It began with the MPO and concluded with the MPO. It was the usual rich tapestry of music in different forms and styles. Different generations of performers including some new faces as well as welcome familiar faces. Twenty-nine concerts within a 31-day period, every day except Sundays. It has been very much worth the trouble of crossing over to Gozo and back wherein I followed twenty-four concerts.

Philip Walsh conducted the MPO in another highly successful performance in which he brought out the best in his team. It could be felt right away in the first part of the concert.

This was In Memoriam “Ğ.A.” for String Orchestra, Op.96 (1999) by Joseph Vella (1942-2018). The prolific composer from Gozo was the VIAF’s artistc director for its first twenty editions. His elegiac Op.96 was very appropriate within the concert’s general context. The “Ğ.A”of the title refers to Prof Ğużè Aquilina (1911-97), also from Gozo,and renowned scholar and lexiconologist. It is a beautiful piece, no more than 6 or 7 minutes. It is compact and balanced between the mournfuly expressive higher strings while the lower ones added a more sombre touch yet still one of great support to and interaction with the higher ones.

What could the next piece be, if not the essence of a certain lush Englishness than the Fantasia on a theme by Thomas Tallis (1505-85) by Ralph Vaughan Williams (1872-1958) dating to 1910 (revised 1919). It is one of R.V.W.’s most beloved and iconic works.

Tallis lived under the rule of all five Tudor monarchs – and kept his head. Sublime and ravishingy beautiful, the Fantasia is based on a very noble theme of his. The orchestra could produce a better and fuller sound. As Philip Walsh explained, this was achieved by placing a number of the Orchestra performing from behind the high altar in the choir. The rest of the MPO sat closer to the audience. Virtually, there were two interacting orchestras. RVW also included some passages scored for string quartet which added to the ethereal quality of the music. The quartet consisted of Marcelline Agius and Stefan Calleja (violins), Marco Gallina (viola) and Yaroslav Miklukho (violoncello).

The entire festival was dedicated to the renowned Gozitan prelate and polymath Monsignor Giuseppe Farrugia (1852-1925). This was a way to pay tribute to him and his legacy this year being the first centenary from his death. He composed several works in various forms, sacred and secular. Tbe concert ended with his Messa pei Defunti (1891), in other words a Requiem Mass of great beauty, imagination and in some ways also innovative.

It was very painstakingly edited for modern performance by Francis Camilleri. It was a revival of great work, one which helped bring back to life a work only performed once. That was on 18 February 1892, 133 years ago. It was in this very basilica and the occasion was a commemoration of the General of the Jesuits, Fr. Anton Anderledy (1819-92). The Mass was believed lost and scattered but was slowly put together from parts discovered and careful edited.

The soloist were on excellent form, the choirs very well-trained well on cue and their diction was clear. A good acquaintance with tbe Latin text helped no end since I first learnt Verdi’s Requiem almost 60 years ago. On two or three occasions in the long Dies Irae sequence, the tenors were just too irate and a couple of voices could be singled out but after a short while they were less noisy and smoothly merged with the total complement. Some touches were quite frightening as in the Dies Irae and richly harmonic and very melodious all over the place.

This must be Farrugia’s “magnum opus”. It has been worth reviving. One hopes more music of his be performed in future.

Thanks to the VIAF for this month of lovely music, thanks to all who support this Festival year after year. Praise to Fr. George J.Frendo and Dr. Maria Frendo, their team of assistants and of course the many sponsors.

The stantding ovation at the end was very well-earned.

Albert George Storace