Bach’s works bring festival to an end

Recital
Jean-Christophe Sampson, flute;
Sophie Charpentier, harpsichord
Santa Marija chapel, Bir Miftuħ

Like all good things, this year’s Bir Miftuħ International Music Festival came to an end and it did with an evening entirely dedicated to works by Johann Sebastian Bach. An evening of music exclusively drawn from works by Bach is not always easy to digest. It is not just a matter of taste but also one which requires great concentration and a basic ingredient for such an evening to succeed is that performers have to be top-class; and the two young French musicians certainly were.

No better words could describe their performance than stylish and elegant. There was something else to contend with: the heat, because while the chapel has excellent acoustics ventilation in summer presents problems.

No fresh breeze blew this evening. It takes an effort to sit up all ears in such conditions, no matter how good the music is or the good intention of some to pay all the attention such marvellous works should command. On the face of it, a recital like this, with music by the same composer could tempt some to say that it was a bit of the same thing. Easy if one were not mindful of the subtle and sometimes not-so-subtle differences which characterise these works which Bach wrote in the same form for the same instruments. There was variety within the choice of works: flute solo, harpsichord solo and works for the two of them. Even within the three different sonatas for flute and keyboard, the performers brought out these differences with clarity and a fine projection that was very admirable. The keys chosen for the Sonata in E minor BWV 1034, that in G minor, BWV 1020 and in B minor BWV 1030, all basically sonate da chiesa affected the texture and ideal for ambience.

With a mid-19th century wooden transverse flute with silver keys there was a keen touch of the authentic in the sound. The flautist’s playing was limpid, with a beautiful legato and excellent breath control which enabled him to manage difficult runs extremely well.

Yet another difference could be noted in the last duo sonata, which began with a very long and extended andante dominated almost exclusively by the flute. Besides there are some doubts as to how much of this work betrays the additional hand of Carl Philipp Emanuel Bach and it does have some brighter touches to it typical of the younger composer. The rapport with the harpsichordist was much in evidence and her support was crucial to the successful overall execution of the works. Ms Charpentier was to provide added proof of her excellence as a performer when she interpreted the solo Toccata in E minor, BWV 914. Her beauty and ethereal appearance was in total harmony with the harpsichord’s tone, which did not mean that the stronger passages did not reach out in total contrast with the generally more sedate nature of the work. On the other hand, Jean-Christophe Sampson displayed a lot of bravura in the Partita in A minor, BWV 1013, the rapid fingering, breathing technique and feel for the four contrasting dance movements providing a pleasant and har­-monious whole.

As a parting gift to the audience and hard-working organisers of the festival, the two musicians performed an encore, a lullaby by J.S. Bach of course!