I had the unexpected good fortune of attending two exceptional musical events over Easter. In quite a few respects the two concerts, held practically a week apart, were similar. And yet they were also poles apart.
Both events were held in Valletta; actually in iconic places of worship. Both featured outstanding groups of talented performers - generously performing on a pro bono basis it has to be said. Both events were held to raise funds for deserving causes, and both enjoyed the backing of public-spirited corporate sponsors and individuals. Both were practically sold-out evenings, an encouraging reminder that people are prepared to show solidarity and support which, happily, can co-exist with culture and, why not, entertainment.
And, in each case, the ultimate feel-good payoff, when everything comes together, that palpable, almost magical connection between performer, audience and the works themselves.
So far, so similar. If everything else was very different, where does one start? A caveat is in order; having no expertise or knowledge of music (other than being hopelessly addicted to it) or cultural credentials, I very happily stand to be corrected and enlightened by those more knowledgeable.
Venues first... For Stabat Mater, the setting was the crowning glory, at least in cultural terms, of our capital, a baroque temple sans pareil. Always stunning, St John's reveals added layers and nuances of splendour in its evening livery, presenting itself, literally, in a new light. Designed to awe, and built to overwhelm, this cathedral pulls no punches, a grand, gilt masterpiece of a setting if ever there was one. Just a few hundred metres down the road from this foretaste of Catholic heaven, and literally worlds apart, cut to the austere, almost spartan, neo gothic interior of St Andrew's, where Marshall Arts was held, a few evenings later. A sombre ante chamber of Christian spirituality, which yet possesses its own coherent sense of place.
Now the works themselves. I must admit I was not really familiar with Christopher Muscat's opus and looked up references online before attending. This seemed like an ambitious work by a contemporary Maltese composer, taking on the subject of a mother's heart-wrenching anguish in front of the stark horror of her son's crucifixion. I'm a convert now, of course.
Muscat's Stabat Mater could loosely be described as classical, a set piece, formally structured across seven movements. The text follows the 13th century Latin hymn. Yet, to my uneducated ears at least, it is a surprisingly modern and contemporary work, I believe some critics have described it as "fresh" and I think I can see why, as grand full-blown sections merge into minimalist whispering voices that were almost sound effects. Highly evocative, this could easily be a film score, provocative yet soothing, engaging the listener on both a musical and spiritual dimension, and from dramatic despair to the hope of redemption. Several members of the audience were seen wiping away a tear at the end of the performance, anyone who was there will understand why. If Maltese talent is capable of producing such stuff, please sir, can we have some more.
Conducted by the composer himself, the work featured cantor Josef Bugeja, soprano Caroline Bruker, the Malta Philharmonic and the combined forces of Jubilate Deo and Kor Malta, with what seemed like pretty near-faultless and well-coordinated performances, no mean feat at such a scale.
Marshall Arts trod on more familiar musical ground. The evening featured a range of classical and contemporary work, following requests by members of the audience, which made for an interactive experience. From Bach, Beethoven and Mascagni to Gershwin and Queen, with a touch of Deep Purple for good measure.
Here the mood was informal, intimate, completely unplugged, a family affair you could say. I had already seen the inimitable Wayne Marshall in concert, but to see him up close and personal in a small setting, interacting with the audience, was something else. His ability to improvise across so many genres, apparently effortlessly, is remarkable as he forces us to listen to known pieces in a new and exciting way; think Cavalleria Rusticana in jazz idiom or Someone To Watch Over Me as a lullaby hymn.
For Marshall, music is not a straightjacket, but rather a language to be used, adapted and enjoyed and this was amply in evidence on pieces he played on piano and organ. Two cherries on the cake were guest performances by Martina and James Marshall, talented, confident and highly promising chips off the old block, despite their tender age.
Proceeds from Stabat Mater, which were presented to the Research, Innovation and Development Trust (RIDT), will go towards medical research at the University of Malta, while Marshall Arts was in support of Blue Door Education, a voluntary organisation providing literacy and life skill classes for refugees and asylum seekers.
Two good causes worth keeping in mind, two unforgettable evenings, two very contrasting concerts.
Stabat mater: Joseph Galea