An enjoyable interlude

Stars of the heavenly type must have been thrilled listening to the music played by the stars (of the homo sapiens kind) of the Malta Philharmonic Orchestra (MPO) at Girgenti.

The repertoire, which was very easy on the ear, was challenging enough to make it interesting, and director Brian Schembri had the whole orchestra under his control, with the musicians responding well to his meticulous and detailed direction.

The concert began with the overture Ruslan and Ludmilla by Glinka. Prestissimo was the name of the game and the orchestra delivered a very exciting interpretation. This overture can be divided in two parts: the first driving, rhythmic and very vigorous; the second more lyrical, more sentimental. Something of a virtuoso showpiece, it allows the conductor to put musicians to the test and was very well-appreciated by the audience.

The second work was even more popular than Glinka’s: the overture from Rossini’s opera William Tell, which I consider to be a short symphonic poem in miniature. Consisting of four connected sections, it starts with a charming pastoral melody (did I detect some very brief uneasiness in the usually very reliable cellos?). This was followed by ‘the storm’, whipped up by the strings and interrupted by short interventions of the woodwinds.

This very intense and furious section is quite short – in fact, it is soon over, birds return and we hear a cowherd’s tune played by the cor anglaise. All of a sudden, a trumpet call interrupts the tranquil mood, and the famous gallop comes to the fore, swirling the overture to a fitting conclusion.

It is very evident that Rossini took unusual care with his orchestration and Schembri and his orchestra did it full justice with a heartfelt rendition.

Bizet’s music is very potent. His musical language, coupled with his masterly use of the orchestra and his colourful harmonic picture give an air of freshness to his works which continue to fascinate. It was Bizet himself, together with his friend Guiraud, who selected the pieces for the suites carved out of his incidental music to L’Arlesienne.

At Girgenti, the MPO presented the second suite, which comprised Pastorale, Intermezzo, Menuet and Farandole. The wind instruments introduced the first part, followed by the strings. Next came the beautiful Menuet, with solos by the harp, flute and the saxophone (why wasn’t this instrument listed together with all the others?). The clarinet also featured prominently. The Farandole, with its ever-increasing pace, brought the suite to an exciting end.

The Maltese orchestra, led by Nadia Debono, rose to the occasion as the four movements of the suite were expanded and well-interpreted. Special mention should also go to the French horn, not ignoring the clarinet, whose input in the last work on the programme (the Spartacus Ballet Suite) was also very effective. The movements that make up the suite provided contrasting feelings and emotions represented by different rhythms and tempi played by various instruments.

Khatchaturian’s music is full of pathos, emotions and sentiments. He understood human beings, their emotions and their foibles (even though he had to follow his Soviet overlords’ musical dictum).

For example, the Dance of the Roman Courtesan is haughty and arrogant, symbolising the moral depravity of the Roman Empire, while the General Dance represents the ordinary citizen, more interested in diversions prepared by their rulers than in what was actually happening around them.

These two dances contrast immensely with the iron-willed character of Spartacus (marked by the no-nonsense music in The Entrance of Spartacus).

The Quarrel and Dance of the Pirates gave ample opportunity to the brass to show its prowess, while the Adagio of Spartacus and Phrygia, the best-known part of the work (really the heart of the whole ballet), was very sentimental, passionate and utterly delicious. This movement contrasted immensely with the previous ones, with The Triumphal March bringing the work to a very lively finale.

Although, officially, Spartacus was the last work on the programme, the audience was treated to two encores: Shostakovich’s lusty Waltz and Khachaturian’s own Sabre Dance.

A delightful evening, with the beauty of the music not entirely marred by swarms of insects, barking dogs and the ever-present fireworks of a local feast.