Music J oseph V ella

n order to understand properly the has to look in order to understand 's I Maltese cultural background, one must cultural heritage and to a great extent its be aware of the historical associations the musical traditions. shows us that island passed through over the centuries cult and music-making were not only and which, in some way or other, left their complimentary but almost inseparable mark on the Maltese way of life, socially partners. It is, then, not that difficult to and, at a tangent, also culturally. imagine that at some point in time in this Although written evidence about musical island of temple worshippers one could hear activity in Malta throws us back less than the pervasive rhythms of the sacrificial four centuries (that is around the year drums of the Neolithic peoples in their 1600), I think that one can safely assume massive stone temples, the rippling fresh that these practices have had their roots in sounds of the Greek lyre, the martial the misty dawns of prehistory. When one fanfares of the Romans or the mystic chants remembers that archaeological research has of the Byzantines and the Arabs. placed some of Malta's ancient stone The year 870 A.D. marks the scene of temples as anteceding even the pyramids of active history by the advent of a new Egypt, one can then easily surmise how far Mediterranean power which for long had back in time this line can stretch. challenged European civilization. F. W. The Mediterranean region has often been Ryan in his book Malta writes that: referred to as the cradle of civilization and "the Arabs inspired by Mohammed roused themselves Malta, being right in the centre of this from their leisured life as mere tent-dwellers in area, could never escape or be immune to Arabia, and poured in vast numbers out of their the cauldron of political and cultural country, with the fury of fanatics, carrying their new upheavals that from time immemorial religion abroad at the point of the sword. They swept successively engulfed this region as nation westward through Syria, Palestine and North Africa to and also took possession of Malta". after nation, dynasty after dynasty, creed after creed battled it out for supremacy Thus, the authority of the Byzantine and assertion. In fact, Malta's geographical Emperor, Basil I, was declared at an end position plus an inherent helplessness in its and the government was assumed by an defensive potential due to its size, pre­ Arab Emir. It is a curious fact that despite ordained a pattern of events that can be a physical presence on the Island lasting monotonously traced from the time of the about four centuries, apart from the Phoenicians to the tragic days of the spoken language, practically nothing is left second world war - whichever nation or of the Arab cultural heritage whether this rPlioinnc fal'tinn hP1r1 thP cnT!:nT nf militar" hP <>rl"'h<>Pnlna;,.,,J <>rl"'hhPI"'tnr<>l nr mndl"'<~l .a.-.&ACA"'-u .... __ ...a._&& .&&V&- ...... UYY-J -.& AAA&•.o..._.&.J .., ..... _ .... _ ...... _ ...... , ...... o ... --... , _ ... ..,...... _ ... _ ... _ ...... _...... _ ... . power along the Mediterranean littoral When Count Roger of Hauteville dominated this small island. In the fashion wrested the island from the hands of the of the classic Roman dictum "Veni, Vidi, Arabs, Malta became a feudal fief until the Vici", they came, they saw and they year 1530 and as such was successively conquered, and some of them even stayed subject to the many different holders of for hundreds of years. the Sicilian crown, namely the Normans, It is in the light of the above that one the Hohenstaufens, the Kings of Anjou, of

159 and of Castille. perhaps fit the style of a particular genre From Count Roger's time onwards one of Maltese music, namely the "Ghana". can safely say that Malta always looked "Ghana" is the major expression (and in towards Europe for its cultural inspirations many reasons one can say the only and models. expression) of the Maltese folk musical In his book Musica e Musicisti a tradition in spite of the fact that the main Malta, Livorno, 1932, Ulderico Rolandi, interest of the "Ghana" lies more in its without however quoting his sources literary rather than its musical aspect. writes: "I have come across here and there In the field of "Ghana" singing, one names of various cantors, precentors etc comes across a few melodies, (or better still who from time immemorial were active in melodic forms) which serve the "ghannej" the churches of Malta''. He goes on to (singer of "ghana") as a vehicle on which make a list of some of these, mentioning, to improvise his verses or else to relate in for example, Guido Anselmi, Cantor in the verse form a pre-established story from the year 1112; Magister Philippus, Cantor folk literature tradition. As one can easily Tripolitanus in the year 1124; Raimondus note, in both cases the musical element is Provincialis, praecentor in the year 1170; always secondary to the text. Rainaldus, Cantor Tiberiadis in the year "Ghana" is invariably sung to an 1174; Joannes, Praecentor acconiensis in accompaniment of guitars which serve a the year 1200; and Wi/lelmus, Cantor dual purpose. One is to provide a harmonic vallaniensis in the year 1234. This basis for the melodic line, and the other is information attests most vividly not only to to play interludes between the many verses a healthy musical life in Malta at such an to give the singer both a period of rest and early age, but is also indicative of an a short time to think and formulate his artistic phenomenon valid for most of the next stanza. The played interludes are of successive centuries, namely the musical an improvisatory nature using. the main ties Malta has had on an international melodic line as a basis. level, especially with . Another The fact that in "ghana" we find limited important point that emerges from use of melodic intervals smaller than the Rolandi's writing and which ties closely semitone has led some people to associate with the phenomenon just mentioned is the its roots with North Africa where mono­ fact that Malta, during this period, not melodic variations and micro-tonal only "imported" musicians, but also had intervals are an integral part of the musical its fair share of "exporting" them. One culture. Personally, I am of the opinion finds, for example, mention of Don Luca that the spiritual roots of "ghana" are to Vel/a, Cantore Maltese and Giovanni be found in the south of Spain, and that Jsconfort, Maltese who, in 1550, were they reached our shores via . If one employed with Cardinal Alessandro listens to traditional singing from these Farnese, and the Papal Cappella in places, one can easily associate similarities ~ectively. of construction and performance with . The first ever known poem written in Maltese "ghana". The traditional use of Maltese belongs to the middle of the 15th guitars as accompanying instruments is, I / rP.ntnrv It i.;: ::~ mo."t intP.rP.l:tinP ::~ncl J ------J. ------g ---- feel; a very strong relevant detail in this 1 important "Cantilena" penned by Pietro regard. I Caxaru, discovered in 1966 by Prof. G. Other instruments belonging to our folk Wettinger and Fr Mikiel Fsadni. The musical tradition (some of which are, structure and rhythm of the poem strongly unfortunately, well on the way to suggest that it could have been sung, extinction) are the "fifra" (reed pipe) and although no hard evidence in this direction the "tambure/1" (tambour). A variant of is extant. However, the poem could the "tambure/1" was the "tamburin"

160 (tambourine). Another popular percussion impetus for a wave of cultural experiences instrument was the "Rabbaba" also known hitherto unknown on the island. as the "Zuvzaja" (friction drum). However, as events began to take their The "bronja" and the "qrajna" were course, for its culture Malta started to look two primitive, folk instruments. The more and more closely towards Italian "bronja" (sea-shell trumpet) and the ideals and practices. I am inclined to think "qrajna" (hull's horn trumpet) are well on that there were two reasons for this state the way out to disappear completely from of affairs - one was the geographical the local scene. Malta too had its variant proximity which made actual physical of the Pipes of Pan, locally called contact easier than that with any other "flejguta" and "bedbud". nation: the other was the influence of the In all the above there are very few things which for its spiritual and that can be called purely indigenous. As artistic inspiration obviously looked regards "folk instruments", Malta shared towards Rome. From this time· onwards, a most of these with other countries found lot of details about musical practice in along the Mediterranean littoral. Malta started to be documented, and thus However, from this aspect one could one can trace this phenomenon emerging make a special reference to the Maltese slowly but very clearly. bagpipe "zaqq". Of all the varieties of We know that by the end of the 16th bagpipe found all over the world, the Century there were two established Maltese bagpipe seems to be the only one "cappellas" on the island .- the one at St made of an inflated dog's skin, which is John's in , the seat of the held under the left arm with the dog's legs Grandmaster and the one in , the directed upward. There is also a seat of the Bishop. mouthpiece through which the skin is filled Each centre had its group of singers and with air and a holed reed which produced musicians in order to provide the music the required notes. during the various types of divine services In the Galpin Society Journal published like matins, masses and vespers. During in the UK in 1977, J.F. Partridge and F. this time, services were far more Jeal discuss the bagpipe of Malta from a numerous and far longer than the ones we musical, sociological and etnological point find today in the ecclesiastical calendar, of view and they maintain that it seems to and this provided ample scope for the full­ have little affinity to the Italian time employment of singers and "zampogna" or the Sicilian "cornamusa" instrumentalists. (traditional sources of influence). Rather, Both these centres provided an ideal they point to an Aegean influence. breeding ground for talented musicians and The peculiarity of the Maltese bagpipe is singers. In them, there was so much scope that unlike most others it still looks for music-making, and .when one alarmingly like the animal from which it is remembers that music, then, was written made. In this respect it has also some not for an ideal audience or for posterity resemblance to the "zukra" (Turkish as happens nowadays, but for pure bagpipe). everyday consumption, one realizes that

