Concerto No.1 "Mediterranean" (1948, revised 1978) [by] Charles Camilleri (1931-2009) : an insight into the work

Abstract

On listening to the 'Mediterranean Concerto', one immediately senses a homogeneous structure in this work. For such a young composer, to express the inner feeling is an observable feat in the managing of consistency in the material. This reference to consistency in composition has been a preoccupation for all composers throughout the ages. Each composer has found his own way of approaching this problem and solving it. One only needs to examine a two-part Bach invention or a Beethoven sonata to understand the economical and aesthetically satisfying use of the material throughout the whole composition. From the 20th century another key example would be Stravinsky. He states in the Poetics of Music, "... that two principles which dominate the creative process corresponds the fundamental concepts of variety and unity". He continues, "It is more satisfactory to proceed by similarity rather than by contrast. Music thus gains strength in the measure that it does not succumb to the seductions of variety." By this I take Stravinsky to mean the importance of consistency in music since he continues to mention that contrast can be formed by the same material and not by the introduction of other material alien to the nature of the composition. This in fact, Stravinsky continues, would only create a partial contrast and would dislocate the whole composition structure of the work. One other reason for analyzing Charles Camilleri's first Piano Concerto, is to delineate the influences and artistic origins of the composer's oeuvre. Other compositions which in my opinion are directly influenced or off-shoots from the first piano concerto are works such as ‘Lil din l-Art Helwa’, the ‘Mediterranean Dances’, the ‘Malta Suite’, the ‘Maltese Dances’ and also several chamber works written throughout the life of the composer such as the ‘Four Greek Songs’ for clarinet and piano, ‘Divertimento no.2’ for clarinet and piano, and the ‘Maltese Folk Songs’ for violin and piano later rearranged for various combinations, just to mention a few. These compositions all bear the print of Camilleri's nationalistic period, primarily because the writing consists mainly of simple rhythmic figurations and small repeated motifs with references to Mediterranean regions. The above mentioned orchestral works possess the same kind of orchestration as the piano concerto which is clearly distinguishable from other large later works by Camilleri such as the cello, flute and the second and third piano concertos. As will be explained in more detail hereafter, this concerto contains the kernel of Camilleri' s future output.