Chapter 3

Orchestral and Concertante Works

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Orchestral and Concertante Works

3.1 Introduction

O
rchestral works comprise a large portion of Pace’s extensive oeuvre, ranging
from symphonies and concertos that are serious in import to small-scale light
orchestral works. This chapter has two aims. The first is to survey Pace’s
creative contribution to these genres in order to provide an overview of this aspect of his
output. The second to give an account of the compositional approaches in evidence by
discussing representative works in detail, and to contextualise these in relation to both
nineteenth-century traditions and wider twentieth-century stylistic trends.

As a composer of orchestral works, Pace is particularly significant in a Maltese context,

as he was the first native composer to write so extensively for the medium. Of the
Maltese composers from earlier historical eras, only two wrote orchestral works of any
significance: Francesco Azopardi (1748-1809), whose output includes two Sinfonias
(composed in 1797 and 1799 respectively); and Paolino Vassallo (1856-1923), whose
catalogue of works contains six short orchestral works. Pace’s first symphony, the
Symphonie dramatique, which dates from 1931, is consequently the first large-scale
orchestral work of significance by a Maltese composer. Pace is thus a figure of seminal
importance in the development of the Maltese orchestral literature, whose work was
foundational for the creative activities of a younger generation of Maltese symphonists
such as Charles Camilleri (1931-2009) and Joseph Vella (b. 1942). both of these
composers’ outputs also contain substantial quantities of orchestral works: Camilleri
wrote three symphonies and concertos for several instruments (including piano, organ,
cello, and clarinet); while Vella has written five symphonies to date as well as concertante
works.1

1
For a full list of Vella’s orchestral and concertante works, see http://www.josephvella.com.mt/catalogue-
of-works/ - [Accessed 15 January 2014].
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3.2 Pace’s symphonies: general technical and stylistic considerations

Pace composed two symphonies, the first of which, the Symphonie dramatique, as
previously mentioned, dates to 1931. Symphony No. 2 was completed thirty-five years
later in 1966. In the present section, I would like to discuss some general technical and
stylistic features of these scores, as well as Pace’s conception of the symphony itself.

In the absence of any surviving documentation, it is difficult to pinpoint precise

influences on Pace’s approach to the symphony, whether deriving from earlier symphonic
traditions, or from the practices of his contemporaries. One is consequently left in the
position of having to form an impression of Pace’s conception of the genre from internal
evidence gathered from the scores alone. Like most symphonists of the nineteenth and
twentieth centuries, Pace clearly saw the symphony as a genre that was essentially serious
in nature, taking as his starting point a conception of the symphony that derived from
Beethoven and which was elaborated by Romantic critics such as E. T. A Hoffmann. 2
However, the style and compositional approach of both of his symphonies defies easy
categorisation, as on the face of it, their formal organisation and certain aspects of their
musical language—especially their harmonic language—bears little obvious resemblance
either to nineteenth-century models or to the symphonies of Pace’s twentieth-century
contemporaries. Both are cast in three movements, with a central slow movement framed
by two outer movements that are faster in tempo. This three-movement design has notable
precedents in the nineteenth century (such as César Franck’s Symphony in D minor3) and
was also adopted by some twentieth-century composers (Arnold Bax 4 and Nikolai
Miaskovsky,5 for example, both favoured it). There, however, the similarities end. The
form of each of the three movements in Pace’s symphonies does not conform to any
traditional mode of organisation such as sonata form. Rather, each movement is
composed in a succession of sections which are generally contrasting in tempo and in
character, and which may be linked to some extent by motivic and thematic connections
in between movements.

2
For a discussion, see Mark Evan Bonds, Music as Thought: Listening to the Symphony in the Age of
Beethoven, (Princeton, NJ: Princeton University Press, 2006).
3
For a discussion, see Oilin L. Downes, Symphonic Masterpieces, (New York: The Dial Press, 1935), 150-
161.
4
For a discussion, see Graham Parlett, A Catalogue of the Works of Sir Arnold Bax, (Oxford: Oxford
University, 1999), 1-6.
5
For a discussion, see George Calvin Foreman, The Symphonies of Nikolai Yakovlevich Miaskovsky, (PhD
Thesis, University of Kansas, 1981).
 68

By contrast, most major symphonists working in the early twentieth century displayed
strong continuities with eighteenth and nineteenth-century traditions, not only often
employing sonata procedures in first movements, but also mostly retaining the standard
three- or four-movement design, comparatively isolated examples of symphonies cast as
either in a single movement or else in more than four movements. This trait is common to
many European and American symphonists, whatever other differences there may have
been between their styles: one thinks of Vaughan Williams or Walton in England,
Roussel or Milhaud in France, Hindemith in Germany, Shostakovich in the Soviet Union,
or Aaron Copland or Walter Piston in the US.6