When the Knights of St John arrived on t"..._ ...IPntPrl _ ...... __ rnmnn.,Pn...... J:""'_.._._ ... !J ...... h,rl __ tn...... rhnrn_ ...... - ...... nnt _ ...... nPm _ •• the island in 1530, Malta saw the compositions practically every day, all to blossoming of a truly artistic . the benefit of the members of the particular Since the Knights represented a very valid "cappella", singers and musicians. cross-section of all the noble houses of This was the type of music centre Europe, from to , to Spain, that gave us G.P. da Palestrina to Italy, to , it is not surprising (1525-1594) in Italy, William Byrd that their presence gave the necessary (1542-1623) in England, T.L. de

161 Victoria (1594-1611) in Spain and Orlando mostly found in hand written anthologies di Lasso (1532-1594) in the would seem to imply that they were very and later on Claudio Monteverdi much in common usage. Some of the big (1567-1643) and Antonio Vivaldi names that were being played in Malta at (1676-1741) from St Mark's in , that time are Ludovico Grossi da Henry Purcell (1658-1695) from the Chapel Viadana (1564-1645), Claudio Monteverdi Royal in London and later still J .S. Bach (1567-1643), Virgilio Mazzocchi (1685-1750) from St Thomas's church in (1597 -1646), Bonifacio Graziani Leipzig. (1604-1665), Giacomo Carissimi The two above mentioned nuclei of (1604-1674), Gian Battista Vitali religious musical culture in Malta were (1644-1692), Gesualdo Principe di Venosa soon vying with each other for artistic (1560-1613) and excellence. At first, Italian vocalists and (1684-1755). instrumentalists were imported by both the These were the trail blazers who beat a Bishop and the Grandmaster to give their distinctive path not only in their native services in the respective "cappe/las". Italy but who influenced the course of Because of the existing rivalry, they music history all over Europe - Carissimi obviously always aimed at the very best. with his Oratorios, Monteverdi with his This factor raised the tone and standard of , da Viadana with his Basso local music-making to a high degree in a Continuo and Gesualdo with his Madrigal. very short time and Malta could then be As regards secular music in Malta, recent very well considered as just another centre research by G. Wettinger and M. Fsadni of Italian musical culture like , has shown that references to this type of , Rome or Venice. activity can be traced as far back as 1419 After a short time, talented young when nine "juculari" (musicians) were Maltese musicians were sent over to Italy employed in the militia at Mdina (see to study at one of the established centres, L-Giianja ta' Pietru Caxaru p.35). They mostly in Palermo and Naples, where, also note that the authorities in Mdina after spending a few years in apprenticeship used to employ musicians to play during they were expected to return to Malta to the processions of the principal feasts of practice their art. the town (not unlike modern practice, one A very positive step happened during the may add). Rather more interesting is their middle of the 17th century, when the post reference to a notorial act of 1467 wherein of organist at Mdina Cathedral was it is stated that two persons by the name of elevated to the one of chapel master Pietru Muscatu and Mikiel Galdes teamed ("maestro di cappella") with specific tasks up to provide musical entertainment during and functions tied to the post, like . wedding feasts. Also, at about this time, a composing, teaching the organ and training certain Andreotta de Bisconis used to walk singers. By the end of the century, musical round the streets of with a group of creativity and interpretation had reached young men "cantare e dicere cantilenas the high standards of any typical aita voce". The authors suggest that de "cappella" on the continent. Bisconis may have been improvising his Manuscripts and old music books found cantilenas in the manner of the type of ' in the Archives of the Cathedral museum "Giiana" known as "spirtu pront". in Mdina attest to the close ties that seem The Italian influence, already referred to to have been forged between Malta and the as regards Maltese sacred music of the 16th better known "cappe/las" in Italy since and 17th centuries, can also be traced to most of the great composers from these secular compositions. As early as 1650, we "cappellas" are represented in this come across a libretto for an with collection. The fact that their works are the title Dajne, ovvero La Vergine

162 Trionjante by Enrico Magi. Magi was born opera by the name of A nnibale in Capua in Valletta on the 4th of December 1630. was performed in Valletta. The authorship This libretto was dedicated to Fra of the music is doubtful. In fact, Rolandi Salvatore Imbroll, Prior of the Order (See attributes the music to the Venetian MS 775, National Library, Valletta). composer Antonio Ziani (brother of Marc Unfortunately, no written evidence is Antonio) while well-known historian Fr extant as to who may have put this text to John Azzopardi maintains that the music music or even whether this opera was ever of A 'nnibale in Capua was composed by performed in public at all. However, the Vincenzo Tozzi, a Sicilian composer. fact that as early as 1650 we can come It could however, very well be that both across material with connections, (even if Ziani and Tozzi set to music a libretto by at a tangent), to operatic activity shows the name of Annibale in Capua. It is well that in this field Maltese music was not worth the while here to remember that lagging far behind musical events Baroque practice found nothing wrong or happening on the continent. ethically wanting to have the same libretto Experiments in the birth of opera as a set to music by different composers new artistic form of musical expression had (witness the libretti of Pietro Anastasio started just after the turn of the century in (1698-1782), some of whose operatic texts . What has come to be historically were set to music by about thirty different known as the Florentine Camerata (a composers with the result that the words of group of people which included such his texts were known in advance almost by "litterati" like Count Giovanni Bardi and heart by regular operatic audiences the way Count Corsi and musicians like Vincenzo church-goers know their book of prayers). Galilei (1533c-1591), Giulio Caccini Towards the end of the century this (1546-1618) and Jacopo Peri (1561-1633)) Italian operatic influence started to take was responsible for the first early crude deep root with the result that in 1732 attempts at opera production. Grandmaster Manoel de Vilhena felt the The Camerata claimed that the music of need to build a public theatre in which this the 16th century with its diverse new type of music diversion could be contrapuntal devices had literally torn the produced. The Manoel Theatre is a jewel to pieces (laceramenti del/a poesia). of our historical/cultural heritage and its They wanted to do away with all this date of construction makes it one of the pedantry and aspired to translate the sense oldest public theatres in Europe. What is of an entire passage rather than that of a even more precious is the fact that it is still single word into music. Thus, the first functioning the way it was intended to over attempts at "recitativo" were achieved. two hundred and fifty years ago. While the old intermezzo juxtaposed drama After tracing Italian musical influences and music, the new ideals tried to blend in Malta during the 17th and 18th them together as a drama in music, hence centuries, one can perhaps proceed to "dramma in musica". highlight the effects that these had on the Ottavio Rinuccini (1550-1621) fashioned local product, as it were. his first libretto after the model of the The oldest extant musical composition by accident do several early operas carry the belongs to the Cathedral Archives in Mdina subtitle of javola pastorale. Not by and the composer is Giuseppe Balzano who accident either is the fact that Enrico was born in Valletta on September 19th Magi's Dajne written in Valletta in 1650 1616. Ordained priest in 1640, he first carries the subtitle of javola Boschereccia. served in the church of St Paul's Shipwreck. Ulderico Rolandi in his Musica e Twenty one years had to pass before he was Musicisti a Malta records that in 1664 an finally appointed "maestro di cappella" at

