The final concert of the International Spring Orchestra Festival was given by the Malta Philharmonic Orchestra under the direction of Roberto Beltran-Zavala.
Two contrasting works were presented at the concert.
The opening work was the premiere of Symphony No 1 by the festival’s artistic director Karl Fiorini. The symphony consisted of seven continuous movements of contrasting moods and musical textures.
The first movement, agitato, begins with an agitated theme on the violins, giving a feeling of restlessness and, as the movement progresses, an atmosphere of increasing foreboding.
This is abruptly brought to an end with a long note from the brass and then a rising figure, which leads into the second movement, the Lento.
This movement contained long, flowing lines from the woodwinds and brass accompanied by the strings playing harmonics, generating a somewhat eerie effect.
The third, Presto Leggerissimo, commencing with a playful mood between the strings and woodwinds eventually leads into a more menacing atmosphere, brought again to an abrupt end by a note on the brass leading to a molto lento.
This movement is dominated by a theme played on the oboe producing a serene atmosphere.
The fifth movement, secco, starts with playful themes with the strings played pizzicato but moving towards a tense atmosphere. A rapid, rising figure on the flute leads into the lively, finale.
This returns to the agitated themes of the first movement but moves to a more joyous, playful mood which brings the symphony to a satisfactory conclusion.
The audience gave a raptur-ous appreciation both to the orchestra and the composer.
Following the interval, the Malta Philharmonic Orchestra performed a wonderful Rimsky Korsakov: Scheherazade Symphonic Suite Op.35. Rimsky Korsakov gave thematic headings, based upon the tales from The Arabian Nights.
The theme is based on the fact that the Sultan Schariar, convinced that all women are false and faithless, vowed to put to death each of his wives after the first nuptial night.
The premiere of Symphony No 1 by the festival’s artistic director Karl Fiorini, consisted of seven continuous movements of contrasting moods and musical textures
But the Sultana Scheherazade saved her life by entertaining her lord with fascinating tales.
The Sultan, consumed with curiosity, postponed from day to day the execution of his wife, and finally winning over the heart of the Sultan, allowing her to at last gain a peaceful night’s sleep.
The work represents four episodes, starting with The Sea and Sinbad’s Ship: The bass motif that opens the first movement represents the domineering Sultan deep, formidable voice of the sultan in the winds and strings, calling for his newest wife to entertain him.
We hear the leitmotif that represents the character of the storyteller herself, Scheherazade, his wife, who eventually succeeds in appeasing him with her stories.
This theme is a tender, sensuously winding melody for violin solo, accompanied by harp arpeggios.
Scheherazade is represented by a light, lyrical solo violin melody as she begins to develop her tale.
Two episodes, otherwise practically identical, are breathtaking in their simple ingenuity: in the second episode the solo ‘cello swaps places with the horn, likewise clarinet with flute, while oboe and solo violin stay put.
The second movement is The Kalendar Prince, opening with Scheherazade’s now familiar violin line, which dissolves into animated march like passages, intermittently inter-woven with suggestions of the sultan’s theme.
The fanfare motif, played by trombone and muted trumpet making atmospheric use of string tremolos and characteristic textures with sharper sounds.
A dance-like theme the first for clarinet, the second on bassoon initiates the final section.
This is followed by The Young Prince and The Young Princess. The whimsical third movement presents the sultan, now somewhat less foreboding, introducing the agitated finale.
The first section rings in the changes on string textures, with contrasting solo wood-wind timbres.
This is followed by wonderful oriental dances, is just an upbeat variation of the same material.
A resounding trumpet re-instates the original tempo for a rhapsodic closing section where solo instruments predominate.
The work concludes with a repeat of the main Scheherazade violin theme and a reiteration of the fanfare motif to portray the ship wreck.
A final conflicting relationship resolves in a fantastic, lyrical and finally peaceful conclusion.
The orchestra, under the direction of Beltran-Zavala, displayed its ability to captivate the audience, bringing the festival to a brilliant and satisfying conclusion.