Symphonic concert
Malta Philharmonic, Simon Schembri
Joseph Vella, director
Manoel Theatre

The MPO went Spanish with a presentation of works either by Spanish composers or by non-Spaniards inspired by Spanish music, colour and rhythms. The allure of Spanish music seduced many a foreigner including Rimsky-Korsakov whose memories of visits to Spain are encapsulated in his colourful Capriccio Espagnol which opened the concert. This brilliant piece of orchestration had some really effective moments when there was a lot of sweep contrasted by quieter passages and various solo contributions to the work, most prominent among which were those so beautifully performed and projected by orchestra leader Marcelline Agius.

Compared to the almost brash sound world which permeates parts of the Capriccio Fauré’s Pavane Opus 50 was an oasis of refined serenity and elegance, akin to that prevailing in the famous adagio in Joaquín Rodrigo’s Concierto de Aranjuez, introduced by John McDonough’s superb cor anglais solo.

Guitar soloist Simon Schembri was at his best in this movement and one felt that in the outer ones the guitarist, quite unlike previous performances of it was a bit less inspiring in this work. While balance was maintained between the comparatively soft-voiced guitar and the rest of the orchestra, which never overwhelmed it, there were moments of some discrepancy between the soloist and the rest of the team.

A concert suite from Falla’s El amor brujo opened the second half of the concert. Here, finally, the audience could enjoy the full power and force, the fire and dash inherent in Spanish music (where required) which was lacking here and there in the two major works of the first half.

There was a genuine sense of dread in the Dance of Terror, a charming sense of relaxation in Pantomime, a sense of mystery in In the Cave and as in parts of the preceding sections and others, the sharply incisive, well-shaped and crisp playing came to a full climax with the Ritual Fire Dance. This was, as the rest of the suite, under firm control yet never lost its extremely energetic sweep. Falla returned with an equally energetic and rhythmically exciting Spanish dance from La vida breve. Sandwiched between them was the evening’s other pavane, Ravel’s Pavane pour une infante défunte. This popular piece was performed to great satisfaction and I liked Chabrier’s España just as much when it was performed as the concert’s concluding piece.

While the work’s quieter episodes were convincingly projected, it was never completely relieved of its continuously vibrant undercurrent of stark, rhythmic vigour, resulting in a brilliant energetic performance.