163 the cathedral in Mdina, a post he held on unsigned compositions to Giuseppe and off until his retirement in 1699. Balzano, namely the cantatas "Det Tuba" The composition referred to is a motet (MS 152), and "Ego Ille" (MS 161), the for two tenors, bass and continuo, entitled motets "Da Pacem Domine" (MS 159), Beatus Vir. This non-liturgical piece falls "Ecce Servum Dei" (MS 163), "Quis Est into two main sections, the first of which Hie" (MS 186) and the hymns "Te mainly involves the Bass solo. The "stile Sp/endor Et Virtus" (MS 205) and "Jesu rappresentativo" of the early Italian Redemptor Omnium" (MS 208). Baroque style stemming from the The next oldest extant signed work is the Florentine ideals already referred to are motet "Venite Omnes" scored for Cantus very evident here. Mostly, the music makes and Altus with continuo dated 1680. It is use of one note per syllable, breaking off the work of Domenico Balzano into melismatic flourishes on some of the (1632-1707), Giuseppe' s younger brother more important words. The second section and like him a priest and "musico beginning on "Cantemus Ergo" is a salariato" at St John's, at St Paul's rhythmic triple meter piece where a lot of Shipwreck and finally as "maestro di use is made of imitative counterpoint. The cappella" in Mdina. last few bars, in quadruple measure, form The dates of these two extant a kind of Coda where the three voices are compositions (1652 and 1680) attest to the brought together for the final cadence. long line of Maltese compositional activity Unfortunately this is the only known which until a few years ago was hardly signed complete composition by Giuseppe ever thought to extend beyond the works Balzano. But luckily for us in the of the well-known Nicolo Isouard. Cathedral archives one can also find a Aloysio Mataron is another name contemporary musical repertory which recently come to light. He was active includes the works of Giuseppe Balzano during the middle of the 17th Century and extant there at the time of its compilation. was the son of a French father (Jacobus It lists an impressive catalogue of 18. Mataron) and Maltese mother (Aloysia masses, 70 vespers, 36 hymns and 51 Ghimes). There are only two works of motets. his known namely the motets "Dulcis In her dissertation, Scores Attributed to Amor" (MS 113) and "Salve Regina" Giuseppe Ba/zano, 1991, Ms Natascha (MS 113). The beauty of these works Chircop sets out to trace some of the lost scored for Cantus, Altus, Tenor and works by Giuseppe Balzano from a number continuo makes it even more desirable that of anonymous compositions still extant in someone will research the life and opus of the archives. As Fr John Azzopardi writes this enigmatic figure in the history of in the preface music in Malta, about whom very little is "an examination of the works listed under Giuseppe known. Balzano in the old repertory and the group of Maltese musical activity of the 18th anonymous scores available today reveals several titles century opens with an interesting but of non-liturgical motets that are common to both, not not so very familiar figure. Pietro Gristi only as regards the actual title but also as regards (1696-1738) was born in Rabat and first details of voices and instruments employed e.g. 'a tre nQ.;o'IF.orl ,...., n \.,.,...,, C"r'\._'l"nn.n. ;n. tha '',..nrn1of/n'' voci con sinjonia'. These coincidences lead us to "'-'1 V\,.\,.& Q..::J Q. VV] .:lV}J.lQ..lJ.V .I.U. l..L.1"" '--U}JjJ\...U'-4 suspect that some works by Giuseppe Balzano, in Mdina. He was the first of a long list of Malta's oldest composer with an extant sc~re and Maltese musicians to be sent to Naples to some fragments, may still have more compositions complete his musical studies. Up to his which are not signed but are preserved among our time, Palermo was usually the place to go anonymous works". to. Financial assistance was provided by From this critical study, Ms Chircop the Cathedral Chapter and, as one would attributes another seven extant but expect, when in 1717 he returned to Malta

164 from his studies at the Conservatorio dei Like Gristi, Abos studied at the Poveri di Gesu Cristo, he took up the post "Conservatorio dei Poveri di Gesu of "maestro di cappella" at Mdina Cristo", in turn teaching at the "Pieta dei Cathedral. In 1720 he was ordained priest. Turchini" where, amongst his pupils, one Gristi was only 42 years old when he died finds the famous Paisiello (Vallardi, in 1738. Enciclopedia Moderna Illustrata). Very few pieces by Pietro Gristi are Francesco Caruana Dingli writing in 1842 extant and most of these can be found in names him as also being for some time the musical archives of the Collegiate "maestro di cappella" in the Cathedral in Chapter of Cospicua. However, a close Naples. In this city, Abos presented his look at these works would seem to indicate first opera Le Due Zingare Simili. His that Gristi was an able composer who career took off quite rapidly and in his knew his job very well. His compositions capacity as composer and orchestra are of quite an acceptable standard and of director he toured the length and breadth course betray the Neapolitan influence to of Europe from Vienna to London. For the core. two years (1756-1758) he was musical Girolamo Abos, born in Valletta, was a director of the so-called "Italian Theatre" musician of Spanish descent. He died in in London. Abos composed many sacred Naples. Diverse scholars give different works and operas, and during his lifetime dates for the birth and death of this very was well-known in most European musical cosmopolitan musician. As regards his date circles. of birth, Rolandi quotes the year 1706, Although Mikiel Ang Vella lacked the Eric Blom (Dictionary of Music) the year cosmopolitan flair of Abos, all the same he 1719; Dulfocq the year 1708 while Trecanni represents one of the more important and Vallardi (Encyclopedia) limit figures in Maltese music of the early 18th themselves to say that he was active during century. Like Abos, Vella was born in 1715 the 18th century. Rolandi, Vallardi and in Bormla where he died in 1792. Apart Dulfocq g:ve 1786 as the year of his death, from his artistic activity, Vella is also Trecanni the year 1760 and Blom the year remembered as being the first person to 1769. From circumstantial evidence I take a deep interest in starting a school of would opt for the dates given by Corbet in music in Malta on the same lines as those the Grove Dictionary of Music, namely of the Conservatories in Italy. Among his 1715-1760. students, we find some names that had a When Abos was still very young, he was great say on the course of Maltese music sent to Naples to study, never to return to later on in the century - Azopardi, Malta, his birthplace, again. In fact, no Isouard, Burlo and Magrin. M.A. Vella is archive in Malta possesses any manuscripts also historically important for his by this composer although his music, both pioneering work in the field of the secular printed and in manuscript form can be cantata. With the opening of the Manoel found in Naples, Bologna, Rome, the Theatre in 1732 this type of composition National Library in Vienna and the British came to full bloom and was very popular Museum, amongst other places. with the knights and other concert goers, The case of Girolamo Abos represents especially during the "Calendimaggio". quite clearly the musical inclination and Before Vella, these cantatas were invariably artistic mentality of 18th century Malta. the work of Italian composers (Giuseppe Abos was not only influenced by the and Melchiorre Sammartini). Vella was the Italian school, but he made it his own in first Maltese to infiltrate this area of such a way that for all intents and musical activity with works like Astra e purposes he could be considered as just Pallade, (1740), La VirtU Trionphante, another Italian musician. (1741), La Giustizia di Nettuno e la Re/igione

