Composer - Orchestral and Concertos
2005 - Melita Fantasy for 2 Guitars and Orchestra
Listen to the entire piece (20 MB) -
2004-Melita-Fantasie
Listen to Excerpts:
- 01 - Allegro
- 02 - Ancient Times
- 03 - Romans
- 04 - Arabs
- 05 - Numerous Invasions
- 06 - British Rule
- 07 - Coda
With this occupation, inevitably, Maltese culture has been influenced in many ways. The Maltese language is a hybrid of Arabic, Spanish, Italian, English and French. The cultural influences from these occupying nations also extend to other aspects of Maltese culture. Its music is a fine example of these. Malta has its own distinctive music, ranging from contemporary popular to folk music.
Ghana (pronounced "ah-na") is the term used by the Maltese people when referring to their folk music. The exact origins of Ghana are obscure, but there exist many similarities with other Mediterranean musical cultures. These similarities will be discussed later but there are definite connections to music from Northern Africa, Spanish and Arabic cultures. Ghana is performed today in Malta and other parts of the world, including Australia.
Ghana is generally performed with one lead guitarist and at least two accompanying guitarists. Melita Fantasie only requires the use of two guitarists. Both share in the lead and accompaniment roles. The orchestra fills the role of the third guitar.
The term "Folk music" is applied here to music that originated amongst the lower socio-economic strata of society and in this respect Ghana is no different.
As an Australian-born composer of Maltese heritage my upbringing encompassed an interesting combination of local and Mediterranean culture. My father, Joseph Alexander Galea, is active in the Australian Maltese community as both a singer and guitarist of Maltese music. I was exposed to the language and culture from an early age, the sounds of Ghana being imprinted on my memory for as far back as I can remember.
My conviction is music can in some way represent real historical events, a viewpoint that I accept is contentious, but is nevertheless central to my personal artistic vision.
The research for this composition involved an extensive investigation of the available literature on Ghana. Local exponents of the Ghana tradition were interviewed and live recordings of Ghana performances were made for further investigation.