Nor does either symphony appear to conform very readily to the criteria suggested by
eminent commentators such as Robert Simpson with regards to what constitutes a
symphony. This question is admittedly a difficult one, especially when it comes to
twentieth-century symphonism, which displays a wide variety of approaches. As Séamas
de Barra has observed, the problem facing Mahler’s successors was ‘to determine exactly
what kind of work a symphony should be in the first place.’ 7 Nonetheless, there appears
to be a reasonable measure of consensus that a symphony is fundamentally different in
nature to other kinds of orchestral work such as an orchestral suite. According to de
Barra, Simpson

considered its essential characteristics to be inseparable from the way the musical
material is conceived and organised. In order to qualify as properly symphonic, in other
words, a work has to possess certain traits and demonstrate a particular kind of
compositional approach: ‘the internal activity [of the symphony] is fluid, organic; action
is the dominant factor, through and through.’ Simpson believed that symphonic music
must grow ‘by the interpenetrative action of all its constituent elements [i.e. rhythm,
melody, harmony, tonality]. In this sense, a symphony is profoundly inclusive.8

Fundamental to this conception of the symphony is the idea that it constitutes a large-
scale unity achieved through the thoroughgoing integration of contrasts inherent in
musical materials of a disparate nature and the tensions that they generate. However,
Pace’s Symphonie Dramatique demonstrates the presence of motivic treatments that are
conceived from the first movement and continue to recur or transform in the subsequent

6
Jan Larue, et al. "Symphony." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed October 10, 2013, http://www.oxfordmusiconline.com/subscriber/article/grove/music/27254pg3.
7
Séamas de Barra, The Symphonies of John Kinsella (PhD Thesis, Durham University, 2012), 126.
8
Ibid: 127-128.
 69

movements in an overarching argument – as exemplified in Figs. 1-8. As Julian Horton

observes, the ‘post-Beethovenian legacy of cyclical thinking’9 became widely adopted in
later nineteenth-century symphonic works by leading composers such as Berlioz,
Schumann and Liszt, all of whom ‘overlaid their movement cycles with overt and
variously developmental thematic processes.’10 There is little, if any evidence of close
motivic working of the kind that became highly developed in the Austro-German
tradition. Nor can one discern the careful planning of long-range harmonic tensions such
as one finds in the music of Sibelius 11 or Nielsen 12 , which is responsible in part for
lending their symphonies their teleological or ‘goal-oriented’ character, centring on the
attainment of a single focal high point in a symphony’s course.13

Symphonie Dramatique – Cyclical Relationships

Five-note motif – a and one-bar motif – b

Figure 1: Symphonie Dramatique, First Movement, five-note motif - a, bars 1-2,

one-bar motif - b, bars 3 and 9

Figure 2: Symphonie Dramatique, Second Movement, five-note motif - a, bar 132

9
Julian Horton Cyclical thematic processes in the nineteenth century, in The Cambridge Companion to the
Symphony, (Cambridge: Cambridge University Press, 2013), 192.
10
Ibid: 193
11
Downes, Symphonic Masterpieces, 272.
12
For a discussion, see Robert Simpson, Carl Nielsen, Symphonist, 1865-1931, (London: J. M. Dent, 1952).
13
For a discussion, see Horton, Symphony, 190-231.
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Figure 3: Symphonie Dramatique, Third Movement, five-note motif - a, bars 264-266

Figure 4: Symphonie Dramatique, First Movement, one-bar motif – b, bars 281 and 283

Figure 5: Symphonie Dramatique, Second Movement, one-bar motif – b, bars 118 and 120

Five-note motif – c, c1 and c2

Figure 6: Symphonie Dramatique, First Movement, five-note motif - c, bars 17-22, motivic recurrence
appearing at bars 320-328
 71

Figure 7: Symphonie Dramatique, First Movement, extended five-note motif – c1, bars 91-93

Figure 8: Symphonie Dramatique, Second Movement, five-note motif – c2, bars 36-39

In a work such as Symphony No. 2, which is in a post-tonal idiom, such an approach

makes the attainment of overall coherence difficult, and the extent to which Pace
managed to solve this compositional problem is open to debate. In the absence of tonality,
the listener’s sense of the musical organisation is largely dependent on thematic and
textural contrasts, rather than tonal ones to articulate sections. The composers of the
Second Viennese School were acutely aware of this technical challenge, and as a result,
thematic processes assumed an even more acute importance in the articulation of form.
As Catherine Dale points out, in her essay ‘Problems of Harmony’ (1934), Schoenberg
contended that ‘abandoning tonality can be contemplated only if other satisfactory means
for coherence and articulation present themselves, and for him these other means were
clearly motivic.’14