165 Gerosolimitana, (1746) and G/i Applausi Zerafa and before the latter left Naples to del/a Fama, (1758). return to Malta he wrote him a very good According to F.G. Fetis (1784-1871) recommendation extolling the young Vella, for some time, was active in Paris Zerafa's abilities as a composer. (c. 1750). Whether he was there studying It was to be expected, then, that when or working is not very clear. What we Zerafa applied for the post of "maestro di know for sure is that during his stay Vella cappella" at the Cathedral in Mdina an published two trios and six quartets and his office which had been vacant ever since the impact in Parisian circles was such that premature death of Pietro Gristi (1738), his Charon and Fayolle in their Dictionaire application was very favourably and Historique des Musiciennes deemed him enthusiastically received by the Church important enough to be included, while authorities, so that on the 22nd of August Fetis in his Biographie Universe/le des 1744 Bishop Alpheran Musiciennes et Bibliographie Generale de la "issued a decree appointing Benigno Zerafa, aged 18, Musique published in 1881 described M.A. 'Maestro di Cappella' of his Cathedral, with the Vella as being a contrapuntist of the top obligation to conduct music, teach Canto Fermo and order. Canto Figurato, holding at least two rehearsals every The most important composers active in week". (Fr John Azzopardi ibid.). Malta round the middle of the 18th century are undoubtedly Benigno Zerafa and Although time would eventually prove Francesco Azopardi. Benigno Zerafa was Francesco Azopardi to be a more prolific born in Rabat on the 25th August 1726, composer, yet in certain musical aspects the fifth of eight children. At the very Zerafa's art was far more progressive. It early age of 11, Benigno already formed shows a close familiarity with musical part of the "Cappel/a Musicale" at the tendencies in pre-classical Europe and in Cathedral after having been recommended this "stile galante", I find Zerafa to be by the Church Deputies for Music as being more advanced than Azopardi, who was suitably qualified. He was accepted as a rather conservative in this respect. These "soprano" under the directorship of fietro characteristics of Zerafa are very evident in Gristi. Fr John Azzopardi in his short his orchestration, very often of a florid biography of Benigno Zerafa writes: nature and with intricate musical figuration. His frequent use of the triplet rhythmic "Benigno's service at the Cathedral was brief, for at the age of twelve, and following the premature death division, also makes him stand out among of the Chapel Master, Don Pietro Gristi, on the 4th his contemporaries and immediate of March 1738, he departed for Naples to be trained successors. Likewise, the formal structure in the same institute (Conservatorio dei Poveri di of some of his arias. I have yet to meet an Gesu Crista), where his master at the Cathedral had 18th century Maltese composition as truly received his musical education." "rococco" in style as Zerafa's "Nisi A document of 1738, preserved in the Dominus" of 1764 originally scored "a Archivio Storico Diocesano of Naples voce sola con violini, stromenti di fiato e records: "A 8 detto (July 1738) entrato mandolino obbligato" with, of course, Benigno Zeraja, Maltese, posto da Sua continuo. Notice also the unusual but D-....:_...... _ ...... --- ... 1...... ,, r£"\. .... +1...... 0+1... ..-...C T •• l ... DIIUIU";ft-GU pt::t UlUftflV • \VU L.U~ 01..11 Ul JUl)' interesting use of the mandolino as an 1738 the name of Benigno Zerafa, Maltese, obbligato instrument. was registered on the recommendation of Fortunately, the majority of Zerafa's His Eminence). compositions, (which include quite a num­ In Naples, Zerafa studied with, amongst ber of psalms, masses, antiphons, motets other professors, his compatriot Girolamo etc.), are still extant because through a Abos and after a six year course returned notorial act of the 7th February 1787, he to Malta. Abos thought highly of young bequeathed all his works to the Cathedral.

166 Francesco Azopardi (1748-1809) by and what we know about it comes nature was of a more cosmopolitan to us from contemporary reviews and inclination than his older contemporary mentions. The text of this oratorio was Benigno Zerafa. Azopardi had begun his written by none other than the famous musical studies with M.A. Vella. But like Metastasio. Zerafa, he soon found his way to Naples It is a curious fact, however, that though to study at the Conservatorio of "San most of his sacred compositions are extant Onofrio". His teacher here was none other and readily available in several local than the famous Nicolo Piccini (1728-1800) musical archives (mostly in Mdina), his who during the late 1770's features so secular works are very hard to come by. notoriously as C.W. Gluck's (1714-1787) Suffice it to mention that although the rival in the Parisian "Guerre des archives in Mdina are so rich as regards Buffons". After finishing his studies in Azopardi's church music, there are only Naples Azopardi stayed on for about three secular works of his on their another four years working very catalogue, namely, three sinfonie successfully along, and sometimes in (overtures), two of which are "con oboe competition with, famous composers like obbligato". Tommaso Traetta (1727 -1779) and Piccini No less important were Azopardi's other himself. activities, both as a theoretician and as a This artistic success by a Maltese teacher. His musical treatise 11 Musico composer in such a famous city could not Prattico dedicated to Vincenzo Vergoda y but attract the attention of interested Ribera, was a great success when it was parties in Malta, not least the Cathedral first published in Italy and later on in authorities in Mdina. As early as 1772, the France, where it was translated and put on. Chapter had already hinted to Azopardi the market in 1786 by the Belgian Framery. that he would be very favourably Eventually,// Musico Prattico found its considered as their next "maestro di way even to the exalted aulae of the cappella" if he had so desired. However, conservatoire in Paris after it was approved another two years had to pass before by Andre Gretry. Gretry opined that Azopardi could finally be persuaded to "/'opera era /'unica ne/la quale eccellenti return to his homeland to be given his esempii, e scritti bene in musica, sono appointment in Mdina in 1774. congiunti alia teoria ordinaria degli To commemorate this occasion (and accordi". (The only work where excellent, also, no doubt, to introduce himself with a well-written musical examples are quoted bang to the Maltese music loving against theoretical statements and authorities and general public) he harmonic rules). Even the great Cherubini, composed what is perhaps one of his major whose influence shadowed even such a works, namely the MassinG major for colossus like Beethoven, thought very two separate four-part choirs, soloists and highly of Azopardi. This, to the point orchestra. This great mass was performed where in his treatise on counterpoint, he with huge success in 1775. saw fit to include excerpts from 11 Musico Azopardi's vast opus includes many Prattico as exemplary elucidations. urnrlr"' ...... lmnnrt!:llnt l""' ...... ,...._ ...... _!llnrl ..... _ y.a."'"'u"•O•'-'""'unr,::lctlalnnc ,..,_ ....n .. u ...... lilr.:a,.,"' .&.'-'.1.f'nr example the two masses of 1776 and 1798, didactic book, the manuscript of which is both structured on the style of the "Messa preserved in the Archives in Mdina,• in Sol" already mentioned. Besides, we "Origine del/a Regola del/a Musica ne/la find scores of psalms, antiphons, hymns Storia del suo Progresso, Decadenza e and the like. One of his reputedly greatest Rinnovazione". Here Azopardi challenges creations, the oratorio "La Passione di the theories expounded by a certain Cristo" is unfortunately untraceable Antonio Eximio in his book Sull'Origine

167 del/a Musica published in Rome, which Lulli (Jean Baptiste Lully 1632-1687) because of its destructive had before him he practically lost his national been described by the Italians as "un identity and became totally imbued with bizarro romanzo di musica" (a bizarre tale the manner and style of his adoptive Paris. of music). This loss however, was more on a social Like Azopardi, both Salvatore Magrin rather than artistic level. (1770-1848) and Giuseppe Burlo Isouard had begun his studies in Malta (1772-1856) started their musical studies and it was only to be expected that he with M.A. Vella in his school at Bormla would be sent to Naples to finish his (Cospicua). Magrin and Burlb did not schooling. Here, at a very tender age, he measure up to the stature of their two began to make a name for himself, immediate forerunners - Zerafa and especially with the production of his first Azopardi. Yet, they have endowed and opera L ,A vviso ai Maritati (1794, in enriched our national musical patrimony Florence) which proved to be an immense with quite a few worthy musical success. Shortly afterwards De Rohan compositions, mostly of a sacred nature. called him back to Malta to occupy the Salvatore Magrin, after his initial studies post of "maestro di cappella" at St John's with Azopardi went to Naples to finish his Cathedral in Valletta. training and when he returned to Malta he Isouard was a great Francophile and was immediately appointed ''maestro di when the French were forced to end their cappella" at Bormla. Apparently, for some two-year occupation of the Island reason, Giuseppe Burlb failed to emulate 1798-1800, he decided to leave Malta and the contemporary custom of proceeding to settle in Paris, never to return to his Palermo or Naples to round up his musical homeland again. studies. These were limited to courses in From the middle of the 17th century to Malta, especially with Azopardi, as already the end of the 18th, European music was indicated. However, rather than the largely dominated by the Italian style in composer, a work of his seems to have such a way that this type of music served eventually found its way there! P .P. as a "lingua franca" all over the continent. Castagna in his Malta bii-Gzejjer Tagliha Where this style did not completely absorb maintains that Burlb's treatise Memoria sui local musical customs as had happened in Contrapunto was used for didactic London, St Petersburg and obviously purposes at the Conservatorio in Naples. Malta, it co-existed with the local style, but One of the giants of Maltese musical in a state of great rivalry (France and history is undoubtedly Nicolb Isouard. His Germany). In France, the rivalry between exact date of birth has been the subject of the two factors was great indeed. controversy for some time. Until a few The "Guerre des Buffons" had started years ago, the year 1775 was held to be in the time of Jean Jacques Rousseau Isouard's date of birth (Castagna, Rolandi, (1712-1728) and reached its climax round Trecanni, Larouse and the Oxford about the year 1780 when Christoph Companion to Music). Dominic Cutajar's Willibald Gluck (1714-1787) was recent research seems to have settled the "imported" from Germany to champion issue and pins the date to the 17th of May the French cause (Trogedie Lyrique). The 1773. rivals were not to be outdone and we find Isouard was the composer who towards Nicolo Piccini (1728-1800) being asked the end of the 18th century made Malta from Naples to take up the cudgle on known to all European musical circles, behalf of the pro-Italian faction (Opera especially since he preferred to be referred Comique). This was the scene in Paris to as Nicolb de Malthe. This despite the some twenty years before Isouard's arrival fact that like the Italian Giovanni Battista and the latter, bred as he was in the

