Although Holy Week is still far off, this year’s choice of Maltese music for APS Bank’s annual concert at St John’s Co-Cathedral fell upon works connected to that time of year. In fact, the event was called Tenebrae, but if the theme of the betrayal and crucifixion of Our Lord is a dark one, not so was the music, which was beautiful from beginning to end.
This is liturgical music that is no longer performed in our churches, so the only chance of hearing these and other revivals is by means of such concerts
This year’s choice fell upon three works completely different in style, although all belong to different periods of the19th century. This is liturgical music that is no longer performed in our churches, so the only chance of hearing these and other revivals is by means of such concerts.
Michael Laus, who conducted the Malta Philharmonic Orchestra, edited all three works performed during this concert. The first, Incipit Oratio Jeremiae Prophetae, dating from 1800 and scored for tenor, violins and basso continuo by Pietro Paolo Bugeja belongs to the very end of the 18th century.
The basso continuo, a reminder of the late baroque, was entrusted to the cellos, double-basses and organ. Tenor Charles Vincenti has the right timbre to convey a lot of feeling and pathos to convey the suffering of the prophet. After a cautious start he warmed up well and remained on good form for the next work.
Bugeja’s music, simple, very attractive and melodious, is nevertheless brisk and rhythmically energetic. This provided a balanced contrast between the forlorn voice of the prophet and evocation of harsh events afflicting the complaining, repentant people.
One has to admit that the sheer beauty of Anton Nani’s Responsori del Giovedì Santo is quite overwhelming. The lush melodic line and scoring, the writing for the solo singers... it is all very operatic. Nothing detracts even an iota from the merit of the music, and yes, this kind of music can lead to higher, elevating thinking.
The mood within this work is a generally sober one with the tempo only rising to allegro moderato in Tamquam ad latronem, and allegretto in Tradiderunt Me. Tenor and strings featured in both Omnes Amici Miei and the especially evocative Vellum Templi Scissum Est, with the Mirabitur Choir joining in the latter. The choir was very much on cue, but some individual male voices stood out briefly, after which homogeneity of texture prevailed as it remained for the rest of the concert.
Contralto Graziella Debattista was soloist in Vinea Mea, and here is a very promising new voice, with a beautiful, rich, mellow timbre and clear diction, and singing with feeling and conviction. Baritone Alfred Camilleri’s robust and well-controlled baritone had the right quality to convey the hurt and almost surprised indignation which makes this section one of the high points of the work.
Soprano Alison Deborah Gatt was not really up to scratch in the two Responsories in which she took part. The first was in a trio with tenor and bass, Tenebrae Facte Sunt, the second in a duet with the tenor in Animam Meam Dilectam.
There were moments when she went a bit flat and her high register was too shrill. On a positive note she sang with clear diction and a lot of feeling for the text. Maybe with more hard work she will be able to sing better.
Tradiderunt Me was another high point beautifully sung by bass Noel Galea to an equally beautiful violin solo accompaniment by Marcelline Agius, leader of the orchestra.
The choir took centre stage in Jesum Tradidit and the work ended as it started, with the tenor concluding convincingly with a lovely aria, Caligaverunt Oculi Miei.
Even though he wrote it before the papal Motu Proprio of 1903, which put to an end the extravagance of Church opera, Paolino Vassallo’s Christus Factus Est for choir and strings has a certain moderate stamp. It is an extended largo, beautifully scored, elegant in style and richly varied in dynamic range with a certain touch of effective understatement. It was a fittingly satisfactory conclusion to the concert.