Mro Brian Schembri applauding clarinettist Godfrey Mifsud.

Concert
Godfrey Mifsud, soloist
Malta Philharmonic Orchestra dir. Brian Schembri
Manoel Theatre

It ended with a rare standing ovation for orchestra and conductor. Normally such things are accorded to some brilliant soloist performing with orchestra. It came in a spontaneous wave that swept like a wave across the Manoel. It had long been coming this particularly fine evening, with which the Malta Philharmonic Orchestra ended its 2013-2014 season of concerts there.

Frankly, I do not think that another ovation would have been amiss with regard to Godfrey Mifsud’s nigh ideal rendering of Mozart’s Clarinet Concerto which had closed the concert’s first half.

As a local saying goes, “Ix-xemx minn filgħodu turik”, meaning a bright early morning sun normally is a portent of a fine day to come; so it had been with the concert’s all-Mozart first half. The sparkling overture to Die Zauberflöte worked its magic very well and set the tone for the rest of the concert.

The overall almost melancholic but always lively charm of the Clarinet Concerto was well-captured by Mifsud, one of our finest clarinettists, enhanced by the total harmony and rapport with the orchestra. A delicate, balanced dialogue prevailed and the assertive soloist glowed in the warm sense of pathos. His phrasing was very fine and he had at his command the smoothest imaginable, exquisite cantabile tone, especially in that unforgettable central adagio.

The overall almost melancholic but always lively charm of the Clarinet Concerto was well-captured by Mifsud, one of our finest clarinettists

Continuing on excellent form, the orchestra stole the limelight for the rest of the concert. Brian Schembri’s weakness for Beethoven is well known; and all the better for those who experience a reading such as his of the Fifth Symphony. In full command of all resources at his disposal, the man seemed (positively) possessed by the music. Even if acoustically not ideal, I wish I were at the back of the orchestra to see his face as the music tapped all possible emotions.

There was undoubted determination, defiance, power, sweep, tenderness and warmth and a full feeling for style and form. Inevitably, it was sort of overwhelming but never uncontrolled, fuelled by a power house of demonic energy which, despite some of the more serene, lovely moments along the way, did not at all hinder the gradual arrival of the final burst of glorious, fulfilling and very uplifting music.

With familiar music like this, there could be a tendency on the listener’s part to look forward to the final climax too eagerly. Yet, things have to develop as prescribed and, when that climax came, it was all which one expected. Little wonder the audience’s reaction was what it was.