168 Nicololsouard (1773-1818) AntonioNani (1842-1929)

l l>toriaY t•·o '"'' ful!a!tu.pes 'tu Dulcis Amor Jesu' by Luigi Matarvn (c.1650), Paolino Vassal/a (1856-1913) Archives of Cathedral Museum, Mdina.

169 Neapolitan school and tradition, could aspired to and had wanted so very badly. only end up in the camp of Piccini, namely This incident had a telling effect on his in the world of the Opera Comique. work and health and Isouard died a year Isouard started to compose several later, in 1818. operas in this style which made him an With the beginning of the 19th Century, instant success with the Parisian public. we find in Malta three families who were He soon became a household name in Paris to contribute greatly to the musical life of where he was simply and rather affection­ the island, both in the way of composition ately known as Nicolo or Nicolo de Malthe. and performance. Moreover, works of his like Jeannot et The Nani family is perhaps the one with Colin, Joconde and Cendrillon soon broke the longest roots. In fact, we know that as the confines of French opera houses and early as the time of Grandmaster De spread the name of Nicolo all over Europe. Rohan, a certain Angelo Nani (1751-1844) There is not one single library or archive came to Malta to be employed as violinist where I have been (Italy, Austria, with the Order. Angelo Nani originally Czechoslovakia, Norway) which does not hailed from Venice but seems to have found list a substantial number of works by life in Malta very congenial because he Isouard in its catalogue. settled here for good. He was a top-notch In France, especially, his was a huge violinist and soon made a name for himself. success indeed. Some detractors, however, and his music. The next generation Nani like to point out that this popularity was was his son Emanuele (1768-1860), who not won for reasons which were circumstantial only followed his father's profession as a rather than artistic - Cherubini had by violinist, but was also very active as a this time become very, very old; Mehul musical director. His conducting career took seemed to have lost interest in composition him all over Europe (Palermo, Venice, and practically stopped his activities; Naples, London and Paris). It is probable Kreutzer was grossly and deeply involved that during the two years of the French only in Grand Opera; Breton had almost occupation, Emanuele was not on the disappeared from the scene, while island. But he did return when the French Boieldieu emigrated to Russia to work in left, because it was Emanuele who the court at St Petersburg. conducted the concert given in honour of For some time, therefore, Isouard had Sir Alexander Ball at the Manoel Theatre. been working in Paris almost without any For this occasion, he performed one of his competition. This ended only in 1811 when compositions - Torno Febo dal Gange Boieldieu returned from Russia. Francois Festoso, a cantata. Adrien Boieldieu (1775-1834) picked up Dr Paolo Nani (1814-1904) was again a career in Paris which he had Emanuele's son. He was sent to Naples to launched eleven years earlier (1800) with further his musical studies and amongst his the production of his highly successful teachers we find Zingarelli and the famous opera The Caliph of Baghdad. For his Donizetti. Paolo Nani was perhaps the return, Boieldieu presented La Dame most prolific of the Nani line of composers Blanche which again proved to be highly with many worthy compositions to his credit. Pao!o's son, .A•. ntonio Nani popularity began to mushroom to sweeping (1842-1929) after his initial studies in proportions, very often to the detriment of Malta, also went to Naples where he was Nicolo Isouard's. In fact, Nicolo's biggest coached in harmony and counterpoint by disappointment came at the hands of his the Neapolitan Barbati and De Gioiosa. rival Boieldieu. The latter was in fact Back in Malta, Antonio established himself chosen as director of the Academie in as one of the most successful and popular Paris, a post which Isouard had greatly "maestri di cappella" in which capacity he

170 provided the music for some of Malta's become interested in composing an operatic major parishes. Because of his job, he had work, a project which however never came to compose several antiphons for the to fruition. titular feasts, compositions which are still After six years in Naples, Bugeja played today with much relish, one may returned to Malta in 1797 and soon became add, both on the part of the performers very active in several "cappe//as". His and the listeners. The Nani family line fame as a composer grew wider especially continued with another Paolo (1906-1986), when he also started to involve himself in Antonio's son. Paolo studied in Rome, and conducting. In fact, during the season in Malta he will be remembered mostly for 1806/1807, Bugeja held the post of musical his conducting, not only as ''maestro di director at the ''Teatro Reale' ', the name cappella", but also for introducing "new" by which the Manoel Theatre was called at works from the symphonic and concerto the time. We find him occupying this post repertoire to the general public. again during the 1812/1813 and 1815/1816 The origins of the Bugeja dynasty of seasons. It is interesting to mention here musicians may be traced back to the end of that Angelo Nani, the first generation of the 18th century. Since then and for a long the Nani dynasty, served as Bugeja's first time afterwards, the Bugeja family together violinist for most of these times. with that of the Nani's dominated the Meanwhile, when Francesco Azopardi musical scene in Malta. A member of died in 1809, Pietro Paolo was appointed either one of these families could be found "maestro di cappella" at St John's. His to occupy the post of ''maestro di sacred opus includes four Messe da cappella" in practically every church in Requiem, a Messa di Gloria, twenty Malta. Typical of the Maltese mentality, shorter masses, about thirty psalms, we soon find rival groups of supporters various hymns, antiphons and responses. forming round the two families and There are also nine syphonies. enthusiasm on the part of these "clans" Another secular work of his, the musical was at times known to get slightly out of allegory 11 Primo Omaggio (text by Cesare hand. Vassallo) was composed and performed at Pietro Paolo Bugeja (1772-1828) was the the Teatro Reale for the welcome first in the long line of composers which ceremonies for the new governor of Malta spanned almost two centuries. V. Caruana Sir Francis Hastings in 1824. His sacred dei Conti Gatto in his Malta Artistica oratorio Gioas, Re di Giuda (text by Pietro 11/ustrata says that Pietro Paolo probably Anastasio) is also worthy of mention. began his studies with Francesco Azopardi. On the whole, Bugeja's worthiest Like so many others before him the contribution was his work in sacred music. young Bugeja left Malta to continued His secular works, especially his studying in Naples when he was 19. symphonies, are rather simplistic in His first encounter with the music public conception, form and orchestration. of this city was when he composed a Pietro Paolo had several children, two of Solemn Mass in honour of San Ivo. This whom Vincenzo and Filippo were to carry success led to his being appointed on the family standard. Vincenzo Bugeja ''rnnoC'frn rli ;·vrnnolln'' o:J~t thD- r'hnrl"h nf n.r~co hn..-n ;n 'Tnllottn ;,.., 1 Ot\.C ..,.,..,..-1 ,.l;.o...-1 ;....,. •••- ...... , ...... , -· "'"""1:".1:""'"".... '-4-t...... \,1...... 1..1. '-'.1. n UO UV.I. .l..l .t ..U. 't' (.U. .l"'LLU. .l.U .l UV.J Q..l.l\.1. \,.l.l\.1\..1. .111 San Ivo in Naples, a place he occupied for 1860. At the early age of 23, he found about four years. himself being asked to replace his father as While he was in Naples, Pietro Paolo "maestro di cappe//a" at St John's got to know his compatriot Nicolo following the latter's death in 1828, a post lsouard, whom he greatly admired. After he seems to have reluctantly accepted. the success that Isouard had with his In fact, the year after he left for Naples. L 'A vviso ai Maritati, he seems to have At the "Conservatorio San Pietro di

