From participant in the debutants’ concert the VIAF annually presents, young Francis Camilleri would also be one of the Frendo/Camilleri family of volunteers in bringing on the festival year after year. One remembers Francis and other family members presenting token gifts to performers at the end of a concert. He has developed from student to a fully fledged concert pianist, recitalist and accompanist. This is one of the thrills long-time followers of the VIAF witness and feel.

Last Thursday’s recital started off with a work by Schubert, for whom Francis Camilleri has a special regard. The work begins with an Allegro moderato within which is a mixture of lyricism and some darker moments. Again beautifully melodic and nostalgic the central Andante changes little in mood.

In his programme notes the pianist makes clear his assertive standpoints about interpretation. Rightly so because he does not yield to temptation by putting virtuosity ahead of the work’s poetic innate lyricism. This remained paramount, continuing to prevail in the concluding very articulate and joyful Allegro.

The programme continued with Sonatina Op.30, by Joseph Vella with whom the pianist studied for a while. Founder of the VIAF, Joseph Vella’s sudden death in 2018 shocked everybody. Since then the VIAF is presented in his memory.

Vella left a rich legacy of works including the Sonatina. Composed in 1979 by the then 27- year old composer, the three-movement Sonatina already projects his personal idiom.

The form is traditional: Allegro moderato; Andante quasi recitativo; Allegretto. The outer movements came across as very turbulent, the opening one being a colourful mix of dissonant harmony and energetic rhythms.

The contrasting central movement brings some relief to the often taut atmosphere preceding it and the deliberate ironic awkwardness of the ensuing Allegretto. There was a frequent kind of teasing with isolated notes flying about like some noisome insect which refuses to go away.

Regarding Beethoven’s 14th Sonata, in C sharp minor, Op. 27 n.2 (Quasi una fantasia). Francis Camilleri shoots down any hint that the moon [at it’s most beautiful] could be behind this work. In the opening Adagio sostenuto he believes in something more profound than moonlight and performed accordingly. The brief and sprightly Allegretto contrasted highly not only with the previous movement, but, also with the concluding fast and furious but ever- articulate Presto. This was the culmination of the whole work.

The audience reacted with great vigour to this conclusion. An encore was conceded but unannounced, leaving one eagerly guessing. The pianist dedicated it to his uncle Fr. George Frendo and (his aunt) Maria (Frendo). As everybody knows they are the life and soul behind this Festival, “to which they fully dedicate themselves, for no financial gain”. More hearty applause followed then, the music.

With the first bars many knew that this was Schubert’s Impromptu in G flat Major, Op. 90, n.3, (D.899). It was played with love and admiration. Simply and very deeply touching. It was divine!

Albert George Storace.