Mro Joseph Vella’s name is very familiar with the lovers of serious music in Malta. He is not only a composer and a conductor but also composer-in-residence at the national philharmonic orchestra. This year has been a very special one for Mro Vella, who celebrated his 70th birthday last January.
This series of concerts came to an end when he presented a celebratory concert at St John’s Co-Cathedral in Valletta in the presence of Mgr Charles Scicluna
In fact, he held several concerts in Malta and abroad which featured his own works. These included new compositions that were either performed or recorded.
This series of concerts came to an end when he presented a celebratory concert at St John’s Co-Cathedral in Valletta in the presence of Mgr Charles Scicluna, the new Auxiliary Bishop, a personal friend of the composer. This concert featured two of Mro Vella’s most loved compositions, written some years ago and recorded on CD.
I must say that the two works – Domine Jesu Christe op38 and Symphony no 3 op 105 The Apocalypse Verses – though at times quite forte, employing much brass and percussion, are very personal works which describe and plot the composer’s vision of spirituality.
The first work, the motet from the Liturgy of the Mass of the Dead, follows faithfully the words that plead with the King of Glory to free the newly-departed soul from the torments of hell. The music veers from fortissimo (Domine Jesu Christe Rex Gloriae) to the abysmal Libera Animas, highlighting very low notes for the basses.
Soprano Maria Frendo, whose voice overshadowed all other sopranos in the Laudate Pueri Choir, handled the solo well, making it sound especially beautiful. Mro Vella’s handling of the orchestra provided a soft accompaniment. The work proceeded between light and dark episodes, tracing the soul’s plea to be released from the spiritual exile it was experiencing – although it must be said that redemption was tangibly present. The work returned to its strong beginning, however it ended on a calm note, signifying God’s immense love for the departed and the soul’s belief in God’s enormous love for all creatures.
The second work, Symphony No 3 Op 105, was composed in the months leading to March 2003, and is in five movements. It is a grand work featuring the participation of tenor Cliff Zammit Stevens, who is going from strength to strength, the Laudate Pueri Choir from Gozo and the Malta Philharmonic Orchestra.
The symphony, based on a selection of passages in Latin taken from St John’s Apocalypse, is an abstract work which deals with the triumph of good over evil, the concept and principal motto behind the whole work. The first movement, It-Taqbida (Conflict), was very agitated. It featured loud fanfares and calls by the trumpets.
The tuba, too, was prominent, together with the drums (percussive instruments featured also in other movements of the symphony) The second movement, It-Tnehida (The Invocation) offered a deep contrast. Built on the verse which reads Hic est Patientia et Fides Sanctorum and marked molto tranquillo, it was quite lyrical with the viola, the cor anglais and the horns providing the necessary respite. I also liked the violin solo and the woodwind over pizzicato strings.
The third movement was marked andante mosso and entitled L-Għotja (The Blessing) . This featured the different timbres and textures of the strings and woodwinds. The fourth movement, Ix-Xewqa (The Yearning), while featuring loud, strident trombones and other brass instruments, was a study in different rhythms. Well done to the maestro and the orchestra’s musicians who had to travel through a wide spectrum of various sounds and difficult tempos.
The fifth movement was not only the last part of this powerful work but it was also the most elaborate, with the addition of the text, which meant that singers were required to interpret the words. Named Is-Sebħ (The Awakening), loud cymbals ushered in the orchestra, strings first, then the other sections, to accompany the choir in its proclamation of “Holy, Holy, Holy”.
The young tenor, interpreting John the Evangelist, had three interventions to sing. He alternated with the SSA choir who sang the part of the angels. The tenor has a lovely timbre and his diction and projection are very good. Perhaps he has to work harder on his lower register but his future as a singer should be assured. The choir, too, was very well prepared, although some voices stood out. Also, balance was lost on several occasions when the orchestra was louder than the choir.
After the third intervention by the tenor, the symphony came to an end with a grand finale, confirming the composer’s belief that good does triumph over evil.