171 M aiel/a", Vincenzo studied under Furno followed his father's footsteps to the and Zingarelli, and his fellow students conservatorio San Pietro di Maiella in included the famous Mercadante and Naples. One of his teachers was the Bellini. Mifsud Bonnici writes that when famous Mercadante with whom Riccardo Zingarelli was asked by King Vittorio seems to have forged a strong bond of Emanuele 11 to nominate two of his best friendship. Mifsud Bonnici in his MuziCisti, students in order that they could be Kompozituri Maltin u Gliawdxin says that commissioned to compose a theatrical work when Mercadante went totally blind he put forward the names of Vincenzo Riccardo on vatious occasions served as his Bellini and Vincenzo Bugeja. The opera amanuensis. The author singles out Lodoviska is said to have been Bugeja's Mercadante's S¥mphony Il Rammento del effort which he finished in 1831. Its Maltese Bardo also saying that it was dedicated to premiere took place a year later at the Riccardo. Like his father Vincenzo, Teatro Reale on the 15th March 1832. Riccardo was quite a prolific composer. His On his return to Malta he took over the symphonic overture Cordelia written in 1880 post of musical director to the numerous remains one of his more popular pieces to churches where his father Pietro Paolo had this day. established himself. Vincenzo was The coming into force of the "moto especially popular in the parish church of proprio" decreed by Pius X in 1903 Floriana where his antiphon 0 Melitae came as a blow to most composers versed Digna Pro/is in honour of St Publius is and saturated as they were in the traditions still played to the present day. His work of Neapolitan operatic-imbued sacred also includes solemn masses, funeral music. The moto proprio sought to abolish masses, motets, antiphons and six from regular church services excesses of symphonies. operatic style singing and writing which by As already mentioned, Filippo the end of the 19th century had permeated (1808-1891) was Vincenzo's younger every nook and corner of church music­ brc'ther. Unlike his brother and his fater making. It aimed at reinstating as much as before him, Filippo did not go abroad to possible a simpler accessible style, opting study. His only musical training was for the simpler forms of the mystic received from his father. Although he tradition of the Gregorian chant, whenever seems to have left his mark locally as a possible, for the liturgical functions. pianist, organist and music director, Riccardo was one of those composers Filippo is perhaps the least important of who had to adapt themselves to the new the Bugeja line of musicians. His life is laws of composition for sacred music, but also rather obscure and few facts about his unlike most of his colleagues he seems to activities are known with certainty. Unlike have adapted himself without much difficultY the other Bugeja's who left a very rich to the recently imposed parameters. patrimony for posterity, Filippo's works With Riccardo's son Vincent (1910-1967) were either lost or else he was not a very we come to the end of the Bugeja dynasty. assiduous composer. Granted that he Vincent started his musical studies with probably wrote more than there is evidence several Maltese teachers but when he for, yet his extant works are only a decided that it was time for him to go and handful. specialize abroad, unlike his father, The onus of carrying on the musical grandfather and great-grandfather before torch of the Bugeja family fell on him, he went to Rome not to Naples. He Riccardo, Filippo's nephew. Ricardo was 17 by that time and he successfully sat Bugeja was the eldest son of Vincenzo. He for an entrance examination at the /stituto was born in 1844 and died in 1926 at the di Musica Sacra where he studied with venerable age of 82. In 1862 Riccardo Refice, amongst others. He returned in 1934

172 and soon took up the post of musical and well in the 20th century, one can director in several churches in true respect retrace one's steps back to the early 1800 for a long standing family tradition. to pick up the thread with regards to other The departures of the Italian opera composers contemporary to the Nani's, the company in 1939 just before the war broke Bugeja's and the Vella's. out, provided the young Vincenzo with the With Alessandro Curmi (born in Valletta opportunity to break into new ground. He 1801) we come across a composer whose formed the Malta Amateur Theatrical stature in our national musical heritage is Company (notice the changing Maltese not as yet given its due recognition. A mentality reflected in the choice of an cosmopolitan man by nature, Curmi English rather than an Italian title, worked in the main cities of Europe something which a few years before would performing his works and operas. P .P. have been taken for granted) to help fill Castagna lists amongst others his Gustavo the void created by the departure of the d'Orxa produced in Rome, the Elodia Italian singers and musicians. As musical d'Hersta/1 produced in Naples, 11 Proscritto director he performed many (admittedly di Messina and La Rivoluzione both Italian) operas but always with a totally produced in Paris. Mention is also made of Maltese cast. three operas which Curmi presented in The other family, minor in regards to London namely La Rosiere, La Lolodich the Nanis and the Bugeja's both as regards and La Reine de Fate. These operas, with a the number of creative members and span French text, are very much in the style of of activity, was that of the Vella's. It was the opera comique, a fact which would put started by Dr Giuseppe Vella who was him in line with his compatriot and born in Valletta in 1827, by which time predecessor Nicolo Isouard. Alessandro both the Nani and Bugeja families had Curmi died in Naples in 1857. been active for more than 50 years. In An equally unresearched and as yet Malta Giuseppe Vella had been the pupil obscure figure is that of Francesco Schira of Don Giuseppe Scicluna before (probably a foreign corruption of the local proceeding to Genova to specialize. name Sciriha). Grove) Dictionary of He was appointed "maestro di cappella" Music quotes his date of birth as being to the Cathedral and eo-Cathedral in 1861 1809 in Malta, and that of his death, 1883, after the death of Vincenzo Bugeja. He in London. Schira was a composer and was also professor of music in the Jesuit conductor of a truly international fame. College. Giuseppe Vella was quite a When only nine years old he was already popular composer and his works seem to studying at the Conservatorio in Milan, have had an immediate appeal on his and he received his first artistic commission listeners. During his time, he was mostly at the young age of 17. This was an opera known and lauded for his Requiem Mass. by the name Elena e Malvino performed He died in 1912. All three of his sons, on the 17th of November 1832 at the namely Alberta (1866-1931), Luigi Teatro alia Scala. The immense success of (1868-1950) and Paolo (1873-1948) were this production earned Schira an immediate also composers, mostly of music of a invitation to the Teatro Santa Carlos in lighter vein. Several of their pieces were Lisbon. In this city, Francesco sojourned published. However, their stamp on local for eight long years as the theatre's artistic music is very lightly marked and their director, conductor of the orchestra and importance is more historical than also resident composer. He shared all these artistic. with the post of professor of harmony and Having drawn a historical line down the counterpoint at the Lisbon Conservatoire, path of Malta's three best known musical In 1842, Schira left Lisbon for Paris. His dynasties right through the 19th century stay here was short-lived because he soon

