JosephVella A LIFE FOR MUSIC JOSEPH VELLA A Life for Music

Editors: Joseph Borg Maria Frendo

5th ANNIVERSARY CELEBRATIONS 2013-2018 IL-ĦAĠAR GEMS SERIES No. 1 Contents

Foreword ...... 5 © 2018 by Fondazzjoni Belt Victoria (VO/0762). All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or Biography ...... 9 mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in reviews and certain other non-commercial uses permitted by copyright law. Joseph Vella: A Tribute ...... 15

Publisher's Address: Il-Ħaġar | Heart of Gozo Museum The Joseph Vella Music Archive ...... 37 Pjazza San Ġorġ, Victoria, VCT 1101, Gozo, Malta

Design and Layout: Keen Ltd Works Classified by Genre...... 41 First Edition

Printed in Malta. Unclassified Works ...... 47 Sponsored by www.heartofgozo.org.mt Discography ...... 51 Foreword Joseph Farrugia – Founder and Curator

l-Ħaġar Museum gives information about history, at work through the hands giving shape Ithe history and culture of Gozo. It hosts the to terracotta vessels or running over the smooth information that it gives in the substance and surface of a stone or parchment to impregnate form of the exhibits it displays. The exhibits it with thoughtful words, or unfolding minds in a museum are also the peculiar language of and hearts through the painter’s brush or the museum and the words that our exhibits the sculptor’s tools or, indeed, through the utter tell a part, I would say an essential part, musician’s pen. of the story of the island of Gozo and its people. This year, on the fifth anniversary of the inauguration of Il-Ħaġar Museum, we are It is particularly peculiar to Il-Ħaġar Museum being entrusted with an impressive addition that its exhibits speak about the religious in the form of the music manuscripts of culture of the island. Their contextualisation Joseph Vella, widely considered as the most within the succession of the civilisations that important contemporary composer in the visited us over millennia evokes the human Maltese islands. We are all so proud that spirit which lies at the core of every culture Professor Vella hails from Gozo. He is a and civilisation. The exhibits give us tangible member of St George’s Parish and its maestro instances of this spirit expressing itself in di cappella. His works, most notably his Mass 8 FOREWORD FOREWORD 9

in D Princeps Martyrum in honour of Saint George documents attesting to his wide-ranging, the Joseph Vella Archive constitutes a new and is performed yearly to great acclaim on the illustrious career, juvenilia, mementoes, and valuable element that speaks of the human feast of St George in July. I am so grateful more, to be accessible to scholars and partly spirit and its divine origins. he has been a constant and keen supporter viewable to Museum visitors. of this Museum. He has already donated Moreover, this bequest goes a long way in an early nineteenth-century square piano, Here I would like to thank my colleagues for affirming our Museum as a living cultural unique to the Maltese islands, which we the work they put into the up-grading of this presence at the heart of Gozo. have had restored and returned to its pristine room. condition. Professor Vella is one of the Museum’s foremost patrons. Above all, I especially wish to express my gratitude to Professor Vella for making it Apart from the afore-mentioned and other possible, and I do it also on behalf of the donations that speak for Joseph Vella, visitors Fondazzjoni Belt Victoria, the voluntary have been able to sample his music in a room organisation that created and manages the in the Museum dedicated to his compositions. Museum. The room is not big enough for the entirety of its purpose, but it is ideal for visitors to I am sure that all Maltese and Gozitans pick selections of Maestro Vella’s music and will appreciate the generosity of Professor get some hint of its charm, intensity and Vella and his family in entrusting this music breadth. archive to Il-Ħaġar Museum and in making it available and accessible to us and to future Now, with the collaboration of the composer generations. himself and the vision of the Museum’s management, composed entirely of volunteers, The 'substance' and 'form' of our Museum this room is being enhanced with a valuable has now been enhanced as never before. Its archive of Professor Vella’s original, hand- language has become richer and more exciting. written music scores, manuscripts, CDs, The human spirit emerges brighter. Indeed, JosephVella BIOGRAPHY

George J. Frendo

oseph Vella was born in Gozo on 9 January as its head between 1985 and 1994, after which J1942. He is a composer and conductor he was appointed Associate Professor of Music who had his first acquaintance with music at the University of Malta. through his father, Mro Ġanni Vella. He was elected Fellow of the London College of As a Maltese composer, Joseph Vella is by far Music in 1967, and graduated in Music from the most widely-performed internationally, the prestigious University of Durham in 1982. with commissions coming from soloists, Postgraduate studies took him to Siena, where ensembles, and orchestras the world over. His he followed intensive courses in Composition compositional output attests to his versatility, with Franco Donadoni and in Conducting which sees him producing works in a diversity with Franco Ferrara. of styles, all ingrained in his inimitable, idiosyncratic idiom which ultimately knows His orchestral suite, entitled Three Mood Pieces its roots in the twentieth-century neo-classical op. 4 introduced Vella to the Maltese public movement. This enables his compositions in 1958, when this work was performed at to transcend the consciously ‘nationalistic’ the Manoel Theatre in Valletta. Together with influence, although the Mediterranean flavour Verena Maschat, he set up the Johann Strauss can be found in a number of his works, for School of Music in Valletta in 1972, and served instance, the song cycle Seħer op. 39, for soprano 12 BIOGRAPHY BIOGRAPHY 13

and orchestra. Incidentally, this is the first-ever cantilena for high soprano, another arresting the overture Jubilo, Mass in D for soloists, four- song cycle written using the Maltese language example by Vella in which he explores the part choir and orchestra, the choral motet as a medium (the text is by Maltese poet Daniel inherent musicality of the Maltese language. Domine Jesu Christe, and the Laudate Pueri – a Massa). Canti op. 88, for clarinet, violoncello, Cantata for soloists, choir and orchestra. This and pianoforte is yet another work that betrays To date, Vella’s official catalogue of works concert was performed at the prestigious Alice a Mediterranean influence. reaches 154 opus numbers. These include 10 Tully Hall – Lincoln Centre. With three full- concertos (2 for pianoforte, 2 for violoncello, blown Symphonies and two Sinfoniettas (one Vella’s musical language is basically atonal, and one each for violin, piccolo, flute, clarinet, for Strings and another one for 13 Woodwind with a tendency to precipitate towards a bassoon, and cornet), 5 symphonies, 5 oratorios, players) to his credit, Joseph Vella can rightly fundamental note if not precisely towards 9 song cycles for different combinations, 2 claim to be the first and, to date, the only a tonal centre. His prolific output, as well as cantatas, and the ever popular Mass in D op. symphonist in the history of Maltese music. His his versatility, can be found by comparing the 20, composed to be performed at St George’s current project is composing a full scale 3-act pungent asperity of his String Quartet op. 33 Basilica in Gozo (Malta) on the Saint’s feast day opera on a libretto by well-known playwright (written for and premiered by the world-class every July. He has also composed a substantial Vince Vella. A considerable number of his Kronos Quartet) with the lyricism of the Canticle amount of minor works which are unclassified. works are available on CD. Cantata op. 42, for soloists, mixed choir, 4-part These total above 150, and include liturgical children’s choir, and symphonic orchestra; or pieces, hymns, anthems, marches, music for As a conductor, Vella has a wide repertoire the impulsive exuberance of the Violin Concerto wind band, and more. and has received invitations to appear as op. 65, or with the ascetic flavour of a few of guest conductor and to collaborate with his a cappella works, most notably his Sicut Cervus Vella’s works have been widely disseminated many orchestras, amongst which one op. 78, and Sequenza a 2 op. 85. Typical of and performed, and they have earned finds the Malta Philharmonic Orchestra, Sofia Joseph Vella’s inclinations is the Sinfonia con voce glowing critical reviews in most European Philharmonic Orchestra, Prometheus Symphony femminile op. 48, where abstract musical lines countries, the U.S.A., the Far East, and Orchestra of New York, Orquestra Nacional are woven together around a vague formal Australia. In September 2001, he conducted do Porto, Orchestra ‘Goffredo Petrassi’ di Roma, foundation through a dramatic exploration the Prometheus Symphony Orchestra of New York ‘Gli Armonici’ Palermo, the Yamaha Foundation Top: Joseph Vella (first on the left) as an altar boy of orchestral sonorities. The slow second in a programme of his works, including his Symphony Orchestra, and more. During his Bottom: St. Michael's Training College movement of this work introduces a vocal Concerto for 2 Pianos Solo, the song cycle Seħer, long and fruitful tenure with the Malta Choral Badminton Team 1961 (seated first on the left) 14 BIOGRAPHY BIOGRAPHY 15

