All good things come to an end…

Concert
Miriam Cauchi, soprano; Simon Abdilla Joslin, cello; Scott Farrell, organ;
Laudate Pueri Choir (dir. George J. Frendo);
Girls and Men of Rochester Cathedral (dir. Sam Rathbone);
Malta Philharmonic Orchestra (dir. Joseph Vella)
St George’s Basilica

…and so did this year’s edition of the Victoria International Arts Festival with a grand orchestral concert. With close to 30 events spread over a period of almost five weeks, mainly concerts, the festival yet again reached local and foreign music lovers who were regaled to the usual high quality performances by the best local talent and of distinguished foreign participants.

This evening started with Britten’s Simple Symphony, Opus 4, a charming work which had its roots in the precocious young composer’s even earlier works. The string section of the orchestra performed with crisp precision and litheness with each movement living up to its designation: boisterousness and playfulness the latter in the wholly pizzicato second movement.

The sarabande was indeed sentimental without being too gooey and the cello’s introduction to the warmly expansive main theme was absolutely lovely and just as splendidly taken over by the rest of the players. The finale was a charmingly decisive romp. Quite contrasting in nature was Joseph Vella’s own Concertino for cello and orchestra, Opus 77, written years ago for its undoubtedly best exponent, Simon Abdilla Joslin, who performed it with appropriate insight and accomplished familiarity.

The cello exploits its range almost to its limits, often plumbs sombre depths while at other moments it is playful, adventurous and downright melodious. The work moved on, marked by frequent shifts of tempo and varied interplay between soloist and orchestra.

Clearly employing the contemporary idiom Mro Vella does not eschew neo-classic influences and the combination makes for a vibrantly energetic work, rhythmically and harmonically rich, varied and which makes it the attractive work which is always a pleasure to hear.

The combined choirs sang the gorgeously beautiful choral version of Barber’s famous Adagio to the text of the Agnus Dei. The singing was absolutely stunning in the way the composer’s own marvellous arrangement was projected by the singers.

It allows for the very rich and multifaceted production of texture. It ranged from an almost breathless but audible whisper to a number of irresistible strong climaxes. It made it even more mysterious and ethereal as the singers were singing from the basilica choir. They emerged from there to join soprano Miriam Cauchi, ever on such excellently top form, and the orchestra in Mozart’s Laudate Dominum, the concluding section of the Vesperae Solemnes de Confessore, K. 339. The disarming charm and simplicity of the music, its spiritual depth and execution carried all before it.

It was with Mozart that the concert and festival came to an end. The restless and often agitated Symphony No. 40 in G minor, K. 550 had the last word. The orchestra performed with verve, energy and commitment despite the heat generated by this relentless July. One could also say they did despite the tiring regimen the players have been going through lately. It is enough to say that a performance like this in Gozo, because of logistics, means being on the move for something like eight hours before and after the performance. Still, in some places one wished for a little more polish from the horns. Yet, true professionals always deliver despite the odds and all told they did, but we need to take better care of our musicians.