173 had to leave for London after signing a Italy resulted in a number of Jesuit priests contract as Musical Director for the settling in Gozo, and in a thrice, the Princess Theatre. A short time later he also Seminary in Victoria became a hub of had under his wings the artistic direction of diverse talents and excellent scholarship. the Drury Lane Theatre. Schira's expected One of these settlers, a certain Padre appointment with Covent Garden arrived Enrico Scio, became Farrugia's teacher of in 1848 with his opera Kenilworth based on music at the Seminary, and this would Sir Waiter Scott's story. seem to explain how a student whose Other minor figures active during the studies never over-stepped the narrow first half of the 19th century were confines of Gozo, could at the same time Emanuele Muscat (1790-1837) who studied write in a contemporary style, as fresh and in Naples; Emanuele Galea (1790-1850) modern as that of any of his colleagues reputedly active even in Russia where he is from Malta. Farrugia wrote various said to have written a hymn purposely for masses, psalms, antiphons, hymns and a the Czar in 1842; Cesare Vassallo few secular works. He is best known for (1801-1880) also a doctor of laws and the music which is played during the feast librarian; Angelo Galea (1806-1890), who of St George in Victoria. served as bandmaster with several The most prominent personality after the regimental English bands; and Don 1850's was undoubtedly Paolino Vassallo Giuseppe Scicluna (1809-1878). (1856-1913). He was only 19 years old From among this group of minor when he went to Paris to study at the composers, Giuseppe Spiteri Fremond rises Conservatoire and, as teachers, had none head and shoulders above all the others. other than Charles Gounod, Spiteri Fremond (1804-1878) was an and Camille Saint-Saens. Vassallo made a Augustinian monk who gave his services in name for himself in this city with the various monasteries belonging to his order composition of diverse cantatas and in Rome, Genova, France the United symphonic pieces. He was also musical Kingdom, Egypt and Palestine. His fame director of the then famous Lamourex was such that the Musical Society of Orchestra. Bologna found him worthy to be It is said that Vassallo was even awarded nominated a member (1873) on the the highly prestigious Grand Prix de Rome, strength of the international recognition a scholarship he could not accept because which his compositions had earned him. of his nationality. During the span of seventy years starting In the course of the history of music in from the middle of the 19th century, Mons. Malta, Vassallo represents the first Giuseppe Farrugia was perhaps Gozo's composer who truly severed the close ties most famous man of the arts. He was born which Maltese music had always had with on the 2nd of June 1852 and died on the Italian forms and structures. In fact, his 18th of March 1925 after a fruitful life secular output is replete with compositions spent in artistic ventures and scholarly using formal structures which are basically pursuits. Farrugia, a canon at the Gozo extraneous to Italian idiom, like Cathedral, was indeed a man of many symphonies, symphonic poems and concert talents. He was a first class preacher and Latinist, , author, architect and Vassallo uses is also quite advanced. designer. He was also a very good In Malta, Vassallo established a school musician, whose works, in their conception of music in his hometown Cospicua, and and treatment, were often ahead of what here, Carlo Diacono, Duminku Anastasi was being written contemporaneously in and J osie Mallia Pulverenti got their first Malta. · training. The troubled times of the unification of Paolino Vassallo's historical importance

174 is three pronged, namely, the influence he worthy of mention is undoubtedly had on traditional Italian operatic practices Emanuele Bartoli (1852-1933). For a long in Malta, the reformed sacred style of the time he served as a bandmaster in the army Moto Proprio of which he was a great and because of this position he has left a promulgator, and thirdly modern harmonic great number of original pieces for band and formal conceptions which he and very good arrangements of operas, "imported" from the French School. It is symphonies and other orchestral works interesting to note that the three students also for this medium. However, he was no of his just mentioned, Diacono, Anastasi less active in the orchestral field. His opera and Mallia Pulverenti each respectively Simonetta unfortunately never had an represent these three aspects. airing, but smaller works of his, especially From the point of view of Maltese religious pieces, were widely played. His music, the third branch of influence just compositions are notable for their rich mentioned is the most important, because harmonic basis, something which Bartoli for the first time we can witness a radical often integrates with his melodic break from three centuries of continuous progressions in such a way as to make the Italian influence. During the middle of the two an essential part of each other. 18th century, Paris was the centre of new Vassallo's students, Carlo Diacono artistic ideals which had been given birth (1876-1942), Fr Duminku Anastasi and nurtured by such iconoclasts like (1886-1938) and Jose Mallia Pulverenti Monet, Manet, Renoir, Degas and (1896-1964) are the three mainstays of the Cezanne. These artists had rebelled against music of the early decades of the 20th the rules of Romantic art and started the century. Their chief contribution and so-called Impressionist Movement. These inclinations as far as Maltese music is ideals reflected themselves in the music of concerned has already been hinted at. Of Claude Debussy (1862-1918) and later in the three, Diacono was perhaps the one to that of Maurice Ravel (1875-1937). Paolino follow most clo.sely the traditional Italian Vassallo who lived and worked for a whole school. Anastasi's art is, in a way, more decade in Paris starting from 1875 till 1885 refined and detached, with elements of a must surely have been in some way mystic nature surfacing through, especially influenced by these artistic convulsions. in his "a cappella" works. Both Diacono Any man of his sensibility could not be and Anastasi make liberal use of modal immune to them. tonalities in their works. Mallia Pulverenti, The "French connection" of Maltese on the other hand, is the composer with music could make an interesting study on the more "advanced" ideas and idioms. its own. We have seen how musicians from His two symphonic poems Impressione Malta and their art had followed closely Sinjonica and Espressionismo attest clearly Italian (mostly Neapolitan) ideals. Yet, if to this. one delves as far back as the middle of the Yet, when everything is said, no doubt 17th century one can find a secondary, far remains that the influence of Italian music, less delineated, yet almost uninterrupted opera especially, had rooted itself deeply line of influence originating from Paris. right through to the present time. The Th1C' ].,,,.1 cot.-,rt.o..rl nr~+h T .... ~ .... ~ 1\JI'",...+..-.-....,....., ...... 1 .._ .&a.&L:J .uu.u. L:JLU.I. '-""'U Yl' J.L.l.l L.JU1,51 lV~Qt.Q.l VII Q.JlU building of the Royal Opera House in 1866 Enrico Magi and then on to Mikiel Ang was exactly the fruition of this widespread Vella, Francesco Azopardi, Nicolo Isouard, activity and its unquestioned popularity Alessandro Curmi (or the Francocized with the Maltese masses. Ulderico Rolandi form Curmy as he himself mostly signed makes some very interesting and his name), Francesco Schira and last elucidatory comments about opera in Paolino Vassallo. Malta in the mid-1850's. He writes A contemporary of Paolino Vassallo that:

175 "successful appearances on the Maltese operatic stage ones, though always in their Italian was considered as an indispensable step in the career version. The following French operas (with of any fledgling artiste" the dates of their Maltese premiere) (he was obviously referring to Italian cropped up regularly on the "cartellone" artistes) and continues saying that: of the Royal Opera House - Faust (1868) by Gounod, Fra Diavolo (1872) and La "the Maltese public were always very enamoured of the lyrical theatre. They showed respect and good Muta dei Portici (1866) by Auber, Roberto manners by refraining from cross talking and making il Diavolo (1866), Gli Ugonotti (1868), noises with the programmes during the performances, L'Africana (1870), Il Projeta (1872) and and not coming late" Dinorah (1873) by Meyerbeer, L 'Ebrea (apparently ills affecting Italian (1876) by Halevy and Carmen (1880) by contemporary theatres). Bizet. The above shows the respect that the German opera was practically non­ Italians themselves had for operatic existent with the exception of Martha presentation in Malta and how highly they (1862) by Flotow and Don Giovanni (1847) thought of the Maltese stage as a centre for by Mozart. The first Wagnerian operatic opera production. Moreover, if one looks drama, Lohengrin arrived during the at the list of operas that were presented season 1895-1896. during the first operatic season at the Reference has already been made to the Royal Opera House (and most successive Nani, Bugeja and the Vella families, some ones for that matter) it is not difficult to of whose members were extre~ely active as imagine why. "maestri di cappel/a" during the first half The first Commission for the Royal of the 20th century. However there were Opera House appointed by the government quite a few other musicians worthy of · consisted of Lieutenant Colonel John Reel, mention, active not only in churches but Mr Henry C. Frendo and Baron Ugo also in the theatre and the very popular Testaferrata Abela and for the very first local bands - composers like Carlo season (1866) they programmed the Farrugia (1881-1961) who studied with following 16 operas: I Puritani (Bellini), Giuseppe Vella; Gaetano Grech (1855-1933) Gemma di Vergy (Donizzetti), L 'Ebrea author of a book on the rules of harmony (Appollone), Mirope (Pacini), lone in Maltese; Mario Cirillo (1891-1955) who (Petrella), Ernani (Verdi), Barbiere di studied in Naples and J oseph Abdilla Siviglia (Rossini), Crispino e la Comare (1886-1944) a student of Paolino Vassallo (Ricci), Lucrezia Borgia (Donizzetti), and a well-known contrapuntist. Roberto if Diavolo (Meyerbeer - notice Another student of Paolino Vassallo was straightaway and significantly, the Giuseppe Caruana (1880-1931). Caruana ltalianized version of the French original wrote a lot of sacred music but is Robert Le Diable), Elisir D'Amor nowadays chiefly remembered for his (Donizzetti), Rigoletto (Verdi), Poliuto hymns. Caruana had a natural flair for (Donizzetti), I/ Trovatore (Verdi) and La writing these simple, attractive semi­ Traviata (Verdi). religious tunes which over the years seem The average number of operas presented to have lost nothing of their original

