The 12th Bir Miftuħ Festival came to an end with a guitar recital by Simon Schembri. The popular guitarist lives in France so it is no surprise that his recital was sponsored by the Embassy of France and the Alliance Francaise who year in year out have been among the regular sponsors of the festival. Summer concerts at local venues which are not soundproof are a risky business. This was brought home by the banging of petards from nearby Mqabba, which at times punctuated some parts of the performance mainly in the first half. Ironically the last time I heard Mr Schembri last August in Valletta, the same kind of intrusion did its worst. It was then the second half of his recital which suffered most. One must congratulate the true professional that is Mr Schembri for still doing his best in the circumstances and delivering very well in the process.
Although the programme notes provided a pretty good idea of what the pieces performed consisted of, Mr Schembri added his own interesting snippets of information regarding his choice. Every two or three items he explained and clarified matters with great insight and his direct involvement as performer. He also delved deeper into the particular merits and special qualities of the guitar he performed with, one made by Gérard Audrioc. Equally and highly interesting were brief examples he provided as to the sonorous capabilities of the instrument and related technique required to produce them.
It was therefore with added pleasure that one could hear this put into practice in piece after piece, wherein there was a very accomplished and smooth transition in style and idiom as well as mood. The wide variety of dynamics and the well-controlled but at the same time unshackled emotive impetus of some works provided an evening of fine music. This began with Handel's Sarabande variè and Gaspar Sanz's slow Pavana followed by the contrastingly and mainly fast-paced Canarios. More baroque music came in the shape of Julian Bream's arrangement of the Prelude in D from Bach's Cello Suite No.1. This comparatively relaxing piece was followed by the more involving Prelude, allegro and fugue by the same composer with the well-handled and intricate contrapuntal fugue marking its high point.
Gordon Mizzi's Theme and Variations on a Maltese theme turned out to be based on Pù għalik kemm inti kiesħa with the instrument given wide scope for creating various sonorous effects. I believe this was written since the beginning of this century, otherwise all the music performed in the second half belongs to the 20th. Three popular Preludes (Nos. 5, 4 and 1) by Villa-Lobos followed the Mizzi piece, with No.1 being particularly tender and contrasting very well with the bouncing fluidity and gracefulness of the Chôros by the same composer.
Mr Schembri's late mentor Alexander Lagoya's unpublished Monelle and Caprice came next. They were not only redolent with an intrinsic intensity of feeling, being as they are dedicated to Lagoya's wives (with about a 20-year interval) but also enriched by the performer's personal musical involvement with the composer which gave them a more meaningful touch. Off to Argentina it was with Piazzolla's Verano Porteño, a moderato mindful of an enervating summer atmosphere followed by the slower-paced Inverno Porteño.
Belying its title, La Muerte del Angel was a rather vivacious and very effective piece. As a parting gift Mr Schembri performed an encore, Schubert's lovely Ave Maria.
Although the programme notes provided a pretty good idea of what the pieces performed consisted of, Mr Schembri added his own interesting snippets of information regarding his choice. Every two or three items he explained and clarified matters with great insight and his direct involvement as performer. He also delved deeper into the particular merits and special qualities of the guitar he performed with, one made by Gérard Audrioc. Equally and highly interesting were brief examples he provided as to the sonorous capabilities of the instrument and related technique required to produce them.
It was therefore with added pleasure that one could hear this put into practice in piece after piece, wherein there was a very accomplished and smooth transition in style and idiom as well as mood. The wide variety of dynamics and the well-controlled but at the same time unshackled emotive impetus of some works provided an evening of fine music. This began with Handel's Sarabande variè and Gaspar Sanz's slow Pavana followed by the contrastingly and mainly fast-paced Canarios. More baroque music came in the shape of Julian Bream's arrangement of the Prelude in D from Bach's Cello Suite No.1. This comparatively relaxing piece was followed by the more involving Prelude, allegro and fugue by the same composer with the well-handled and intricate contrapuntal fugue marking its high point.
Gordon Mizzi's Theme and Variations on a Maltese theme turned out to be based on Pù għalik kemm inti kiesħa with the instrument given wide scope for creating various sonorous effects. I believe this was written since the beginning of this century, otherwise all the music performed in the second half belongs to the 20th. Three popular Preludes (Nos. 5, 4 and 1) by Villa-Lobos followed the Mizzi piece, with No.1 being particularly tender and contrasting very well with the bouncing fluidity and gracefulness of the Chôros by the same composer.
Mr Schembri's late mentor Alexander Lagoya's unpublished Monelle and Caprice came next. They were not only redolent with an intrinsic intensity of feeling, being as they are dedicated to Lagoya's wives (with about a 20-year interval) but also enriched by the performer's personal musical involvement with the composer which gave them a more meaningful touch. Off to Argentina it was with Piazzolla's Verano Porteño, a moderato mindful of an enervating summer atmosphere followed by the slower-paced Inverno Porteño.
Belying its title, La Muerte del Angel was a rather vivacious and very effective piece. As a parting gift Mr Schembri performed an encore, Schubert's lovely Ave Maria.