Society (1970 – 1982), Vella introduced to foremost tenors, namely, Joseph Calleja. Vella century compositions which he has edited, Festival Mediterranea, a month-long event held Malta a few of the more outstanding choral had insisted on asking then eighteen-year-old performed, recorded, and promoted both in October/November each year. Mediterranea works from the traditional and contemporary Calleja to sing the role of Macduff in Verdi’s locally and abroad, most notably in Germany, is organised by the La Stella Philharmonic Society repertoire, such as Mozart’s Requiem, Macbeth in 1997. France, Spain, England, Greece, Egypt, and and is a feast of Mediterranean culture, Beethoven’s Symphony no. 9 (Choral), Orff’s New York. He has been rightly accredited including archaeology, history, folk traditions, Carmina Burana, Britten’s St Nicholas Cantata Critics attribute to Vella’s conducting a respect with being the father of the Maltese revival cuisine, music, and more. The main event of and Ballad of Heroes, Bruckner’s Te Deum, for the composer’s perceived inclinations, movement. Many have followed in his this Festival is the annual opera production Bernstein’s Chichester Psalms, and others. manifesting an exceptional feeling for footsteps, and his pioneering efforts have led to which is held at the Astra Theatre, with Vella large-scale musical architecture, rhythmic many students researching their theses at the conducting. Joseph Vella has been the Musical Since 1970, Joseph Vella has been the Musical dynamism, and a heightening of the musical Mdina Archives, leading to performances and Director of La Stella Band for the past 48 years, and Artistic Director of the Astra Opera Theatre line. His sensitivity and instinctive insights publications. and he has also occupied the post of Musical in Gozo, Malta. Over the past years, he has as a conductor have been acknowledged by Director of the Count Roger Band Club of Rabat, conducted extremely successful productions various artists. After a concert at the Manoel Joseph Vella is also the Artistic Director of the Malta, for 40 years. of Rigoletto, Lucia di Lammermoor, Aida, Nabucco, Theatre with Cecilia Gasdia, the world-famous Victoria International Arts Festival, an annual event Macbeth, Turandot, Forza del Destino, La Gioconda, soprano remarked that “Joseph Vella is one that takes place in June-July which is now in its Joseph Vella has also contributed articles to Il Trovatore, La traviata, Un ballo in maschera, of the few conductors I know with whom I 21st edition. This Festival, which is mainly held several local and foreign publications, and Cavalleria Rusticana, Pagliacci, Suor Angelica, La would be quite willing to sing a whole opera at St George’s Basilica and its concert hall, he has participated and read papers at music bohème, Norma, Otello, Madama Butterfly, Tosca, without even one rehearsal!” Vella has also the Aula Mgr Guzeppi Farrugia, as well as other conferences in Malta, Italy, France, England, and more, working with such internationally- had the honour of being appointed the first major venues in Victoria, is a five-week musical Turkey, Syria, and Greece. He has also chaired acclaimed musicians as Ghena Dimitrova, resident conductor of the Malta Philharmonic event which concentrates mostly on chamber and been a member of many international Adelaida Negri, Daniela Dessì, Francesca Orchestra. music, but with the opening and closing panels for music competitions. Patanè, Cecilia Gasdia, Sanya Anastasia, concerts featuring the Malta Philharmonic Giuseppe Giacomini, Rumen Doikov, Aldo Joseph Vella does not follow trends; he sets Orchestra under his direction. From its modest Over the years, Mro Vella has been the Protti, Mark Rucker, Hao Jiang Tian, Nicola them. In this regard, his pioneering work and beginnings in 1997, the VIAF has now grown recipient of various awards, both locally and Rossi Lemeni, Carlo Colombara, Dario Russo, continuing interest in early Maltese music has into a fully-fledged international event, yearly internationally. He is particularly proud of etc. Joseph Vella is also credited with having led to a renewed awareness of and interest hosting over 600 musicians from all over the being awarded the Ġieħ Għawdex and Ġieħ ir- launched to the world one of opera’s current in significant seventeenth- and eighteenth- world. Vella is also the Artistic Director of Repubblika. JosephVella A TRIBUTE1

Joseph Vella Bondin

first met Joseph Vella about 60 years ago. Saint George in Gozo thrilled me enormously IAt that time I was at the beginning of my for it was well known that only the best Maltese long career as a singer and already known as soloists were chosen to perform there. a promising bass of potential, interpretative reliability and vocal power, with the leading I was told to go to the house of Mro Ġanni Vella, ecclesiastical maestri of the time contacting me to St George’s then maestro di cappella, in Sabina join their cappelle di musica. The day I was invited Square at about 5.00 pm on Wednesday, the first to be the bass soloist for the triduum services day of the triduum, to rehearse the solo parts in connected with the celebration of the titular festa the liturgical music that would be performed. Just of the Basilica and Collegiate Parish Church of before the appointed time I was in Sabina Square

1 Parts of this article first appeared in the author’s book The Great Maltese Composers: historical context, lives, and works (an APS Bank Curtain Call, Lucia di Lammermoor, Teatru Astra, 2017 publication, 2016). This book was awarded the 2016 National Book Prize in the Biographical and Historiographical Category. (Photo: Joe Attard) 18 JOSEPH VELLA: A TRIBUTE JOSEPH VELLA: A TRIBUTE 19

and found Mro Vella’s half-open door with an as a gifted conductor, pianist, articulate perfect and relative pitch, his talent appeared an end. Some of his earliest (at 13/14 years) outside bamboo ħasira drawn down. I raised musicologist, music teacher, erudite editor early, and there seems to be nothing in music dabbling in composition is still extant and is now it and called Mro Vella’s name. He invited me and, above all, as a composer, and myself as a that he is not able to do and do well. housed in his Archive at Il-Ħaġar Museum. It into the cool dim front room of the house with classical singer, musicologist and writer. Malta was during this period when still a student at the an upright piano in one corner and offered me (and this includes Gozo) being what it is, our Under the guidance of his father, he started Lyceum that Gozitan poet Ġorġ Pisani asked coffee. Then he drew up the ħasira to give more musical paths have crossed countless times and learning the basics of both piano and violin him to put to music a hymn in honour of Gozo. light to the room, went outside and loudly called: I have taken part in many concerts where I had playing. When still in Primary School he was Down the line, Innu lil Għawdex is still being ‘Ġużeppi, Ġużeppi!’ Some seconds later, a boy to study and sing wonderful works composed often asked to accompany on the piano the played today at official functions. whom I had just seen playing football with other by him or old Maltese works which he had singing of hymns and songs by his fellow boys in the Square came in. He was Joseph Vella expertly edited. Time has proved that my initial school mates. During this very early period he Gozo of the 50’s was quite an isolated place. In and his father had called him in to accompany impression was very valid for his achievements was also the ‘official’ organist for the evening fact the young Vella first crossed over to Malta me on the piano. The pieces I rehearsed – I still in the various musical fields he practices have services held at the Don Bosco Oratory in when he was about 11 years old. At the time, recall the amazing triduum hymn Georgi miles put him among the very best talents which Victoria’s Pjazza Santu Wistin. His first ‘public’ his only musical contacts with the ‘outside’ inclyte composed by Mgr Giuseppe Farrugia, the have graced Malta’s musical history, and one appearance, when he was about 13, was playing world were the concerts the British Institute in antiphon Beatus Georgius, and a Giuseppe Caruana of the most innovatory achievers of the second second violin under the direction of his father Victoria organised at their premises in It-Tokk Tantum ergo for bass solo – had the contours of full half of the twentieth century. for the feast of St John the Baptist in Xewkija. (now the Malta Labour Party Club), bringing operatic arias and were demanding both for the However, his studies of the piano and the violin over from Malta some of the best musicians singer and the pianist. But this tousled-haired boy were never pursued in any assiduous manner. available at that time. A chance for the young in shorts was sight-reading the music with ease THE FORMATIVE YEARS composer to break out of this cultural cocoon and assurance, and not only that for he seemed to From a very early age Vella felt a deep inclination presented itself when The Malta Song Festival2 sense when I required a bit of direct piano help Joseph Vella, born in Victoria, Gozo, on 9 towards composition, and in this regard, playing started being organised. He submitted songs for with my notes. January 1942 in an era when the tiny island was instruments for him meant a sort of means to the competition writing the lyrics, the music, relatively isolated from the social, economic I immediately realised that I was in the presence and cultural activities of its neighbouring of a nascent superb musical talent. Since then, dominating island of Malta and where, in his both Mro Vella and myself have progressed boyhood, his Roman Catholicism was firmly 2 The Malta Song Festival, organized by the Maltese Young Christian Workers movement, was first held in 1960. All shows were performed at the Radio City Opera House in Hamrun (now the [Malta] Labour Party headquarters) and were transmitted on a long way in our musical career, Mro Vella established. Gifted with the ability of both Rediffusion and, from 1964, on Malta Television. 20 JOSEPH VELLA: A TRIBUTE JOSEPH VELLA: A TRIBUTE 21

