They share a surname but are completely unrelated. What they also shared is a passion for music and the joy of music-making. I have followed both .for a number of years and they never failed to delight their audiences.

This was the first time I heard Jason Camilleri accompanied at the piano by Francis Camilleri. They both did very well, being very adaptable and at home in an intimate chamber such as the Aula provides, or with bigger forces: the AFM Band of which Jason is first trumpeter and Francis as concert pianist is with a full symphonic orchestra.

Their duo concert began with a 20th century work by Robert Bernard Fitzgerald (1911-2005). This composer from the USA composed Modern Suite (1951) which opens with Call, which sets off with an arresting martial theme on solo trumpet. It is then answered rather cautiously by the piano. The music then becomes rather funereal but the music eventually closes in cyclic manner. This introduction firmly established the clarity of the trumpet’s tone, well-maintained, well controlled breathing and marked by clarity all of which are Jason Camilleri’s trade mark.

Add to those qualities those of a level- headed cool virtuoso playing. There was a lot of that in the Concerto for Trumpet, especially in its outer movements.of three. It was by Czech composer Jan Baptist Jiři Neruda (1708-80) who worked for many years in the Saxon Electoral ambience for many years. The piano accompaniment sounded quite rich at some points and there was plenty of interaction between the duo. The work originally for horn is a very enjoyable one. It may not be a Haydn or a Hummel but worthy.of being given some airings such as this one.

The concert veered back to contemporary works with Variations on a Theme of Maurice Ravel (1875-1937), by British composer Andrew Wilson (b. 1960) Wilson composed this work for the 150th anniversary of Ravel’s birth.

The theme is from Pavane de La Belle au Bois Dormant. This is also kown as the tale of Sleeping Beauty. This story is part of a larger work, Ravel’s Ma Mère L’Oye (Mother Goose). It was originally for piano duon(1908-10) but later orchestrated and turned into a ballet.

The theme is followed by seven variations all with a different character and style. One of them even cites the steadfast side-drum beat and other elements which are heard right through the whole of Bolero.

This evening’s performance of this work was a world premiere.

The next work was an arrangement for trumpet and pianoby Idar Torkangeroll of a famous Norwegian song popular with children . The name is Blåmann Blåmann referring to a bluish-black Norwegian mountain. It could also refer to black goats. It is a beautiful and very catchy tune, no wonder it is so popular.

While Jason Camilleri had a break, Francis Camilleri delighted the audience with a masterly rendition of Schubert’s Impromptu in A flat Major, Op. 142, n. 2 (1827). This performance flowed beautifully in its A-B-A form, so pure, so clear and such profound food for the soul. I do not think it could be otherwise knowing that Francis Camilleri is a self-professed Schubertian.

After that dose of superb Romanticism, the music moved to Intrada (1988) by US composer Joseph Turrin (b.1947). It is scored for trumpet in C and piano in a style reminiscent of Stravinsky. Arrestingly projected it commanded attention and enjoyment of a different style.

It began with music from the USA and ended in the same way. The final composition was Centennial Horizon (2011) by Kevin McKee (b. 1980). Despite its c.12-minute duration, it proved to be an astounding epic work. Its first expansive Andante part was followed by a finale which was frantic and colourful but was never out of control. Great fun for the performers as well for all the audience who responded with great acclaim to its performance

Albert George Storace