Every now and then, Malta’s cultural calendar turns up something unusual that grabs one’s attention. The Ġukulari Ensemble’s 10th anniversary celebration happened to be one of them.
The ensemble work was tight, and it was obvious that everybody involved was thoroughly enjoying themselves
The event was called Lady Flora’s Notebook and it presented a series of transcriptions done by Lady Flora Rawdon-Hastings, eldest daughter of the then Governor of Malta, the Marquis of Hastings (1824-1826).
During the two years Lady Flora spent in Malta she transcribed a handful of folk melodies into a neatly embossed musical notebook. We are very lucky that it has survived, for it gives us a valuable ethno-musical insight into Maltese folk singing in the early 19th century.
The evening, held at the beautiful Villa Bologna in Attard, alternated between the music and a well-researched presentation with projections. Each piece was put in a historical perspective, which greatly enhanced the audience’s understanding of the music.
The research and presentation was in the able hands of Anna Borg Cardona, who is also the founder of Ġukulari and performs with the group. The presentation was clear and concise, and informative as well as informal.
Some of the tunes, such as the Minore, are very familiar as they have survived into modern times. Others, such as Tal-irħula Balzan and other untitled tunes would have been lost had it not been for these fortunate transcriptions.
Only one tune is not a folk tune, and that is The Palace Clock Tune. This particular melody is intriguing because Lady Flora gives no real indication to its provenance. Although Borg Cardona proposed the tower clock at the Grand Master’s Palace in Valletta as a possible inspiration, I find it rather hard to believe that this dainty tune could be traced to something so imposing.
The line-up for this included two flutes, a harp, a guitar and several percussion instruments including a żafżafa. Since the music presented here was essentially folk music, it would be unfair to measure the performances using criteria reserved for classical music.
The transcriptions themselves consisted only of a melodic line which was then elaborated upon by the musicians themselves. The arrangements preserved the folk character of the melodies. The flute and harp combination is very much in style as it was a popular pairing in the early 19th century.
The two flutes (which occasionally switched to piccolo) were Silvio Zammit and Ramona Zammit Formosa, and they were accompanied by Anne Marie Camilleri Podesta on the harp. John Cassola provided the guitar playing, and was also joined by Anna Borg Cardona and Bettina Borg Cardona on percussion.
The ensemble work was tight, and it was obvious that everybody involved was thoroughly enjoying themselves. Although it was all very pleasant, I would have appreciated a bit more guitar, and a bit less triangle. Perhaps a wider range of percussion instruments would have helped. I did enjoy Zammit’s spirited żafżafa playing though.
One last thought. I do appreciate when people make an effort to dress up for an event, but walking into a recital and finding half the room dressed in Regency costumes was somewhat disconcerting.
Reliable sources told me that they belonged to an English historical re-enactment group currently in Malta.
However, I am taking no chances next time. I am keeping a spare costume or two in the car. Nothing worse then walking into a room and feeling under-dressed.