and eventually even singing them himself, very CDs which he recorded for Fondazzjoni Patrimonju successfully it seems because in his short foray Malti serve as an anthology of music in Malta into the popular music world, his name was from the earliest extant composition (Giuseppe always amongst the winners. Balzano Beatus Vir, 1652) down the line to the works of Nicolò Isouard (1773-1818). His musical career in Malta started first as a peripatetic teacher of music in Primary Schools, A fruitful collaboration with the Malta Choral then as Inspector of Music in the Education Society between 1970 and 1982 resulted in Department. Later he was called to lecture at some innovative musical endeavours which up St Michael’s Training College, where one can to then were perhaps deemed to be outside the say that he was the first person to introduce the possibilities of local interpreters. For instance, teaching of Music at Tertiary Level in Malta. Vella was the conductor to first perform Beethoven’s 9th Symphony here in Malta. Other famous choral works included Carl Orff’s VELLA AS A CONDUCTOR AND Carmina Burana, Britten’s St Nicholas Cantata and EDITOR Ballad of Heroes, Bernstein’s Chichester Psalms and Bruckner’s Te Deum, among others. Two Vella’s deep interest in old Maltese works, Maltese works which Vella presented also particularly of the Baroque era, encouraged during this period were Antonio Nani’s Requiem him to pioneer their revival, after editing them, and his own Mass in D. in concert form. The ground-breaking concerts that he organised for the German Maltese Circle in the 70s and 80s, which were held at THE CREATIVE PERSONALITY the Cathedral Museum in Mdina, laid the path OF A COMPOSER for a resurgent interest in old Maltese music, Top: Operetta Piccola Olandese, 1953, at the Victoria Primary School (standing up, front, wearing a top enabling the Maltese nation to discover its Yet, it is ultimately as a composer that society will with three black buttons) impressively rich musical past. A series of seven judge and value Joseph Vella. For, in any defining Bottom: With the Banda La Stella, 2005 22 JOSEPH VELLA: A TRIBUTE JOSEPH VELLA: A TRIBUTE 23

scenario, creation is more of substance than sentiments harking to European musical Perhaps, the most important characteristic of [Absolute music] explores the depths of the interpretation. Moreover, it has to be stressed, he perspectives.3 neo-classical aesthetics, which, one feels, is critical soul for the presentiments of a joy which, considers himself principally a composer. So, what to an understanding and appreciation of Vella’s nobler and more beautiful than anything is the delineating aesthetic of Vella as a composer? However, Cresti’s judgement although overall creations, is its return to the concept of absolute experienced in this narrow world, comes correct and in line with his book’s thesis, seems (or abstract) music. It is evident, however, even to us from the unknown land; it inflames in In his recent concise account of Vella, the to be much too casual to really do full justice from a cursory examination of a list of his our breasts an inner, rapturous life, a more important Italian contemporary musicologist to a composer whose varied and complex works, that Vella’s interpretation of this concept intense expression than is possible through and writer, Renzo Cresti, suggested that attainments are difficult to summarise in such is not the abstract music as defined by Eduard words, which are appropriate only to our overall simplistic terms. Hanslick's (1825-1904) concept of pure sound – limited earthly feelings.7 Vella’s creative insights have succeeded in raising the stature of music in Malta, this, The output to which Vella has given an opus Music consists of successions and forms According to this line of thought, and however, without having tied himself to a number, which to date comprises some 150 of sound and these alone constitute the particularly during the Romantic era, musical strict linkage with its popular traditions, works4, in various forms and designs, includes subject…. Now, whatever be the effect of purity was tarnished by music’s subordination although, at the same time, he does many impressive instrumental, orchestral, a piece of music on the individual mind, to words, as in opera and oratorio, and to introduce in his work some references chamber and vocal works. With a self-confessed and howsoever it be interpreted, it has no emotional expression through its dynamic to them. This is particularly evident allegiance to contrapuntal music, his works are all subject beyond the combinations of notes unfolding which could include tempo, melody, in his liberal and innovative use of his ingrained with a personal idiom that stems mainly we hear, for music does not only speak by mode, and loudness, as well as to figurative native language, which he uses within from a neo-classicist source5, the outstanding icon means of sounds, it speaks nothing but sound.6 meaning, as in programme music. Vella’s a wide eclectic spectrum, vibrant with of which is Igor Stravinsky (1882-1971). adoption of absolute music does not, however, – or that of E.T.A. Hoffman (1776-1822), with ignore musical developments of the Romantic his emphasis on instrumental music as the only era, but rather he seeks to subject and use them possible expression of the infinite: within the parameters of the twin ethics of

3 Renzo Cresti, Ragioni e sentimenti nelle musiche europee dall’inizio del novecento a oggi (Lucca: Libreria Musicale Italiana, 2015), p. 329. 4 A catalogue of Vella’s oeuvre, to date, split into classified (and given an opus number) and unclassified works can be found in his website: www.josephvella.com.mt 5 This can be defined as the reaction against the unrestrained emotionalism and perceived formlessness of the late Romanticism and the 6 Eduard Hanslick, The Beautiful in Music, translated by Gustav Cohen (London: Novello and Co, 1891), pp.162-3. experimental musical techniques of the first decades of the twentieth. In form and thematic technique, neoclassical music often drew 7 E.T.A. Hoffmann, ‘Beethoven’s Instrumental Music’ translated from Kreisleriana (Bamberg: 1814) by Arthur Ware Locke (The Musical inspiration from music of the 18th century. Quarterly, vol. 3 no. 1, Jan. 1917, p. 132. 24 JOSEPH VELLA: A TRIBUTE JOSEPH VELLA: A TRIBUTE 25

Stravinsky’s music: objectivity and structure. postcard nationalist effusions. Both of these As a result, music becomes absolute when it is concertos are conceived in a sophisticated treated objectively through the strict exploitation and mainstream Germanic-modern of its appropriate structures. Vella’s respect and idiom, full of rich dissonances and solid innate understanding of the music structures counterpoint but all infused with a kind within which he expresses his innermost insights of generic Mediterranean glow, without is evident even in such early works as Three Mood delving into actual folk sources. The earlier Pieces (1965) for orchestra and Trio Concertante 1984 piano concerto utilizes a colourful (1968) for violin, horn, and piano. and expansive tonal palette with rousing good themes and – in the outer movements It becomes, possibly, even more evident in later – some exciting cross-rhythms. The later works. Take, as an indication, Paul A. Snook’s violin concerto of 1993 … an even more review of the CD recording (Gega GR 40) of cerebral work displays the same high Vella’s Concerto for Violin and Orchestra (op. 65, 1993) degree of polish and substance in its mind- and Concerto for Piano and Orchestra (op. 41, 1984): set as the earlier concerto. Both concertos have a noticeable get-up-and-go kind of The Bulgarian label Gega has now issued assertiveness, plunging from the start into three separate CDs devoted to his [Vella’s] their carefully crafted and expressively music and the piano concerto on this inflected arguments.8 particular release turns out to be quite an effective piece on all counts…. Not that Possibly the most potent characteristic of this student of the avant-gardist Italian Vella’s compositional predisposition is his Franco Donadoni indulges in picture- concern with the metaphysical dilemma of