....fnr _. ... P<>l"h___ ...... ""'"'"'".., __ ..,"' ...... "'"" _._. flftPPn...... ~-- ...... , hvn.... '""' nf...... UTh;l"h _...... freshness and impact. They have a beauty had to be new to Malta. In all, during a of line rarely met with in Maltese music. particular season, more than 120 perfor­ I always think of Giuseppe Caruana as mances were presented, and considering the the "Schubert" of Maltese music. size of these islands, operatic life then Giuseppe Camilleri (1903-1976) and could be considered very rich indeed. Joseph Abela Scolaro (1910-1979) were The main bulk of the operas presented both active in the world of the theatre. were Italian with a sprinkling of French Camilleri, especially, was for a long time

176 musical director of a local amateur Whether one finds empathy with his music, operatic company with whom he produced or faults some of his styles and several operas. Both Camilleri and Abela approaches, his figure none the less looms Scolaro were also very well-known prominently as that of the "grand old conductors of popular bands and have man" of Maltese Music during the greater written some of the best pieces in the part of the 20th century. He wrote "local" repertoire for this medium. prolifically in the field of opera, oratorio, As regards the contemporary scene, four chamber music and orchestral works, a composers stand out clearly both for their substantial number of which have received vast and varied output and their performances abroad. Pace was the first recognition on an international level - composer to take an active interest in Carmelo Pace (born 1906), Charles Maltese folk music. In fact his orchestral Camilleri (born 1931), Pawlu Grech (born Fantasia Maltesina was first played in 1938), and Joseph Vella (born 1942) who is 1931. He also left his mark in the field of also very active as a conductor. teaching, an activity which he assiduously Carmelo Pace (1906-1993) has been a followed right up to his death. shining light to most of his contemporaries.

177 Bibliography

ANON., Cenni Storici sui/a Vita del Maestro di Cappella V. Bugeja, A. Aquilina, Malta, 1861. ANON., Cenni Biografici di Giuseppe Spiteri Fremond, Tipografia Gutenberg, Malta, 1878. AZZOPARDI, Fr. J., Vetera Novaque Concentos et Carmina, Mid Med Bank, 1985. La Cappella Musicale del/a Cattedrale di Malta e i suoi rapporti con la Sicilia, Daniele Ficola, Palermo, 1985. L 'Archivio Musicale del/a Cattedrale di Mdina a Malta: I/ Repertorio Siciliano, J. Bonet, Malta, 1986. Nico/o Isouard de Matte, PEG, Malta, 1991. AZZOPARDI, SANSONE, Baroque & Rennaisance Music in the Mdina Cathedral Archives, (due to be published). BADGER, G.P., Description of Malta and Gozo, P. Cumbo, Malta, 1851. BORG, M.A., Lyric Opera in Malta - Season 1838-39 its Side Issues, National Press, Malta, 1939. CARUANA DEI CONTI GATTO, V., Malta Artistica !1/ustrata, Casa di San Giuseppe, . Malta, 1910. CASTAGNA, P.P., L-Istorja ta' Malta bil-Gzejjer Taghha, C. Busuttil, Malta, 1888. DEGABRIELE, M., CAFFARI, G., Carmelo Pace- A Maltese Composer, PEG, Malta, 1991. EYNAUD, J., I/ Teatro Italiano a Malta 1630-1830, Lux Press, Malta, 1979. FARRUGIA, Mons. L., Maestro Dr Paolo Nani, Giuseppe Abela, Malta, 1904. FAURE, G., Storia ta' Malta u Ghawdex, Andolfo/Magro, Malta, 1916. HEIGHS, AZZOPARDI, J., A Concert of Maltese Baroque Music by Benigno Zerafa (programme booklet), Valletta, 1987. KROESLER-ILG, B., STUMME, H., Maltesische Volkslieder, Berlin, 1909. LAFERLA, A. V. Grajjiet Malta u n-Nies Taghha, Evans Bros, London. MICELI, A. G., L-Istorja ta' /-Opera j'Malta (unpublished). MIFSUD BONNICI, R., Muzicisti Kompozituri Maltin - Maestri di Cappella tal­ Katidral, ABC Fine Arts Printers, Malta, 1950. Muzicisti Kompozituri Maltin u Ghawdxin, Giov. Muscat, Malta, 1951. Grajja tal-Muzika j'Malta u Ghawdex, Giov. Muscat, Malta, 1954. Divjunarju Bib/jografiku Navjonali, Dipartiment ta' 1-Informazzjoni, Malta, 1960. Grajja ta' Banedj'Malta u Ghawdex, Giov. Muscat, 1957. MUSCAT AZZOPARDI, Ivo, Bijografija tai-Muzidst Nicolo /souard, Department of Information, Malta, 1958. Francesco Azopardi Kittieb tal-Muzika, Casa di San Giuseppe, 1949. PALMER, Christopher, The Music of Charles Camil/eri, London, 1975. PARTRIDGE, J.F., JEAL, F., Galpin Society Journal, U.K., 1977. PELLEGRINI, Maria Vincenzo, The Making of a Maltese Tenor- Paul Axiaq, PEG Ltd, Malta, 1989. PULLICINO, Can. Dr. Paolo, Notizia Biografica di Francesco Azopardi, Zefirino ROLAND, U., Musica e Musicisti a Malta, R. Grixti, Livorno, 1932. SAMUT TAGLIAFERRO, A., The Royal Opera House: An Historical Sketch, Progress Press, Malta, 1966. VELLA, J., Tfal Maltin 1nkantaw, Government Printing Press, 1987. WAHL, Eduard, Nicolo /souard - His Life and Achievement in the Field of Comic Opera, Munich, 1908. WETTINGER, G., FSADNI, M., L-Ghanja ta' Pietru Caxaro, Printwell, Malta, 1983.

178 Dissertations

ATTARD, Carmen, Five Generations of Nani Musicians, University of Malta, 1986. ATTARD, Stephen, Mons. Giuseppe Farrugia, University of Malta, 1989. BUTTIGIEG, Maryann, Giuseppe Vella - His Life and Musical Works, University of Malta, 1982. · CHIRCOP, Natascha, Scores Attributed to Giuseppe Balzano, University of Malta, 1991. FRENDO, Maria, Francesco Azopardi - Mass in G. - A Critical Edition, University of Malta, 1987. HABER, C.J., Il-Mutikaf'Malta, University of Malta, 1964. MICALLEF, Rose Marie, The Bugeja Musicians, University of Malta, 1990. SACCO, J., Malta - Its Music and Some of Its famous Composers, St Michael's Training College, 1972. VELLA, Mary, Maltese Folk Music and Music Education, Malta College of Education, 1978. ZAMMIT, L., ls-Sehem ta' wliud mis-Surmastrijiet Maltin fil-Muzika Sagra u Profana !'Malta, University of Malta, 1979.

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