A more detailed consideration of Pace’s post-tonal harmonic language will be undertaken

in the context of the analyses of the String Quartet No. 7 and Piano Sonata No. 2 in

14
Catherine Dale, Schoenberg’s Chamber Symphonies: the crystallization and rediscovery of a style,
(Cornwall - UK, MPG Books Ltd., Ashgate, 2000), 76.
 72

Chapters 4 and 5. Here, I will confine myself to a few general remarks. In Symphony
No.2 and his other post-tonal works, where there is no sense of tonal centre or large-scale
tonal organisation, Pace’s harmonic language negates any sense of tonality by the
employment of such sonorities as: (i) dissonant harmonic intervallic patterns of minor and
major and minor seconds and minor thirds, with augmented/perfect fourths and fifths,
amalgamated with superimpositions of polyrhythms – (see Fig. 9), (ii) dissonant
chromatic interventions and harmonic dissonances – (see Fig. 10), and (iii) the use of
nonserial atonality – (see Fig. 11). Pace’s procedures have something in common with
those of Hindemith, whose approach to writing counterpoint, for example, is summarised
by Hans Tischler as follows:

There are two basic approaches to counterpoint, one based on consonance, the other on
independent melodic-rhythmic progressions. As a conservative, Hindemith employs
counterpoint in the first sense only, yet uses dissonant counterpoint, the dissonance being
the result of (1) non-traditional chords, (2) an extended application of non-harmonic
notes, (3) certain melodic techniques, and (4) polytonality. 15

As illustrated in Figs 9-11, Pace employs constant use of superimposed independent

contrapuntal textures, both in terms of harmony and rhythm. As claimed by Krumhansl
and Schmuckler, ‘counterpoint will be facilitated if the materials are distinguished in
terms of timbre, pitch, range, dynamics, and rhythm, and if a single tonality is established
before others are introduced.’ 16 Although Pace employs constant use of superimposed
rhythmic patterns, he also makes use of intervallic patterns of augmented fourths and
perfect fourths and fifths, as exemplified in Fig. 9. These are presented between the oboes
and the first violins at bars 60-63. In the subsequent bars, Pace employs other dissonant
textures, where the harmonic intervallic patterns are presented in augmented thirds at bar
64 in the clarinets, followed by major seconds, major and minor thirds at bar 65.
Supported by a sustained melodic contour in semibreve and minims in the horns – F-
sharp, G and A, the contrapuntal textures in the strings create a sense of discordance and
are employed in a sequence of harmonic intervals of minor seconds, diminished sixths
and octaves between the clarinets and the cellos at bars 64-65.

15
Hans Tischler, Remarks on Hindemith’s Contrapuntal Technique, in Journal of the International Folk
Music Council, Vol. 16, (International Council for Traditional Music Stable: 1964), 53.
16
Carol L. Krumhansl and Mark A. Schmuckler, The Petroushka Chord: A Perceptual Investigation, in
Music Perception: An Interdisciplinary Journal, Vol. 4, No. 2, 153-184 (University of California Press,
1986), http://www.jstor.org/stable/40285359 - [Accessed 12 February 2014].
 73

Figure 9: Symphony No. 2, First Movement, discordant intervallic patterns, bars 60-65

The use of dissonances and chromatic melodic contours is evident between the
instruments of the orchestra. As exemplified in Fig. 10, harmonic dissonances are present
between the second violins and cellos – F to F-sharp at bar 14, and in an inverted pitch
between the second violins and double bass – F-sharp to F-natural at bar 15. As the
harmonic dissonance is presented in an intervallic pattern of a diminished octave, Pace
employs parallel chromatic melodic contours between the second violins and cellos at
bars 14-15. The second violins commences in sustained minim progressions from F, F-
sharp, G resolving on to A-flat, on the first beat of bar 16, whereas in parallel sequence,
the chromatic contour is presented in counterpart at bar 14 from G – F-sharp, progressing
onto an interval of a major second – G-sharp. The chromatic ascending form in the cellos
continue at bar 15 on A, A-sharp, B, C, C-sharp, D, D-sharp, E to F at bar 17. In addition,
other harmonic dissonances are presented between the first clarinets and violins at bar 18,
which are effectively driven into false relation with one another, to demonstrate the
composer’s tendency towards melancholy that is evident throughout the symphony. This
kind of false relation is employed in the first violins – D followed by a chromatic interval
of an augmented octave – D-sharp on the first clarinets. It is followed at bar 19 on G-
sharp in the clarinets, resolving in a pizzicato manner on G on the third beat.
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Figure 10: Symphony No. 2, First Movement, bars 13-20