4th edition of the Malta Song Festival, 1964. Singing his first prize winning song, 'Io che ti voglio cosi'. It was the first time the festival was broadcast live on local television 8 Fanfare: the Magazine for Serious Record Collectors, Jan/Feb 1996, vol. 19, no. 3. 26 JOSEPH VELLA: A TRIBUTE JOSEPH VELLA: A TRIBUTE 27

good and evil, which, in its most persuasive Celebration Concert held at St John’s Co- era. Sometimes, his poignantly brooding progress is almost always in the high register, as form, refers to the existence of the soul and Cathedral on 23 November 2012, which he management of voices is focussed within some if indicating the soul’s constant contemplation human life after death. himself majestically conducted, he chose to unusual sonorities. An outstanding example of heaven, the epicentre of the Lord adored perform what might be considered to be his would be his setting of the St Francis of Assisi by Francis.10 The German philosopher, Georg Wilhelm two supreme large-scale metaphysical works (1181-1226) caringly tender text Cantico delle Friedrich Hegel (1770-1831) valued music as – the thematically-related motet Domine Jesu creature op. 61 (1992) where the high soprano (in But definitely more important as a synthesis an active expression of the soul, which moves Christe op. 38 (1984), based on the first part of the première soprano Maria Frendo) dialogues of the sum and substance the human voice it as no other art does: the noble offertory prayer from the Requiem in juxtaposition with a flute and a harp: epitomizes for Vella in his intuitive investigation Mass, a plea to Almighty God to deliver souls of of musical sonorities truly personifying his own Music expresses feeling by measured sounds faithful departed from the darkness of hell into The choice of three timbres: voice, flute, harp, innate creative tendencies is an even earlier work. and cadences, softening and tempering the the holy light of paradise, and Symphony No. as the technical means of expression is of an Indeed Renzo Cresti is of the same opinion: natural violence of expression. In the other 3 The Apocalypse Verses op. 105 (2003), based on extreme simplicity and – bearing in mind that Arts, the soul and its objects still remain, the revelation of the ultimate victory of good the harp does its work almost in substitution Very representative is the Sinfonia (con voce in one sense, aloof. In Music, the object is over evil, as received by John the Evangelist on of the lute – takes us back to the period of the femminile) op. 48 [1989] where the abstract the condition of the soul itself…. Thus, in the Aegean island of Patmos. poetic text’s writing [St Francis wrote it in late musical lines are woven around a solid Music, it is not so much our whole complex 1224]. The melody entrusted to the solo voice formal foundation by way of a dramatic being that is taken hold of, as our simple Voices have a pivotal role in the transcendental of the soprano is a meditation that reinforces exploration of orchestral sonority. The slow Ego, the centre of our spiritual existence definition of both works. Indeed, to date, the various Laudato si’ mi Signore [‘Be praised, second movement [andante comodo] of the which is put in movement.9 voices in solo and in chorus feature in at least my Lord’], the flute almost always fills in [three-movement] symphony introduces a 52 works of the Vella canon, an indication that strophic passages and supplies the interludes, cantilena for soprano…11 One feels that this is indeed what Vella’s music he values it as a most potent means of musical the harp accompanies, sustains, underlines is all about. From this point of view, it is very expression, perhaps an off-shoot of his deep the sentiments expressed vocally. The melodic The cantilena comprises a pungent cycle of six significant that for his signature 70th Birthday interest in the vocal music of the Baroque

10 Review of the composition by Francesco Spingola in Studi e documentazione – Rivista Umbria di Musicologia (Perugia), June 1993. 9 John Steinfort Kedney, Hegel’s Aesthetics: A critical exposition (Chicago: S.C. Griggs and Company, 1885), pp. 251-2. 11 Renzo Cresti, Ragioni e sentimenti op. cit., p. 328. 28 JOSEPH VELLA: A TRIBUTE JOSEPH VELLA: A TRIBUTE 29

short Maltese poems written by Joe Friggieri. In suppleness, and almost instrumental in quality, Domine Jesu Christe, for choir (SATB) and many ways, they are as close to nonsense verse a voice which he has now artfully exploited in a orchestra, assimilates concepts of art, beauty, as has ever been penned by a Maltese poet12 number of his most important works, specifically and mysticism through an intricate counterpoint and, indeed, for the composer, the soprano is not written with Frendo’s unusual timbre in mind. that imaginatively explores a whole range of interpreting excellent poems which he has distilled tonal nuances brilliantly integrated with the and used to illuminate the second movement of The motet as a choral musical composition was formal historic structure of the work. his symphony. Rather, she is only elucidating a definitively formalised as an unaccompanied string of musical word-notes, her voice being sacred polyphonic work in the hands of Palestrina The initial impetus for the composition of thus utilized as just another instrument within the (c. 1525-1594) and William Byrd (1543-1623). Symphony no. 3, op. 105, came when Vella was instrumental palate of his orchestral group in the Vella’s treatment of the voices in Domine Jesu Christe requested to write a work connected with the symphony’s formal musical structure. is also consistent with its historical praxis, but he life of St George, titular saint of St George’s extends its boundaries through full orchestral Parish Church in Victoria, Gozo, where he The vocal line, with its disjunct leaps, wide embroidery. The inclusive effect achieved can is maestro di cappella. Vella himself unveils the range, and overall high tessitura puts a lot of best be indicated by again quoting Hegel: proposal’s evolution: demand on the soprano. Luckily for Vella, in Maria Frendo, the soprano who sang in The voice is an ideal synthesis of the The committee suggested that I could the symphony’s notable first performance, sounds disseminated in all other [musical] write a work on the lines of my previous he has found a singer able to do justice to his instruments, and hence is the primal oratorios, namely Madonna tas-Sacro Cuor op. difficult creative intuitions. Frendo is endowed and immediate instrument of the soul. 44 (1986), Demm fuq il-Verna op. 49 (1989), with a distinctive voice of an attractive silvery But human skill may abstract this or that Il-Belt Rebbieħa op. 50 (1990), Rewwixta op. timbre, of great purity both in intonation and in possibility of the voice, and intensify it by 54 (1992), etc. In due course, I decided to the sound of a particular instrument. To opt for a composition that was to be neutral put these in accord is a great Art.13 in its boundaries and, at the same time, and

Top: Secretary Paul M. Cassar presenting Mro Vella with a memento after his first official 12 Take, for example, the second poem, Tfajla tal-ġmiel. A concert with La Stella Band, 1970. literal translation of its 5 short verses would be: The colour Bottom: Winning 2nd prize at the Castlebar Song of corn/your loose long hair;/covered with whiteness:/you Festival in Ireland (1973) with singer Mary arrived from far away/young woman of beauty. 13 Op. cit. pp. 257-8. Spiteri. 30 JOSEPH VELLA: A TRIBUTE JOSEPH VELLA: A TRIBUTE 31

