New Oratorio by John Galea

THE PREMIERE of a new work is always an exciting event, particularly if it is a major work like an oratorio. John Galea's oratorio ll-Qalb ta' Kristu, was given its first performance in the church of the Sacred Heart of Jesus in Fontana. Gozo, on June 10 and was repeated in Malta at the Mdina Cathedral on June 30.

The main purpose of the composition, that was commissioned by the parish priest of Fontana to celebrate the Year of the Eucharist and to commemorate the centenary celebrations of the Fontana parish, is mainly 'evangelical'. For this reason, I suppose, the composer rather than pandering to the critics by writing a work that sounded ground-breaking chose a style of composition that is easily accessible to the general public.

While the work does not contain many immediately singable tunes it is replete with pleasant melodies and satisfying harmonies and uses a wide variety of sound pictures to illustrate the various scenes of the libretto. This too, written by Bishop Nikol Cauchi in two versions - one in Maltese and another in Italian - is composed mainly of regular stanzas with regular rhyme patterns that are meant to remain imprinted in the minds of the listeners.

The work consists of nine movements. Although it contains quite a number of dialogues and no fewer than seven different characters besides the chorus the libretto is not very dramatic - its purpose is more meditative. Any drama that is contained in the work in fact is found in the music with its strong contrasting colours both in the singing and1 in the orchestration. The chorus, which is used as commentator by the libret-

tist, is often viewed by the composer as another element of the orchestra and merges with it most of the time.

Unison passages combine with part writing in a pleasant combination. This does not happen, however, at the expense of the words (clearly enunciated by both choir and soloists) that retain their importance. There are no complex vocal structures such as fugues with only the occasional use of canon (such as in the fourth movement).

Apart from that for the soprano singing the part of St Margaret in the eighth movement, there are no big solo arias, and the solo parts are on the whole shorter sections which alternate with the choruses. Most of the work is written in a comfortable major mode with the occasional deviation into the minor as in the fourth movement when the change of key describes the people's erring ways.

In the first movement the orchestra introduces the melody which is immediately taken up by the tenor (Joseph Aquilina in the part of St John the Evangelist) who together with the chorus announces the arrival of Christ. This is followed by a movement relating the Baptism of Christ. It consists mainly of a dialogue between John the Baptist (baritone Alfred Camilleri) and Christ (bass Noel Galea).

The orchestral writing here contrasts with that of the first movement and is more spirited. There was some danger at this point for the soloists to be drowned by the orchestra. This was unfortunately a recurring feature in the performance and there were times when one could not tell whether the chorus was singing in unison' or in parts since the male sections were hardly distinguishable.

Many of the movements fall into contrasting sections and here the orchestral colour changes at one point to become more gentle to suggest the flowing waters of the river. A beautiful melody on the violins acts as an interlude between the words of the Baptist and the choir while the effect of the running water is produced by runs on the harp - a little obvious perhaps but nevertheless effective.

The woodwinds introduce the marriage feast of Cana while the soloist and the choir indulge in a dance rhythm. The mood changes and becomes more solemn but tender as Mary the mother of Jesus (Antonella Mercieca, contralto) is introduced. As the movement closes, the music recaptures the atmosphere of the beginning. This was one of the best parts sung by tenor Joseph Aquilina, who earlier on had shown some strain in the higher register, particularly in the longer notes.

The brass section now introduces a flowing melody as in the next movement Christ is depicted moving around the country preaching to the crowds and the feeding of the multitudes. Two sections for the solo male sections of the choir represent the disciples. An orchestral tremolo before the final section suggests the awe inspired by the miracle of the multiplication of the loaves and fishes.

The voice of God the Father in the movement of the Transfiguration is represented by a melody for the bass (Albert Buttigieg) accompanied note for note by the orchestra. This movement ends with a beautiful diminuendo first by the choir and then by the orchestra to depict the departure of the bewildered apostles.

A Middle Eastern melody announces the pass-over feast of the Last Supper, a movement that is scored mostly for the string section. The words of consecration are declaimed by the bass to the accompaniment of a melody starting on the cellos which adds solemnity to the scene. Once again the awesomeness of the Eucharistic miracle is suggested by the orchestral texture which recalled that of the multiplying of the loaves.

Christ on the Cross is a kind of funeral march. This is one of the longest movements. There is tenderness in the music of the choir describing the presence of Mary the mother of Christ, Mary Magdalene and John the Baptist at the foot of the cross. The timpani menace as Christ starts his protest to the Father but immediately become tender to suggest Christ's resignation to the will of the Father.

It is then the turn of the brass to menace but even this is short-lived and the music once again becomes gentler, while a poignant melody on

the violin precedes the declamation by the bass of Christ's final words to the accompaniment of the timpani.

A lighter orchestration accompanies the words of St Margaret Mary (soprano Yvonne Galea) to Christ -the most lyrical movement of the work, which precedes a rather grandiose finale with full choir and orchestra.

At the Mdina Cathedral the National Orchestra, conducted by the composer himself gave an effective performance of the work. Equally effective was the singing of the Chorus Urbanus, although a stronger male section in some parts was certainly desirable to get a better balance. The overall level of the singing by the soloists was good, though Noel Galea, steady and expressive in all the ranges, and Yvonne Galea with the sunny timbre of her voice, stood out.

CECILIA XUEREB