Attard is Vella’s great-nephew and thus is the fourth generation of the Vella-Attard family. Music really runs in this family’s blood and in this case the young violinist is also an adept hand at composition, of which more below. He gave a very polished rendering to the right orchestral backing of this rhapsody. Popular folk themes were easily recognisable against an orchestral working-out in a more contemporary idiom. Joseph Vella was just as adept at using older forms with a contemporary touch. So is his Sarabanda per archi, Op.73 which dates to 1995. The innate staidness and sobriety of a Sarabande were adhered to in Vella’s own idiom.

As Colin Attard was to say in his introduction to the next two pieces, Gozo and the Attards were taking over. This came first in the shape of a work for viola and strings by his younger son Pierre-Louis, also Gaulitana Festival manager. He composed this work in 2014 while studying at Napier University, Edinburgh and set himself a daunting task which he well and truly overcame in his Adagio Espressivo for violin and piano in an arrangement for strings. It is of a very lyrical nature, aptly expressive and technically demanding, a sheer pleasure on the ear. Then Attard pére (b.1962) took over with his own Élegie lyrique (2020) “in memory of my uncle Joseph Vella”. This was Colin Attard’s touching tribute to his maternal uncle, which he composed for viola and strings with son Pierre-Louis performing the solo part on his second instrument. It was a lovely warm piece and revealed another facet of the younger Attard’s talent whom for the first time I was hearing playing the viola. During this work there were frequent exchanges with another viola player, Alexandre Razera doubling the warmth and mellowness of the piece.

Concluding the concert, the string orchestra performed Village Music by Charles Camilleri (1931-2009). It is divided into three movements, the first of which, Allegro with a very well-defined and strongly rhythmic touch. The Lento moderato provided some respite before the concluding Allegro vivace – energico brought the work to an end. Throughout the work not only were some local folk themes both recognisable as well as cleverly hidden, but, there was recourse to a wider Mediterranean spectrum. This was an idée fixe typical of Camilleri.

The real conclusion came with Colin Attard’s thanking the audience for their presence. He thanked the many sponsors without whose help it would have been impossible to hold this festival yet again; (may I add too, completely free of charge). He said that at the beginning of the festival, when at the Aurora Opera House the Malta Philharmonic had [brilliantly] performed Dvořák’s New World Symphony there were rumblings of crisis in a part of Europe. He hoped for a really new world without conflict. Unfortunately this hope was not forthcoming. As a sign of the greatest wish of all, to live peace and living in harmony two national anthems were performed. First Ukraine’s, followed by our own Innu Malti. Ours IS a prayer the last line of which “Seddaq il-għaqda fil-Maltin, u s-sliem” is a prayer for “..strengthening unity among Maltese, and peace”.

N.B. Editor’s Note: Artistic Director Colin Attard also made it a point to thank Mr Storace, for covering most events in this GauLive series and for, almost single-handedly, keeping the reviewing of musical events on through his blog.