because of this, would express universal theme, Vella decided to enrich the symphony’s Movement III: Andante mosso – L-Għotja The end result is a work of tremendous force, values that would make the work relevant final climatic movement by a vocal setting of (The Blessing) Qui vicerit dabo ei sedere mecum beauty, magnitude and power. not only for the particular occasion for carefully-selected verses, and this formative in throno meo (To him that shall overcome I will which it was to be composed but also for impulse led to his decision to give each give to sit with me in my throne) Apoc. 3.21 any audience at any subsequent time and movement an epigraph, suggesting its creative THE GOZITAN DIASPORA place. Thus was born the idea of a major impetus, together with a title. Interesting is the Movement IV: Allegro aggressivo – Ix-Xewqa composition in the format of a symphony.14 fact that while the text and the quotes are in (The Yearning) Salus Deo nostro qui sedet super Perhaps more than any other similarly-situated the neutral language of Latin, the titles are thronum (Salvation belongs to our God who sitteth person I know, Vella epitomises the problem many Symphony no. 3 op. 105 The Apocalypse Verses in Maltese, as if through this scenario the upon the throne) Apoc. 7.10 Gozitans face in their struggle to earn a decent for tenor solo, choir (SATB), and orchestra composer wants to stress his roots. The titles living and, particularly in the case of artistically- was finished on 8 March 2003 in the serene suggest the basic logic of St John’s mesmerizing Movement V: Sostenuto – Is-Sebħ (The talented individuals, to realise their full artistic and pleasant seaside village of Marsalforn Revelation: Awakening) Sanctus Dominus Deus omnipotens potential. This is, admittedly, a problem also in Gozo where the composer has a summer (Holy is the Lord God Almighty) Apoc. 4.8 faced by Maltese of Malta, given the size and residence. It is in five movements that, in total, Movement I: Allegro non troppo – It-Taqbida insularity of the island. But for Gozitans, the last almost one hour. As a source of musical (The Conflict) Et iratus est drago in mulierem It may be assumed that the use of titles, problem is more critical, for Gozo suffers from motivating material, Vella chose St John (And the dragon was angry against the woman) epigraphs, and perhaps also text, relates Vella’s what is now designated double insularity; it is the Evangelist’s The Apocalypse (The Book of Apoc. 12.17 work to programme music. The conception of just 67 km2, less than a third the size of Malta, Revelation), which occupies a central place in Symphony no. 3 is, however, completely abstract, with a population of only 32,000. It has often Christian eschatology, and deals with the rise Movement II: Molto tranquillo – It-Tnehida the expression of (abstract) spiritual values being been suggested that small is beautiful and, while of the antichrist, the end of the world, the final (The Invocation) Hic est patientia et fides here the composer’s fundamental concern. this might be accepted, small in this case also battle of good versus evil, and the dawn of a sanctorum (Here is the patience and the faith of the The quintessence of the melodic-harmonic represents economic and artistic opportunities new creation. To stress the universality of his saints) Apoc. 13.10 unfolding, both in each of the movements and limited in scale and potential. There is thus the in the symphony’s overall conceptualization, habitual necessity for Gozitans to ‘emigrate’ to defines its musical structure, and it is this, rather Malta in search of adequate employment and than any narration that the extract and titles opportunities and, as a consequence, they have might imply, which drives the music forward. to relinquish the genesis and intimacy of their 14 Programme brochure: 70th Celebratory Concert, St John’s co-Cathedral, Valletta, 23 November 2012. 32 JOSEPH VELLA: A TRIBUTE JOSEPH VELLA: A TRIBUTE 33

Gozitan traditions. Vella took up permanent Take the question of language. Gozo seems residence in Malta on his marriage in 1968. to have been spared the worst excesses of the But the perspicacious call of one’s roots is never Language Problem, spurred by the Italian totally supressed, particularly if one has artistic irredentism movement, which beset Malta’s sensitiveness as his birth-right. political scenario in the first decades of the twentieth century, and which, against the wishes One feels that the longer Vella lives in Malta, of many cultured Maltese whose language the greater is his yearning for the more placid of culture was Italian, led in 1934 to the and rural life in a Gozo that saw his formative imposition by the English colonisers of English years, the tiny island remaining the centre as the official language of Malta alongside of his world. This is shown in various ways, Maltese. As a result, the Maltese language, particularly in the fact that his most successful the natural language of the population, was and assured works were all composed in Gozo, more respected in Gozo (in the form of the in the fact that although he has been asked Gozitan dialect) than in Malta. For Vella, as a to become maestro di cappella of important consequence, the use of the Maltese language churches in Malta, the only one he has ever is not tied to any diffident statement bound accepted and been interested in is that of St with or intrinsic to a patriotic outpouring, as George’s in Gozo, inherited from his father and often seems to have been the case with some of which gives him the opportunity of reliving his Maltese peers, but a just tool that he makes the vibrant festa of his youth. Moreover, there use of, on which to base his creative intuitions is the feeling that what he chooses to compose and to express his innermost questionings. is often influenced by Gozo’s ambience, by an atmosphere more rural and serene than that Highly illustrative of this is the fact that his of Malta, where core Maltese values, including very first key venture as a composer into the the Maltese language and the Catholic faith, particular world of the vocal aesthetic was have always been a more prominent facet of the setting of a text by the Gozitan poet Conducting the Malta Philharmonic Orchestra at the inaugural concert of the Victoria International Arts social and religious way of living. Ġorġ Pisani (1909-99). Il-Barri op. 5 (1966) Festival in June 2017. (Photo: Sam Cefai) 34 JOSEPH VELLA: A TRIBUTE JOSEPH VELLA: A TRIBUTE 35

graphically explores the animal’s last moment Most evident examples that can be cited in 1 Seħer (Enchantment) op. 39 (1984) for soprano Although they are treated in the complex before the butcher savagely slashes its throat, support are his visionary treatment of a and orchestra, poems by Daniel Massa medium of Vella’s personalized concept of and Vella uses it to create a remarkable number of very literate Maltese texts in the abstract music, there is about them a dramatic 21-minute secular cantata for mixed choir early 1970s, particularly three songs for high – Seħer takes its form from a sequence of emphasis on passion and sensuality, which is and orchestra. That it was the first time that (soprano) voice and piano, namely: Waħdi five pithy poems written expressly for Vella arresting and persuasive. Also very evident is a Maltese composer had used a distinguished (Alone) op. 13 (1970) to a poem by Joseph by the Maltese writer Daniel Massa and is Vella’s respectful accentuation of the lyricism poem in Maltese to write an important John (J.J.) Camilleri (1928-2015), Il-Kebbies tal- subtitled ‘cycle of five Mediterranean songs’. of an individual poem (in what is often free musical work is only incidental to its musical Fanali (The Lamp Lighter) op. 18 (1973) by the Set for soprano and chamber orchestra, verse) and the very evident weight he gives merit. Moreover, the fact that he composed Gozitan poet Anton Buttigieg (1912-1983), rich in natural and suggestive images, and in the musical flow to the inherent musicality it as one of a portfolio of three works, (the and X’Milied hu dan? (What kind of Christmas is with modulations replete with the melodic of the Maltese language. On the other hand, other two being a movement from a String this?) op. 21 (1975) also by Camilleri. There is nuances of the Maltese language, it can be no folk music element that might have made Quartet and Three Mood Pieces for orchestra) also his perturbing setting of the surreal poem considered a most successful work, inventive them sound more ‘Maltese’ is incorporated or which he submitted successfully for his FLCM Il-Lejla l-Qamar qed Jitwerreċ (Tonight the Moon is and fascinating.15 – suggested. diploma from the London College of Music Squinting) op. 17 (1971) by Mario Azzopardi is an indirect statement of the value he gives for two-part choir and piano. Very evidently, 2 Poeżiji tal-Baħrija (Baħrija Poems) op. 53 (1991) Indeed one of Vella’s rather more controversial to the Maltese language as a musical vehicle these sought to create an innovative basis of a for tenor and orchestra, poems by Joe Friggieri public articulations is his utter negation of any through which he can create works which Maltese type of lieder that logically culminated meaningful ethnic folk music: would find the endorsement of non-Maltese in his four bravura song cycles. 3 Nisġiet l-imħabba (Textures of Love) op. 64 assessors. (1993) for baritone and orchestra, poems by I am sorry to say that, contrary to that For of the many works Vella has composed Achille Mizzi maintained and probably still continuing Il-Barri supports an assertion that Vella was to Maltese texts, probably the most brilliant, to be nurtured by some, we have very the first indigenous composer to veer away admired and representative of his maturity 4 Askesis op. 72 (1994) for contralto and little, indeed almost nothing, indigenous from the Italianate operatic aesthetic that had are the four song cycles he produced to texts orchestra, poems by Mario Azzopardi ‘folk’ music. In reality I can state that, for so far dominated Maltese music, even that by four leading metaphysical poets of the new liturgical, to explore, in a logical replacement, generation in Independent Malta – the first the inherent musical possibilities of the major Maltese foray into this form of vocal