Apart from the dissonant harmonies that were employed in the previous examples, Pace
applies nonserial atonality. As claimed by Stefan Kostka, the term atonality could be
understood as ‘unresolved dissonances, a preponderance of mixed-interval chords, and
pitch material derived from the chromatic scale. Textures are often contrapuntal, with
themes or melodies in the traditional sense occurring less often and the metric
organization is frequently difficult for the listener to follow.’ 17 Moreover, nonserial or
‘free’ atonality ‘does not offer a systematic method of achieving atonality, as serialism
does’18 but is referred to as an aggregate which is used to refer to any such statement of
all twelve-pitch classes, without regards to order or duplication. 19 Therefore, Pace
adopted a kind of medium that could not be rendered purely serial in texture, but presents
it in a collection of recycled pitches, expressed freely in contrapuntal textures, which
ultimately ‘avoids any underlying tonal structure, [but] retains none the less many of the
pitch hierarchies of tonal music.’20 This kind of approach is clearly exemplified in Fig.
11, where the presence of nonserial atonal structure is employed independently in each
instrumental part, creating a sense of obscurity in its overall harmonic texture.

17
Stefan Kostka, Materials and Techniques of Twentieth-Century Music, 3rd ed., (USA: R.R. Donnelley &
Sons, 2006), 176.
18
Ibid: 190.
19
Ibid.,
20
Jim Samson, Music in Transition, a study of Tonal Expansion and Atonality, 1900-1920, (London:
Oxford University Press, 1977), 153.
 75

Figure 11: Symphony No. 2, Second Movement, non serial atonality in the strings, bars 78-84

As far as other aspects of Pace’s style and technique are concerned, in all other respects,
his compositional approach and musical language seem quite conservative. Pace’s music
is not notable for its rhythmic experimentation or complexity in a manner comparable to,
say, the mature work of Stravinsky21 or Bartók.22 Nor is there much that strikes one as
particularly innovatory about the nature of his musical material, even in his post-tonal
works. His thematic ideas are usually short, generally four bars in length. These tend to be
extended by short melodic motives which are often not directly derived from the themes
and are treated contrapuntally (often imitatively).

21
For a discussion, see Jonathan Cross, The Cambridge Companion to Stravinsky, (Cambridge, England:
Cambridge University Press, 2003).
22
For a discussion, see Halsey Stevens, The Life and Music of Bela Bartok, (Oxford: Clarendon Press,
1993).
 76

Pace’s treatment of the orchestra strikes one as unadventurous on the whole: the kinds of
orchestral textures employed or the orchestral sonorities that he devises depart little from
mainstream nineteenth-century models, making little attempt to exploit instrumental
virtuosity or colouristic effects, and no use at all of extended playing techniques. He does
not aim to achieve brilliant orchestral effects in the manner of Debussy, Ravel, or
Walton, or strive for the kinds of startlingly unconventional combinations of timbres for
which a composer such as Stravinsky is so notable. This is particularly noticeable in his
writing for percussion, in which so many twentieth century composers took a particular
interest. On the whole, the orchestral sound-world of Pace’s symphonies is restrained and
austere. He writes for standard-sized orchestras with few if any additional auxiliary or
unusual instruments, rather than the gargantuan forces often required by Mahler,
Schoenberg, or many other early twentieth-century composers. Neither of the symphonies
includes parts for voices, or an elaborate concertante part for a particular instrument such
as the piano or organ (as employed, say, in Szymanowski’s Fourth Symphony 23 or
Khachaturian’s Third respectively). As far as his textures are concerned, they often
consist of a theme with a straightforward accompaniment (a solo woodwind, perhaps,
supported by strings), with considerable use of string-wind doublings such as one might
find in a Schumann symphony. He also tends to favour contrapuntal textures—somewhat
in the manner of the Milhaud or Hindemith24 symphonies.

Neither of the two symphonies is based on a literary programme, and it is also notable
that Pace does not employ Maltese folk-music or stylised evocations of it in either
symphony, given the nationalist stylistic trends that are in evidence elsewhere in his
work. By the time Pace composed his Symphony No. 2, in Malta, other contemporary
composers, and especially those of avant-garde leanings, tended to regard the genre as no
longer viable, since in the aftermath of World War II, as Jan Larue observes, ‘thematic
development, tonal focus and unified architecture – seemed obsolete and irrelevant.’25
The fact serves to illustrate further Pace’s continuing isolation from European
mainstream developments in later life.

