Beautiful interpretations

A memorable concert is not just about the music. It is a combination of good musicians, good music and an appropriate venue. One such memorable event was held recently in the Grand Hall at the Verdala Palace in Buskett.

No other venue would have been more appropriate for this concert by the Valletta International Baroque Ensemble. Not only does it provide a historically (and architecturally) appropriate setting, but the acoustics of the hall are particularly well suited to the instruments and musical idiom in question. The programme consisted of works by the English composers Henry Purcell(1659-1695) and Matthew Locke (1621-1677).

The Overture and Rondeau from Purcell’s suite from Abdelezar (The Moor’s Revenge) were performed first. The quick four note runs at the very beginning of the overture and the lyrical melody in the second part of the first section were beautifully interpreted. The contrapuntal texture in the second section of the overture was handled effectively, using appropriately balanced dynamics. The Rondeau, one of the most familiar of musical forms, was well performed albeit at a slightly faster pace than it is normally played.

Next was Oft she visits this lov’d mountain from Dido and Aneas (1689). Soprano Gillian Zammit is no newcomer to our scene -she is one of the few singers on our islands who can interpret a wide range of musical styles effectively, whether it is Richard Strauss’s 4 Last Songs (1948) as in one of the previous Malta Philharmonic Orchestra seasons, or even it is Baroque, a completely different idiom. This piece starts with a beautiful theorbo ground bass, which is then joined in by the harpsichord. Zammit ‘s singing was impeccably pure and full of emotion, with such a clarity of diction as can rarely be encountered.

The third and fourth movements of the Abdelezar suite followed. The airs were aptly executed and the imitative counterpoint clearly projected, while the cello presented the simple, yet effective, bass at just the right level.

In the vocal piece Sweeter than Roses, Zammit again was crystal clear in both intonation and pronunciation and did supreme musical justice to the work. Specifically, the section where she repeats the word ‘dear’, comes to mind.

The last five instrumental sections from the Abdelezar came next. The Minuet’s light character was well rendered, while the stately air’s metric pulse was could be clearly felt. A short Jig followed, its different sections aptly differentiated with appropriate dynamics. The Hornpipe, (a dance in triple meter popular in England in the 17th century) and the final air were also well delivered.

The airs were aptly executed and the imitative counterpoint clearly projected, while the cello presented the simple, yet effective, bass at just the right level

If Love’s a Sweet Passion is another vocal gem by Purcell, taken from The Fairy Queen. This work has a different instrumental colour through the use of the organ. Once more, Zammit executed the vocal line to perfection while the strings made a very good job of the interlude with appropriate rubato and lyricism.

The Fantasy upon a Ground for 3 Violins and Continuo was professionally rendered, including the contrary motion melodies in the second section which were followed by some delightful arpeggios from the harpsichord (Joanne Camilleri), followed by a well-articulated cello line. The metric shift in the section near the end is a welcome change. The fast rhythms on the strings here were deftly executed. The only minor issues were some slight intonation slips, but this is part and parcel of a live performance.

Zammit mesmerised us once more with Strike the viol from Come Ye Sons of Art. Her interpretation of this work conveys the joy that one feels when playing music especially to a loved one, which is what the words of this piece are all about. This work has some tricky melismas such as on ‘cheerful’, which Zammit handled skilfully by crafty placing of breathing.

The incidental music to the play The Tempest (by Shakespeare), by Matthew Locke (1621-1677), followed. The introduction was excellently performed with the imitative counterpoint between the strings very well balanced.

The next movement was a Galliard, a form popular in the Renaissance period, this particular one brings to mind an elegant dance appropriately projected by the light touch of the ensemble. The faster paced Gavotte was taken at just the appropriate pace with the clear lines from the Jacob Portelli’s cello standing out.

The Sarabande, a very popular dance in triple time in the Baroque period, was executed with great detail with the different melodic lines in contrary motion clearly sounding and the harpsichord underlining the haunting harmony to great musical effect.

Purcell’s From Rosy Bowr’s, taken from the incidental music to the play Don Quixote, was another occasion for Zammit to enchant us with her silky voice. The instrumentation of voice, harpsichord and theorbo (performed by Eligio Quintero) gives this number a particular colour. Musical techniques such as word painting on the word ‘blow’ demonstrate the skill of this composer which Zammit’s performance elevated to loftier musical heights.

The Curtain Tune, the next movement from The Tempest Suite, is a piece with clearly-differentiated calm sections alternating with more violent ones visualising the arrival of a storm. This was very effectively depicted by Vibe. The rustic air and the lively Minoit’s joyous rhythmical character were professionally handled by the ensemble. The Corant was taken at an appropriate speed, while the Jig, a more stately dance than the previous ones, concluded the dance section of this suite.

The final canon, with typically imitative material, was the closing piece for this concert, and what an appropriately elegant way to end such a delightful evening, with Malta’s own Baroque ensemble regaling us with such artfully balanced melodic lines.