Maltese language in an Independent Malta. expression: 15 Cinzia Violetti: The Music of Joseph Vella in Studi e documentazione, op. cit. (Perugia), June 1993. 36 JOSEPH VELLA: A TRIBUTE JOSEPH VELLA: A TRIBUTE 37

all practical purposes, it does not exist. commission) that have been, and continue to His close association with The Laudate CONCLUSION The almost phenomenal appearance of a be, performed abroad, a clear indication, if Pueri Choir, the resident choir at St George’s large number of pseudo ‘folk-tunes’ here in needed, of the supreme musical talent with Basilica, where he serves as maestro di cappella It seems to me that the most surprising factor Malta in the last 30/40 years is a product which he has been endowed. has resulted in a spate of (mostly) a cappella of Vella as a composer is the dichotomy of his related to number of different exigencies works which have become the mainstay of persona. Born and moulded in a tiny intensely totally alien to those from which pure the liturgical services at the Basilica especially Catholic island of just 67 km2 with a current folk music is kneaded and shaped. This VELLA’S USE OF OTHER on the very special occasions, like the Patron population of only 32,000 (but in his youth phenomenon can be attributed to personal/ MUSICAL FORMS Saint’s feast day in July. They have also been much fewer) it is the place where he feels most national reasons in connection with, for recorded on CD by the Laudate Pueri Choir. at home, it is the place which gives him the instance, the tourism industry, where, for However, like that of any other validly gifted tranquillity and assurance he requires to enable the tourist, a meal and an indigenous song composer, Vella’s oeuvre is multi-diversified There can be no doubt that Vella’s many his mind to create the universal vision which are considered an integral element of their and requires a more extensive treatment zand varied chamber works represent a the overall aesthetic of his most important stay in our country.16 than I can give it in this article. But there are clear picture of his personal compositional works suggests. For it is within this Gozitan- three facets which have to be (very briefly) inclination and sophisticated taste. It seems to international world that Vella belongs. His It now seems, nevertheless, that Vella may be mentioned. me that when he composes a chamber work for deepest-felt creations never exhibit the happy re-considering his position, given that one of whatever ensemble it is as if he is composing combination of good melody and satisfying his latest chamber works is entitled Variations Vella’s sublime use of Maltese is not to the for himself. By this I understand that this harmony that is easy on the ear in a way sur un air folklorique maltaise op. 139 (2014) for exclusion of other languages. He is ready to type of genre enables Vella to come into his that may readily move human emotions, but solo mandolin. It was premièred on 31 January use other languages, particularly Latin, English own, to compose for composition’s sake, to rather is predominantly concerned with asking 2015 by Vincent Beer-Demander in the Palais and Italian, as long as the text is sound and adhere to the Paterian ideal of “Art for Art’s troubled questions about man and his destiny. des Beaux Arts, Montpellier, France, and is one convincing and excites his creativity. sake” rather than be conditioned (in the best They manifest clear and farsighted unease of the many works by Vella (often written on possible meaning of that term) by exigencies about the human condition in a world of of performance venues, time, medium, and all-too-rapidly changing values and beliefs, a other limiting factors. tumultuous world that is rapidly putting aside the cardinal values of love, faith, and hope.

16 Joseph Vella, ‘L-Identità Kulturali ta’ Malta – Il-Mużika’ in L-Identità Kulturali ta’ Malta, ed. Toni Curtis (Malta: Government Information Department, 1989), p. 37. JosephVella MUSIC ARCHIVE

Maria Frendo

he Joseph Vella Music Archive at Il-Ħaġar TMuseum in Victoria now practically houses material from every aspect of the composer’s long and varied musical career. Mro Vella has donated his works, together with related papers and documentation, to the museum not only for safe-keeping but also as easy and accessible reference to anybody who is interested in his life’s work, apart from the fact that the public availability of the archive can provide fertile ground for anyone doing research and/or case studies. In the archive the following have been carefully classified to help any kind of study that, eventually, any student or scholar may wish to carry out: Solemn vespers at St George's Basilica for the feast of St George (Photo: Joe Attard) (Photo: Joe Attard) 40 JOSEPH VELLA MUSIC ARCHIVE JOSEPH VELLA MUSIC ARCHIVE 41

THE MANUSCRIPT SCORES JUVENILIA MEMORABILIA

All the scores written in fair copies of the composer’s opus are now available for perusal in the Archive. Unclassified, partly extant, and very early The management of Il-Ħaġar Museum The list to date numbers 154 op. numbers and includes Mro Vella’s compositional output over the attempts at composition are also available thought fit that to complete an all-round last 60 years or so. These comprise various works for chamber ensembles, song cycles, symphonies, for consultation. In this section one can review of Joseph Vella’s achievements, it would oratorios, choral works, a cappella works, and varied pieces for solo instruments. also find the young Vella’s literary forays only be proper to also present a cross-section – hand-written words for the songs he of the awards and mementoes he received or presented in The Malta Song Festivals of won during his varied activities throughout his the early 60’s and even a few poems he long career. These are housed in a display case wrote in English. In this Miscellanea, for in the Archive, where one can see, for instance, THE SKETCHES DISCOGRAPHY instance, there is also the original score of his medal for Gieħ ir-Repubblika, or the one Innu lil Għawdex which Joseph Vella wrote when he was awarded the title of Cavalliere by Another feature of the Archive is the In the Archive one can see on display a copy of when he was 15. the Government of Italy. collection of preliminary sketches which the all the Compact Discs which the composer has composer wrote for every work he composed. published up to now. Naturally, the CDs feature These rough tentative sketches, which show his music. In fact, one comes across a good variety the composer’s train of thought as he was of his recorded works, namely, Symphonies, progressing with a particular work, provide Concertos, Oratorios, Song Cycles, Masses, Choral CRITICAL AND HISTORICAL MATERIAL an interesting aspect which betrays, with Works with Orchestra, Choral Works a cappella, and all their rough edges, crossing out, second works for solo instruments. An interesting feature Two large shelves in the Archive house a wealth of material relating to the composer’s musical thoughts – the progress of compositional of this collection is the series of 11 CDs featuring activities. These include newspaper cuttings, posters, concert programmes and other critical articles, thought towards what was in the composer’s various aspects of Vella’s chamber works for a wide even as found in foreign publications. All of these are neatly presented in files, each of which mind. As a point of reference, they would diversity of ensembles and solo instruments. The represents a particular year. They start from the late sixties right down to the present. The material be an ideal solution to a particular musical Archive room also offers an extremely interesting in this file is not only relevant to the composer’s life and works, but, in case of a serious study, it can problem. This part of the Archive practically opportunity for visitors to hear excerpts from the shed historical light on musical events and practices that have been taking place over the last 60 years contains all the preliminary work the composer’s output by clicking their choices on a or so. In this regard, Mro Vella’s works can also be appraised within a wider historical, critical, and composer did for all his officially listed works. specially-mounted monitor in the room. cultural framework. JosephVella WORKS BY GENRE

Acknowledging applause at St Patrick's Cathedral of New York in November 2016 after the rendition of The 'Hyland' Mass (op. 130) 44 WORKS BY GENRE WORKS BY GENRE 45

SYMPHONIES Concerto for Flute and ORATORIOS Poeżiji tal-Baħrija op. 53* Mass in D Princeps Martyrum Psalm 89 op. 43 (Baritone Orchestra op. 76* (Tenor and Orchestra) in Honour of St George op. 20* Solo and Orchestra) Sinfonia op. 11 Madonna tas-Sacro Cuor (STB Soli, SATB Choir and Concertino for Violoncello Passeggero op. 63* (Tenor, Rebbieħa op. 45* op. 44* (STB Soli, SATB Orchestra) Sinfonietta for Strings op. 36* and Orchestra op. 77* Flute, Oboe and Bassoon) (Orchestra) Choir, Children’s Choir and Laudate Pueri Dominum Sinfonia con voce femminile Concerto Barocco op. Orchestra) Nisġiet l-Imħabba op. 64* Jubilo op. 47* (Strings, Brass op. 20(b)* (STB Soli, SATB op. 48* 92* (Bassoon and String (Baritone and Orchestra) and Percussion) Demm fuq il-Verna op. 49 Choir and Orchestra) Orchestra) Sinfonietta for 13 Woodwind (SSSATB soli, SATB choir Askesis op. 72* (Alto and Elegy op. 66* (Violoncello Overture alla Concertante Players op. 100* (Fl 1, Fl Concerto for 2 Pianos Solo and Orchestra) Orchestra) Solo and Orchestra) op. 23* (Chamber 2 (Picc.), Ob 1, Ob 2 (Cor op. 99* Il-Belt Rebbieħa op. 50 Dust on the Path op. 138* Orchestra) Sarabanda op. 73* (String Ang.), Cl in Eb, Cl 1 in Concerto for Piccolo op. (ST Soli, SATB Choir and (Soprano and Orchestra) Orchestra) Bb, Cl 2 in Bb, Bass Cl, Rapsodija Maltija op. 26(c) 114* (Piccolo Solo, String Orchestra) Hn 1, Hn 2, Bsn 1, Bsn 2, (Violin Solo and Orchestra) Romanza op. 90(a)* (Violin Orchestra and Timpani) Contrabassoon) Rewwixta op. 54 (SATB and Violoncello Soli and CHORAL/ Għalenija (Ballet Music) op. Concerto for Clarinet and Soli, SATB Choir and String Orchestra) Symphony no. 3 op. 105 ORCHESTRAL 28* (Chamber Orchestra) Orchestra op. 121* Orchestra) (The Apocalypse Verses)* WORKS In Memoriam op. 96* Music for a Wedding op. 34 (Tenor Solo, SSATTB Choir, Concertino for Cornet and Filippu t’Aġġira op. 122* (String Orchestra) (Soprano Solo, SATB Choir, and Orchestra) Brass Band op. 124* (STBB Soli, SATB Choir Three Mood Pieces op. 4 and String Orchestra) and Wind Band) (Orchestra) Ir-Rebbieħ op. 101* Symphonic Variations on a (Musical) Domine Jesu Christe op. 38* Theme by Chopin op. 131 Il-Barri op. 5 (Mixed Choir CONCERTOS (SATB Choir and Orchestra) Lament op. 103* (String (Piano Solo and Orchestra) and Orchestra) Orchestra) SONG CYCLES A Canticle Cantata op. Concerto for Piano and Concerto for Orchestra op. Triptych op. 6(a) (Soprano 42 (Soprano and Tenor Music for a White Dove op. Orchestra op. 41* 132 The Seasons – Madrigal and Orchestra) Soli, SATB Choir, SSAA 115* (Chamber Orchestra) Cycle op. 31 (SSATB Concerto for Violin and Concerto Grosso op. 143* Milied (1958) op. 14 Children’s Choir and a cappella) Pinocchio in musica: Fiaba Orchestra op. 65* (Harp, Harpsichord and (Chamber Orchestra) Orchestra) Musicale per voci recitanti e Piano Soli and Orchestra) Seħer op. 39* (Soprano and Concerto for Violoncello piccola orchestra op. 128 Orchestra) and Orchestra op. 75*

