A glimpse into the creativity of an endearing personality - <i>review</i>
Gaulitanus Choir and Orchestra, Metropolitan Cathedral
For those of us who were so dedicatedly and painstakingly taught the principles of harmony by the late Carmelo Pace, the concert held on Tuesday, June 24 assumed a special significance but primarily it provided an insight into the creativity of this humble man who so unassumingly made a valid mark on Maltese 20th century music, leaving our musical heritage all the richer for it.
Mro Pace expressed himself musically in a wide variety of compositions, the scores of which are to be found in the Music Archives of the Mdina Cathedral Museum, with the exception of his four operas which are kept at the Manoel Theatre in Valletta. The concert at Mdina offered a selection of four pieces which provided a glimpse into the creativity of this endearing personality who overflowed with inspiration.
The Gaulitanus Choir and Orchestra, under the direction of Colin Attard, performed throughout the concert which started with Ruth (1979), a one-act biblical ballet in six scenes, scored for chamber orchestra. The work was characterised by spurts of very melodious writing largely imbued with an oriental flavour, based on the story of the loyalty of Ruth to her mother-in-law Noemi. Such was the diversity of the concepts of melody that at times it sounded like Mendelssohn, Grieg and Dvorak all rolled into one. As in the rest of the programme, the orchestral contribution was very valid, with some excellent work on the strings and their effective interaction with other solo instruments.
A completely contrasting work in contemporary idiom followed in It-Triq (1974), a cantata for soprano (Rita Dimech) and chamber orchestra with some very demanding but well-executed work for the singer. A very early work of Mro Pace's Meditazione, dating back to 1929 composed in a reflective religious mood in purely Romantic style, was again characterised by some very melodious writing for the strings.
The concert finished on a grand note, with Mro Pace's Easter cantata The Eternal Triumph (1966), scored for soloists (soprano Rita Dimech, tenor Joseph Calleja, baritone Joseph Buttigieg, soprano Margaret Plant, alto Stephanie Buttigieg and narrator Rob Ricards), choir and orchestra. Based on some episodes of and reflections on Christ's Resurrection, the cantata is perhaps the most accessible of Mro Pace's choral works.
The performers gave a good account of themselves, with some excellent fugal work on the part of the choristers, impressively accompanied by full orchestra and ending with an assertive clashing of cymbals.
Mro Pace expressed himself musically in a wide variety of compositions, the scores of which are to be found in the Music Archives of the Mdina Cathedral Museum, with the exception of his four operas which are kept at the Manoel Theatre in Valletta. The concert at Mdina offered a selection of four pieces which provided a glimpse into the creativity of this endearing personality who overflowed with inspiration.
The Gaulitanus Choir and Orchestra, under the direction of Colin Attard, performed throughout the concert which started with Ruth (1979), a one-act biblical ballet in six scenes, scored for chamber orchestra. The work was characterised by spurts of very melodious writing largely imbued with an oriental flavour, based on the story of the loyalty of Ruth to her mother-in-law Noemi. Such was the diversity of the concepts of melody that at times it sounded like Mendelssohn, Grieg and Dvorak all rolled into one. As in the rest of the programme, the orchestral contribution was very valid, with some excellent work on the strings and their effective interaction with other solo instruments.
A completely contrasting work in contemporary idiom followed in It-Triq (1974), a cantata for soprano (Rita Dimech) and chamber orchestra with some very demanding but well-executed work for the singer. A very early work of Mro Pace's Meditazione, dating back to 1929 composed in a reflective religious mood in purely Romantic style, was again characterised by some very melodious writing for the strings.
The concert finished on a grand note, with Mro Pace's Easter cantata The Eternal Triumph (1966), scored for soloists (soprano Rita Dimech, tenor Joseph Calleja, baritone Joseph Buttigieg, soprano Margaret Plant, alto Stephanie Buttigieg and narrator Rob Ricards), choir and orchestra. Based on some episodes of and reflections on Christ's Resurrection, the cantata is perhaps the most accessible of Mro Pace's choral works.
The performers gave a good account of themselves, with some excellent fugal work on the part of the choristers, impressively accompanied by full orchestra and ending with an assertive clashing of cymbals.