GRAMOPHONE (RECOMMENDED RECORDING):
Why is the music of Maltese composer Charles Camilleri (b1931) not better known? This collection is one of the most rewarding compilations of new 20th century orchestral music I have encountered in a long time. True, it is lightweight, but it is consistently attractive and often hauntingly tuneful, and how much contemporary music can one say that about? Moreover, it is resourcefully inventive, elegantly crafted and richly scored, with many delightful woodwind solos: the flute solo which opens the Intermezzo from the opera Il-Weghda, with the melody later taken up by the clarinet, is ravishing, while Camilleri’s expressive writing for the strings is gently touching.

The lovely Nocturne from the Malta Suite; the sad little portrait of “The Bride of Mosta” – snatched away by pirates on her wedding day – the third of the Legends – and the tender central Andante of Summer Nights in Malta, delectably played by Jennifer Micallef and Glen Inanga, are all memorable, while the Concertino’s outer movements have wit and high spirits in abundance. So has the infectious “Grand Polk March”, the fourth Legend, with its chortling clarinet roulades exhilaratingly played by Godfrey Mifsud. Much of this music is descriptive. Legend no. 2 brings a pizzicato picture of “The Watch-maker from Gozo” and has him winding his watch at the very end. The Knights of Malta ballet suite uses genuine ancient airs and dances, taken from old local manuscripts, piquantly scored, and the Malta Suite (the composer’s first success, written when he was only 15) draws on local folk music.

These sparkling performances from Brian Schembri and the excellent Bournemouth Symphony Orchestra could not be more stylish or persuasively spontaneous, and the vividly atmospheric recording is first rate. Not to be missed – Camilleri’s muse possesses an unselfconscious ability to communicate and captivate the listener in the simplest way.
Ivan March

FANFARE (USA):
Impeccably behaved music, this. The composer, Charles Camilleri, was born in 1931 in Hamrun (Malta). He is clearly fiercely patriotic. His ballet suite from Knights of Malta is based on some manuscripts discovered in Oxford's Bodleian Library that contain music by the ancient Maltese knights. This is dignified music (especially the central movement of the five, Air de Branle), music that at times is distinctly courtly. The Bournemouth orchestra, which has been making such excellent records for Naxos under Marin Alsop recently, clearly has a ball.

The Fourth Concertino, subtitled “Summer Nights in Malta”, is scored for two pianos and orchestra in this 1988 revision of a piece originally conceived in 1960-62, when Camilleri was a presenter for CBC (the Canadian Broadcasting Corporation) in Toronto. The light-of-touch first movement is a joy, and is also the shortest of the three. The central Andante is taken from the earlier solo piano work (also called Summer Nights in Malta ). It breathes stillness and repose, The recording, produced by Antony Hodgson and engineered by Geoffrey Addis, captures the sultry but restrained warmth of the strings to perfection.

The oboist and clarinettist who grace “The Folk Singer from Birguma”, the first of the Four Legends , surely deserve a mention. This is a luxurious movement that contrasts with the busier “Watchmaker from Gozo” ( a joy from first to last). “The Bride of Mosta” meditated on the tale of a bride who was snatched away by pirates on her wedding day, before a “Grand Polka March” closes the suite in infectious spirits.

The disc is well programmed. Overture Classique of 1961 initially acts as a still point after the Legends , before spicier harmonies are introduced into the faster main section.

The concept of an opera in Maltese is a tantalizing one. Il-Weghda (“The Promise”) is one such (how many are there, I wonder?) and was first produced in 1984. The present Intermezzo is all I have hears of this opera, but it must be said that this excerpt is absolutely beautiful. Clearly the Bournemouth players agree, for there's a real sheen to the violins, and woodwind solos are delivered with genuine care.

The final work dates way back to 1946, when the 15-year-old composer was on holiday on the island of Gozo. The Malta Suite is a remarkable work from someone so young and, if the scoring is not as sophisticated as it was to become, there is a freshness here that is most appealing. The main theme of the Waltz points to a composer who has an inbuilt talent for melody (it is absolutely captivating, the sort of tune one would hear wafting from an English bandstand in a park on a summer afternoon). The fragility of the “Nocturne” leads to a dancing, extrovert final “village Festa”. This is thoroughly enjoyable music, undemanding yet often exquisitely crafted.
Colin Clarke

MUSICWEB:
Charles Camilleri is unquestionably the best-known Maltese composer. His huge and varied output includes works in almost every genre ranging from short piano works to opera. Stylistically, too, his music is remarkably varied with lighter works in folk-inflected idiom and many more serious ones using more advanced techniques. The release under review focuses on his lighter, folk-inflected music. It also presents works from different periods of his busy composing life: Malta Suite was composed in 1946 when the composer was a mere fifteen.

The ballet Knights of Malta was composed around tunes found in manuscripts in the Bodleian Library in Oxford. These consist of the actual music used by the ancient Knights of Malta and notated by a Welshman who may have been employed as a court musician. This information is drawn from the anonymous insert notes accompanying this disc. The ballet suite consists of an overture and four dances (Court Dance, Air de Branle, Grandmaster's Minuet and Celebration).

In the early 1960s, Camilleri had a radio program on the Canadian Broadcasting Corporation in Toronto. At that time, he composed four Concertinos, of which the First Concertino for clarinet and strings is available on ASV CD DCA 1011. The Concertino No.4 “Summer Nights in Malta” was originally written for piano and orchestra and was revised in 1998 for two pianos and orchestra, which is what we have here. It is in three short movements, with two lively outer movements framing the slow movement based on an earlier piano piece Summer Nights in Malta. This is a very attractive little work, and the slow movement is one of the loveliest things that I have ever heard.

It is a truism to say that Four Legends are based on Maltese legends including “one of the best known, that of the Bride of Mosta” (sic). The problem is: how many of us really know Maltese legends? We are told nothing about them, but this is a minor grumble because these colourful miniatures speak for themselves and are quite enjoyable. Here they are: The Folk Singer from Birguma, The Watchmaker from Gozo, The Bride of Mosta and Grand Polka March, the latter concluding the suite in high spirits.

Composed in 1961, Overture Classique (sic) is based on a theme by the 18th century Maltese composer Nicolo Isuard. As one may expect, this is a lively, somewhat Neo-classical concert-opener of great charm.

We are not told when Camilleri's opera Il-Weghda (“The Promise”) was composed. It was first staged in 1984. Although written in Maltese, the libretto tells a universal story, that of a promise of marriage, at odds with the promise of a former lover who declared that he would return. Did he? We are not told. Anyway, the Intermezzo is another fine piece that stands remarkably well on its own, as heard here.

As already mentioned earlier in this review, Malta Suite is an early work, since it was composed when the composer was a mere fifteen. The music of the four movements (Country Dance, Waltz, Nocturne, Village Fiesta) is fairly straightforward, colourful and often lively, as with much else in this selection.

MID WEST RECORD (USA):
Reissue of a suite of related works for Malta with a symphony [orchestra] in tow that has a real feel for the works.  Like a later day Strauss, this is a collection of light classical pieces that are fun, especially for the classical realm.  Quite a dandy diversion that almost bops along like a pop record.
Chris Spector