*Recorded on CD *Recorded on CD 46 WORKS BY GENRE WORKS BY GENRE 47

The 'Hyland' Mass op. 130 CHAMBER MUSIC 1 Clarinet Quintet op. 16* String Quartet op. 33* Soliloquies op. 83* (Horn 3 Danze antiche con (SATB Soli, Boy Soprano, (INSTRUMENTAL) Solo) Preludio op. 98* (String Priżma op. 19* (Violin, Dialoghetti op. 35* (Viola SATB Choir and Orchestra) Quartet) Oboe, Piano and Percussion) and Piano) Fantasia per organo op. 86* Blurred Visions op. 1 (Piano Fanfare and Anthem for (Organ Solo) Karba op. 102* (Clarinet in Solo) Cyclic Improvisations Pezzo per Quintetto Peace op. 134 (SATB Choir Bb, Bass Clarinet and Piano) and Fugue op. 22 (String d’Ottoni op. 55 (Brass Offerta musicale op. 87* and Orchestra) Piccolo Divertimento op. 2 Instrument, Wind Quintet) (Organ Solo) Contrasts for Clarinet Missa Romani Pont. (Wind Quartet) Instrument, Piano and Quartet op. 104* (Clarinet Three Songs for Phaedra op. Canti op. 88* (Clarinet, Benedicti XVI op. 133 Percussion) in Eb, 2 Clarinets in Bb, Piccolo Divertimento op. 56* (Clarinet Solo) Violoncello and Piano) (SATB Soli, SATB Choir Bass Clarinet) 2(a)* (String Quartet) Five Miniatures op. 24* and Orchestra) Larghetto Cantabile op. 57* 3 Preghiere op. 89 (Brass (Piano Trio) Riflessioni op. 107* (Flute, A Movement op. 3* (String (Violin and Piano) Quartet Trumpet, Althorn, Ode to a Resurrected Violin – Oboe, Clarinet, Bassoon, Quartet) Ħaġar Qim (Ballet Music) Euphonium, Tuba) op. 137 (Violin Solo and Tema con 7 variazioni op. Horn and Piano) op. 25* (Flute, Oboe and String Orchestra) Trio Concertante op. 7* 59 (Guitar Solo) Piccolo Pezzo da Concerto Percussion) Sonata op. 109* (Alto (Violin, Horn and Piano) op. 89(a) (Tuba and Piano) Anthem op. 146* (SATB Capriccio op. 62* (Violin Saxophone and Piano) Rapsodija Maltija op. 26* Choir and Orchestra) Bo Peep: A Little Little and Piano) Romanza op. 90* (Violin, (Violin and Piano) Duetting op. 110* (Piano Opera for Children op. 8 Violoncello and Piano) The True Face of God op. Jeux op. 68* (Flute and and Percussion) (Unison Choir, String Trio Rapsodija Maltija op. 26(b)* 150(a) (4 Horns, Timpani Harpsichord) Due Concertante op. 91* and Piano) (Piano Solo) Talae op. 116* (Trumpet in and Orchestra) (Violin and Viola) Suite all’antica op. 69 (Violin C and Marimba) Passcaglietta op. 9* (Clarinet Rapsodija Maltija op. 26(d) Credo op. 151 (SATB Soli, and Guitar) Segments no. 1 op. 93* and Piano) (Violin Solo and String Fun Fair op. 120* (3 SATB Choir and Orchestra) (Flute, Violin and Piano) Orchestra) Trumpets and Timpani) Scherzo op. 10* (Piano Solo) Suite all’antica op. 69(a) Thinking … Impromptu op. (Violin and Piano) Segments no. 2 op. 94* Sonatina op. 30* (Piano Sighs and Whispers op. 123 153 (String Orchestra) Due Cantilene op. 12* (String Quartet) Solo) (Alto Flute and Harp) (String Quartet) 6 Preludes op. 70* (Piano Solo) Segments no. 3 op. 95* Monologo op. 31* (Violin Meditation for Cello Solo Invention op. 15 (Piano Solo) (Clarinet and Piano) Solo) Epigrammi op. 71* (Violin op. 125* Solo)

*Recorded on CD *Recorded on CD 48 WORKS BY GENRE WORKS BY GENRE 49

Pan Revisited for Flute Solo Le Mid-Dit op. 149 Tangled Was I op. 29 Ave Maria op. 74 (High Pueri Natus Est op. 108 MUSIC FOR op. 126* (Trumpet, Trombone, Tuba, (SSATB choir a cappella) Voice and Harp or Piano) (SATB Choir, Viola Solo and WIND BAND Xylophone) Organ) Miniatura for Cello Solo o p. Miserere op. 37* (SSAA Sicut Cervus op. 78* (SSA Three Mood Pieces op. 4(a)* 127* The True Face of God op. choir a cappella) choir a cappella) Tristis est anima mea op. 111 150 (4 Horns, Organ, and (Soprano Solo and SATB Rebbieħa op. 45(a) Sounds of Celebration op. Missa Brevis op. 40* Jesu dulcis memoria op. 79* Timpani) Choir a cappella) 129 (Brass Ensemble) (Soprano Solo, SSAA choir (SATB choir a cappella) Jubilo op. 47(a) Fantasia op. 154 (2 Violins, a cappella) Kant ta’ Mara op. 112 Ramblings op. 136* (Flute, Hymnus op. 80* (SSATB Fanfares for an Occasion op. Horn and Piano) (Soprano Solo, Violoncello Clarinet, Violin, Violoncello Psalm 89 op. 43(a) (Baritone choir a cappella) 97 and Piano) and Guitar) and Organ) Invocazione op. 81* Ludus Tonalis for Wind Ode to Pearl Grotto op. 113 Variationes sur un Air CHAMBER MUSIC 2 An ‘English’ Mass op. 46 (Soprano Solo, TTBB choir Band op. 119 (SATB Choir a cappella) Folklorique Maltaise op. 139* (VOCAL) (SATB Choir and Organ) a cappella) Fantasia op. 147 (Mandolin Solo) Carmen 2 op. 117 (SATB Għanjiet op. 51* (Soprano, Motetus antiquo modo op. Triptych op. 6* (Soprano and Choir a cappella) A Serenade for Sonja op. 140 Piano) Piano and Percussion) 82* (SATB choir a cappella) (Violoncello and Piano) Sequenza a 3 op. 118 (SSA Melita, Melita op. 52* Rorate Coeli op. 84* (SSAA UNCLASSIFIED Waħdi op. 13* (Soprano and Soli) In a Pensive Mood op. 141* (Soprano and Piano) choir a cappella) Piano) 1. Church Music (Viola Solo) O Wisdom op. 135 (SSATBB Kantilena ta’ Pietru Caxaru Sequenza a 2 op. 85* (SA Il-Lejla l-Qamar qed Soli and Alto Saxophone) Missa Papa Giovanni 3 Bagatelles op. 142 (Viola Jitwerreċ op. 17 (S/A or T/B op. 58* (Soprano and Harp) Soli a cappella) – and Piano) Surrexit Dominus op. 145 STB Soli, SATB Chorus and Piano) L-Għanja tal-Ħajja op. 60* Taħnina op. 106* (Soprano (SSATBB Soli and Soprano and Orchestra Charlie on my mind op. (Baritone, Oboe and Harp) and Piano) Il-Kebbies tal-Fanali op. 18* Saxophone) 144* (Trumpet and String Ave Spes Solamen (Soprano and Piano) Cantico delle Creature op. Taħnina op. 106(a)* Quartet) To a False God op. 152 (Antifona) – TB Soli, 61* (Soprano, Flute and (Soprano, Violoncello and X’Milied hu dan? op. 21* (Baritone and 5 Timpani) Chorus and Orchestra Trio op. 148 (3 Corni di Harp) Piano) (High Voice and Piano) (18.01.09) Bassetto) Rosalind’s Madrigal op. 27 Quasi un Madrigale op. (SSATB choir a cappella) 67 (High Voice, Flute and Piano)

