ċ
The audience that flocked to Mosta Basilica on the Saturday evening of 23 March, bore an enduring testimonial to a stunning Chorus Urbanus that weaved a musical tapestry to commemorate 100 years of the golden casket enshrining the statue of the Dead Christ, known popularly as “il-Monument” within the locals’ jargon. In a meticulously curated program, artistic and theological presentations by Rev Msgr Dr Edgar Vella and Canon Antoine Borg blended well into timeless compositions that resonated with both reverence and artistic brilliance. Under the baton of seasoned choral conductor, Dr John Galea, the choir embarked on a journey through sacred music that is always focussed on the triumphant perspective of Easter.
The evening kicked off by a stately processional ‘Vexilla Regis’ where the choristers marched past the Casket at the centre of the majestic Rotunda on their way towards the spacious steps of the main Altar, leaving candles as they passed by the ‘Monument’. The hymn’s beauty lies in its luscious harmonies that express the profound significance of the lyrics. ‘In Monte Oliveti” by Marc’ Antonio Ingengneri soon set the mood for the delicate interplay of voices expressing the ambience of the moonlit olive grove in the Kidron valley. The choir’s diction and phrasing were impeccable, evoking the solemnity of Christ’s prayer in Gethsemane. This was followed by the hushed voices singing ‘For God so loved the world’ by Stainer. The audience was captivated by the profound expression of love and redemption conveyed by the choral voices.
The timeless beauty of Gregorian chants performed by the male section of Chorus Urbanus were very well received! ‘Gloria Laus et honor tibi sit’ is a chant that is traditionally sung during Palm Sunday processions. Its monophonic structure devoid of any harmonies allowed the audience to immerse itself in the purity of the melody that reverberated within the majestic enclaves of the Rotunda. On the other hand ‘Ecce Lignum Crucis’ pierced the heart and indeed the starkness of the chant intoned by Joseph Camilleri mirrored the starkness of the Cross itself. The gradual ascent in pitch as the chant unfolded symbolized the ascent of Christ on Mount Calvary. It simply transcended time through its haunting beauty. The absence of complex harmonies allowed the audience to focus on the essence of the message delivered by the choir in their response ‘Venite adoremus’. It was time then for the haunting strains of the psalm ‘Miserere Mei Deus’ for 3 male vv. by Armando Antonelli that echoed eminently throughout the Rotunda, filling the basilica with waves of blended harmonies. The male choir’s dynamics shifted seamlessly, conveying both sorrow and supplication that was balanced by chant interludes sung by Hilda Galea. It was indeed a moment of profound introspection.
Chorus Urbanus is proud to excel in premiere renditions of John Galea’s sacred music, composed exclusively for our choral force. “Crux Fidelis” is a moving John Galea anthem penned to lyrics by the great Venantius Fortunatus,. It expresses forth the resolute faith, with the solo soprano part tackled by Yvonne Galea soaring above the four-part choral harmonies was nothing short of celestial. The acoustics of the basilica lent an ethereal quality, as if the very stones whispered their acknowledgement. These lines encapsulate the essence of Christ’s sacrifice – the weight of redemption borne by the Cross, with the paradox of suffering that was transformed into the sweetness of the music and lyrics. It was indeed a moving contemplation of the profound mystery of the Crucifixion. The other John Galea work performed during this commemoration was ‘Improperia’ where the sombre reproaches uttered by bass Noel Galea resonated throughout the Basilica. This led to the full outbourst of ‘Agios O Theos’ by the choir, capturing the imploration for mercy with the traditional Trisagion from the Orthodox tradition. The intricate polyphonic harmonies painted a vivid delineation of this powerful text that culminated in the thankful ‘Crucem tuam adoramus Domine’ that is focussed on the triumph of the Resurrection.
The grandeur of Bruckner’s ‘Christus Factus Est’ enveloped the basilica. The choir’s precision and unity were awe-inspiring. As the crescendo built on ‘quod est super omne nomen’, it felt as though the heavens themselves wanted to join the chorus in acknowledging the glorified name of Christ. The concert reached its zenith with Ghedini’s composition ‘Recessit Pastor Noster’. The choir’s vigor and passion were unmatched. The golden casket, a silent witness, seemed to resonate with the music’s fervor.
Once more Chorus Urbanus had woven a tapestry of sound, bridging the centuries and honoring the sacred legacy of Mosta Basilica. It was a transcendent performance where crescendos and diminuendos were articulated with finesse, evoking emotions that lingered long after the final syllable of the closing chord. It was an artistic accomplishment that touched the hearts of all those who bore witness to this commemorative event where music, faith, and history converged.With its unwavering commitment to excellence, Chorus Urbanus continues to stand as a beacon that enriches our national cultural heritage.
(Photo Credits: Mosta Basilica)
0 Comments