Concert
Camilleri Trio
Sala Isouard

The Manoel Theatre’s Spotlight Concert series continued at Sala Isouard with a recent concert there presented by the Camilleri Trio. This ensemble consists of pianist Joanne Camilleri and two members of the Malta Philharmonic Orchestra, namely Alison Hughes (clarinet) and Anja Inge (cello).

The series aims at highlighting and presenting works some of which are by Maltese composers of various generations performed either by Maltese musicians or others active in Malta. Contrary to most local chamber ensembles, Camilleri Trio is all-female and formed comparatively recently, in 2008.

The accent of this Trio’s choice of works is on the contemporary, as in fact were all but one in this evening’s concert. It began with a work by British composer Ed Hughes (b. 1968). It is simply titled “Trio”.

It is a brief, abstract work with a theme or two which appeared and re-appeared in a very elusive manner. At first the work rested mainly upon the clarinet and cello, both at times tapping the extremes of range of their instrument with the piano making almost mischievous, intermittently brief interjections.

Later the piano became more assertive and enriching the texture no end. Christopher Muscat’s is very direct in his Dirge for cello and piano, which he wrote in memory of the 2006 tsunami victims. It could make more of an impact now as the idea behind the work remains very topical in view of recent events in Japan. The music is very approachable and the way the work is shared and projected created a very evocative atmosphere with an extremely tense climax before it dies away in bleak helplessness and desolation.

André-Paul Huber is another upcoming composer and director who in 2009 purposely wrote his Soliloquy for the Camilleri Trio. Given its inspirational roots, a Marian antiphon plainchant it is not surprising that there were moments when a great inner peace was evoked, as well as contemplative meditation of great intensity. In parts this was accentuated by very high writing for clarinet and cello. Moments of high emotion were highlighted by crashing staccato piano chords. Other inspiration drives the work on, mainly based on traditional Mediterranean singing.

The musicians really gave their all to this interpretation in which the young composer continues revealing his command of form and texture.

Works by the late Charles Camilleri do not fail to appear in local concerts. Musicians can tap at will at his prolific output in many forms and genres. Joanne Camilleri chose to perform his charming Due Canti, two piano solos with strong roots in Maltese folk music. Her delicate yet decisive touch rendered the Cantilena into the absolutely lovely and disarming work that it is. The simple theme was embellished over and over, as in the no less attractive Arabesque. The way this music was performed made it into one which one would like to hear over and over again. In the same composer’s Three Folk Songs from Malta, Joanne Camilleri was joined by Alison Hughes in skilfully projecting fully the contrasting characteristics of the merry dance Il-Qarinża, the mournful and poignant Takriba and the jolly and strongly rhythmic Kapċipa.

The only departure from the contemporary idiom was Glinka’s Trio Pathétique in D minor (c.1827-8). There are varying opinions as to what was really behind this work but it is clearly enjoyable, not particularly deep but manages to touch the heart. Stylistically interesting for its early Romantic outlook but still tied to classical structure the work has moments of great warmth, expressed so clearly by the three instruments in the extended theme of the opening movement.

The piano had some really sparkling moments in the scherzo later sharing with clarinet and cello the heartfelt playing in the largo. The brief concluding allegrissimo (which was to be encored at the end of the concert), was a fine example of energetic, well-controlled forward sweep with articulation and balance. Nino Rota’s trio, Opus 73 which concluded the concert was a refreshing exercise in well-crafted music redolent with humour in its outer movements contrasting with a middle movement in which the nostalgically warm music almost bordered on the sentimental.