*Recorded on CD *Recorded on CD 50 WORKS BY GENRE WORKS BY GENRE 51

Attolite Portae (Antifona) Aperite Mihi Portas* Innu lil San Pawl Innu lil San Lawrenz – In Omaggio Banda Konti Our Birth is But a – SATB Chorus and (Psalm) – SA Chorus and (Munxar) – Chorus and Chorus and Band Ruġġieru* (Overture) Sleep – Soprano and Orchestra (17.05.04) Orchestra Band (30.01.04) Pianoforte (1961) Innu lill-Immakulata Sancte Michael Christus Passus Est* Innu lil San Lawrenz Kunċizzjoni (San Festive Bells* (Overture) There is Sweet Music Archangelo (Antifona) (Psalm) – SA Chorus and (San Lawrenz) – Chorus Franġisk Victoria) – (14.09.00) Here – Baritone and – SATB Chorus and Orchestra and Band Chorus and Band Pianoforte (1961) Preludio* (Prelude) Orchestra Dilexi (Psalm) – SA Talba ta’ San Franġisk – Innu lill-Victoria Scouts Tfal Maltin Inkantaw Joseph Filii David Chorus and Orchestra Voice and Pianoforte Group (fl-okkażjoni Song Book with 25 Songs (Antifona) – TTB Chorus tal-50 sena mit-Twaqqif 4. Piano Music Dignus Est (Psalm) SA L-Għanja ta’ Qlubna* for Children and Orchestra – Tagħhom) Chorus and Orchestra (San Ġorġ Qormi) – Valse (14.04.70) Traditional Songs for Aperite Mihi Portas* Chorus and Orchestra Ghanja lil San Filippu ta’ Credidi (Psalm) – SA Folk Groups (Introit) – SATB Chorus Aggira – Tenur Solo u Nocturne (06.07.68) Chorus and Orchestra Dejjem f ’Qalbna* (San and Orchestra Banda Lil Għawdex Tagħna Ġorġ Victoria) – Chorus Sonatina (1956?) Magnificat* (Psalm) – SA Posuisti Domine* and Band Għanja lill-Maħbuba Chorus and Orchestra (Gradual) – T Solo, Maltese Folk Dance Innu ta’ Ferħ* (Dun 3. Music for Wind Band SATB Chorus and L-Għabex Karm) SATB chorus a Playing 6,5,4,3,2…. Orchestra (01.01.04) Wied il-Lunzjata 2. Hymns cappella 36 Funeral Marches for Confitebuntur* Holy Week* Innu lil Għawdex* – Il-Lejl it-Tajjeb (Offertory)– B Solo, Innu lil San Pawl Chorus and Orchestra/ 34 Festive Band SATB Chorus and Nawfragu* (Munxar) – 5. Vocal Music Mari l-Għawdxija Band Marches* Orchestra S. Solo, Chorus and Għand Ġorġ ta’ l-Inbid Band (1965) Innu lil Suor Margherita 5 Marches for Religious Li Kieku Kont (Tnehida) Giorgius Natus Est* Tenor/Baritone – Chorus and Orchestra Processions – Onġionġionġella (Hymn) – SATB Chorus Lil San Pawl (Sena and Pianoforte (1960? and Orchestra Pawlina) (16.04.08) Innu lil Santa Margherita 2 Waltzes for Easter Revised 05.10.05) Ix-Xall – Chorus and Band Sunday morning Confitemini Domino* Ta’ Gananu l-Karozzin (Psalm) – SA Chorus and Orchestra

*Recorded on CD *Recorded on CD JosephVella DISCOGRAPHY

Recording the first-ever CD of music by a Maltese composer in the studios of Radio Sofia with the Sofia Philharmonic Orchestra, 1991. 54 DISCOGRAPHY DISCOGRAPHY 55

SYMPHONIES/CONCERTOS/VOCAL ORCHESTRAL MUSIC

THE MUSIC OF JOSEPH VELLA CONCERTOS 2 DAMMA TA’ GĦANJIET CONCERTOS

SYMPHONY NO. 3 VIOLIN CONCERTO / PIANO CONCERTO SINFONIA NO. 2 CONCERTO AND SINFONIETTA 56 DISCOGRAPHY DISCOGRAPHY 57

CHAMBER WORKS

VELLA A CAPPELLA MASS IN D MAJOR ORATORJU – FILIPPU T'AGGIRA CHAMBER WORKS 1 Flute, Violin, Pianoforte

ORATORIOS

DEMM FUQ IL-VERNA ORATORJU – MADONNA TAS-SACRO CUOR CHAMBER WORKS 2 CHAMBER WORKS 3 Cantici Baritone, Violin, Clarinet, Horn, Harp, Organ, Pianoforte 58 DISCOGRAPHY DISCOGRAPHY 59

CHAMBER WORKS 4 CHAMBER WORKS 5 CHAMBER WORKS 8 CHAMBER WORKS 9 Music for Clarinet Music for Wind Instruments Music for Percussion Music for String Orchestra

CHAMBER WORKS 6 CHAMBER WORKS 7 CHAMBER WORKS 10 CHAMBER WORKS 11 Music for String Quartet Music for Strings and Pianoforte Music for Chamber Orchestra Soliloquies 60 DISCOGRAPHY DISCOGRAPHY 61

WIND BAND ANTHOLOGY OF MALTESE MUSIC 1652 –

ELEGY – LA STELLA BAND ELEGY 2 – LA STELLA BAND GIUSEPPE BALZANO (1616 – 1699) MIDDLE BAROQUE MUSIC

25 ANNIVERSARJU – BANDA KONTI RUĠĠIERU FESTIVE BAND MARCHES THE HIGH BAROQUE BENIGNO ZERAFA (1726 – 1804) 62 DISCOGRAPHY

PRAE-CLASSICA FRANCESCO AZOPARDI (1748 – 1809)

NICOLÓ ISOUARD (1773 – 1818) You name it … he has it.

This publication is a tribute to one of Gozo’s foremost illustrious citizens – Joseph Vella. It coincides with the wonderful donation of his music manuscripts, documentation, juvenilia, mementoes, and more that Vella made to Il-Ħaġar Museum. The Joseph Vella Archive is an eloquent testimony to the life and work of this inspired and inspiring polymath.

This book gives a comprehensive account of Vella’s career as a composer and conductor. However, it also deals with lesser-known aspects of his life and interests. Among these one finds information about his pioneering work and research of old Maltese music; in this regard he is often referred to as ‘the Father of the Maltese Revival Movement’. Other facets of his career include his work as Inspector of Music within the Education Department; the founder-member of the team that set up the Johann Strauss School of Music in Malta; the first academic who introduced music at tertiary level at St Michael’s College; his interest in sport in his younger days; and his brief foray in the realm of pop music.

A man for all seasons, indeed and in deed.

5th ANNIVERSARY CELEBRATIONS 2013-2018 IL-ĦAĠAR GEMS SERIES No. 1