According to Festival Artistic Director Fr. G.J. Frendo, this was the first time that an oboe, clarinet and bassoon ensemble featured at the Festival. It also happened to be an all-female line-up too. May I add that It also served as a reminder (if any were needed) that ladies are just as committed and seriously involved in the world of wind instruments.

Trio Colette come from Italy and judging by the choice of repertoire, they cover a wide range of idiom and style beginning as they did with a work by Mozart and ending with one by Emilio Ghezzi (b.1955).

The concert opened with Divertimento N.1 in B flat Major, K.Anh.229 most probably from the mid-1770s. Women may have privately taken part in such performances long before performing in public became acceptable.

The structure of these Divertimenti very popular at the time consisted of five movements. The outer ones were marked Allegro and Rondo with a central Afagio or Largo flanked by minuets. Graceful and charming this was the atmosphere projected by the trio, one producing true entertainment.

The style and idiom shifted to the first half of the 20th century with Jacques Ibert (1890-1962) and his 5 Pieces for Trio (1935). Specifically composed for oboe, clarinet and bassoon in fast/slow pattern and thus openly neo-classical. This was another pleasant and well-rendered work of compact brevity.

Slightly longer and composed three years later (1938) was the Concert Champêtre by Henri Tomasi (1901-71). It is a very attractive 5-movement work which begins with a perky little Overture. The following movements: minuet (2nd), Bourrée (3rd) and Tambourine (5th) show a leaning toward neo-classicism. The penultimate movement was a serene Nocturne.

Another Divertimento, in E flat Major this time concluded the concert in a genre similar in form to the Mozart Divertimento with which the concert began. Emilio Ghezzi (b.1955) with his l very melodious music quite openly follows the 18th century form. Allegro, Menuetto, Adagio, Menuetto and Rondo. The date of composition is unknown but it matters little when one hears a work like this so ably performed by three accomplished ladies such as this evening’s. The continued balance and sharing of themes and well-timed interaction were all there and much appreciated by the audience.

Albert George Storace