VIAF 2023

BEAUTIFUL CONCLUSION

It began with the MPO on 9 June and also ended, 26 concerts later, with the MPO on 10 July, also under the direction of the popular Philip Walsh. Most could easily remember the splendid interpretation L by Francis Camilleri of the Grieg piano concerto on 9 June, and Dvořák’s Seventh Symphony. It was a coincidence, (whether sheer or not) that the festival concluded with another memorable Seventh, Beethoven’s in A Major, Op.92.

However before the latter work was performed a possibly local premiere was performed This was the orchestral version Berlioz fashioned out of his own oratorio L’Enfance du Christ Op.25. Berlioz was often lambasted because of the huge orchestral forces he needed for some of his works as well as lampooned in his role as director. The eccentric morbidity which inspired many of his works is far from being the case with his Op. 25 wherein he reveals a a different facet to his personality.

This is a scoring which does not call for huge orchestral forces. There is an almost child-like fascination with the story of the Child Jesus including the best-loved episodes leading to the Nativity, the air expectation and trudging pace of the journey to Bethlehem, the Marche nocturne. The Holy Family at rest is very evocative and so is the very charming Trio of two flutes and harp, entrusted to a very gifted trio of ladies. These were harpist Britt Arend and flautists Rebecca Hall and Fiorella Camilleri. The air of urgency in the Flight into Egypt concluded this nostalgic pull these images from the New Testament and deeply-rooted childhood memories had upon the mature Berlioz, all despite his self-confessed agnosticism. Berlioz may not be everybody’s kettle of fish but the honest simplicity of his approach is nothing less than commendable.

Few would disagree with statements such as “..one of the greatest of symphonies,” or one of Beethoven’s best.” If they did worse luck to them if they were to be unable to enjoy the gloriously warm effusion of deep feeling and recurring breathlessly exciting build-ups to a great driving energetic force which drives this work in A Major, Op. 92.

Philip Walsh’s reading of this superb work and his interaction with the orchestra yielded excellent results. The ominous introductory Poco sostenuto led to a fiery vivace which which was well-controlled. The Allegretto was just magical, well-paced and dignified. The Scherzo: presto e trio was a right royal romp of mischief and musical chatter. The conclusion was stupendously handled and projected. Here was the driving force of genius, one of epically magnificent proportions.

Philip Walsh expressed his thanks and appreciation for being present yet again at the VIAF. He said nowhere else on Earth is there a festival of this calibre offering events free of charge. He singled out Fr. George Frendo and his sister Dr. Maria Frendo and their team for their handling if the festival. This was greeted with long applause from the distinguished guests, sponsors and public present.

In his reply Fr. Frendo thanked his sister Maria and the rest of his hard-working team. He also thanked the various sponsors without whose support the VIAF could not possibly get off the ground. He thanked widespread support for the festival and said that the festival will strive to continue fulfilling the original dream of its founder, Joseph Vella. This was to ensure the presentation of high quality music free of charge. With every successive edition this dream has become a continuous state of affairs.

A very long, spontaneous round of applause was tribute to Joseph Vella, the late founder of the VIAF. Like all good things, a festival edition comes to an inevitable end, but, it regenerates with every successive edition. The miracle goes on.

Albert George Storace