23
For a discussion, see Jim Samson, The Music of Szymanowski, (London: Kahn & Averill, 1980).
24
For a discussion, see Michael Steinberg, The Symphony, A Listener’s Guide, (New York: Oxford
University Press, 1998), 248-255.
25
Jan LaRue, et al. "Symphony." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed October 10, 2013, http://www.oxfordmusiconline.com/subscriber/article/grove/music/27254pg3.
 77

3.3 Symphonies and other short orchestral works

3.3.1 Symphonie Dramatique

Symphonie Dramatique composed in 1931, dates from the earliest phase of Pace’s career,
during which he began to experiment with a post-tonal language in some works. This
trend is not in evidence here, and for the most part, the harmonic language of his first
symphonic essay is firmly tonal and quite conventional. On the whole, the work strikes
one as an apprentice piece, rather than a mature achievement. Its principal interest resides
in its formal organisation, which anticipates the general structural approach that Pace
employed extensively in his post-tonal works such as the Second Symphony. It will
consequently be dealt with rather more briefly than its successor.

It is not clear whether Pace’s title indicates that a particular theatrical work served as an
extra-musical source of inspiration, but it is more likely that the epithet dramatique serves
simply to indicate the general character of the work. His choice of title, and the fact that it
is in French, suggests that he may have modelled it on Tchaikovsky’s Pathétique,
although the two works display no similarities in character. The work appears never to
have been performed.

The symphony is scored for a standard-sized orchestra with double woodwinds, alto
saxophone (in the second movement) and cor anglais (in the third movement), including
cymbals, bass drum and timpani. It structured in three continuous movements—Allegro
moderato, Lentamente, and Agitato. Each movement of the symphony consists of a
number of sections: the form of each is summarised in Tables 1, 2, and 3 respectively.
The thematic material features two categories that become typical of Pace’s mature style:
lyrical melodic ideas of a somewhat Italianate cast, and chorale-like themes that often
form the basis of climaxes. The textures are frequently contrapuntal, which may suggest
the influence of eighteenth-century music, and perhaps Bach in particular. As Robert
Simpson points out, in the Baroque period, ‘most earlier large scale music was
predominantly contrapuntal; the early classical music is not.’26

26
Robert Simpson (ed.), The Symphony – 1. Haydn to Dvorak, (England, Middlesex: Penguin Books Ltd,
1966), 17.
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First Movement:

Bars Sections Themes, Recurrences and Motifs

1-4 Five-note motif – a
3-4 and 9-10 Andante piutosto Lento One-bar motif – b
6-8 Canonic figuration - a
15-25 Five-note motif – c
37-38 Five-note motif – c1 - extended
62-76 Allegro moderato Theme A
76-88 Development of Theme A
91-93 Canonic figuration – c1
93-112 Cadendo un poco Bridge section
113-120 Theme B
Tornando al Primo Tempo
121-154 Development of Theme B
155-174 Moderato Bridge section
192-195 Theme C
196-205 2nd phrase of Theme C - consequent
Meno mosso
205-215 Development of Theme C
216-233 Theme D
234-280 Ancora meno mosso Bridge section
281-284 Vivo One-bar motif - b
318-337 Recapitulation section of the Allegro
moderato section
320-328 Allegro, ma non troppo Vivo Five-note motif – c
360-371 Theme E
372-379 Theme E - echoed
381-388 Theme F
Meno mosso
388-395 Development of Theme F
408-416 Theme G
Energico
416-419 Four-bar development of Theme G
420-432 Risoluto Coda

Table 1: Symphonie Dramatique (1931), First Movement, summary of form

The first movement commences with a short introductory section of fourteen bars marked
Andante piutosto lento, in triple time. As illustrated in Fig. 1 the opening material is
introduced on the oboe, consisting of a repeated motif of three semiquavers and two
quavers – a. The motif is later transposed on the horns at bar 4, and subsequently, in
canonic figurations at bars 6-8, descending from the first violins to the violas. At bar 3,
the flutes present a one-bar semiquaver motif – b, which is later heard at bar 5 (as a
fragmented motif) and transposed at bar 9. An interesting point of reference is made
where the same motif is presented in the second movement – (which will be referenced
later on). The woodwinds and horns are supported by chorale textures, in which the
 79

strings, horns and woodwinds move in counterpoint, when a diatonic G-sharp (min) ninth
chord with the third omitted at bar 10 forms a point of harmonic focus.

Figure 1: Symphonie Dramatique, First Movement, five-note motif – a, one-bar motif – b,

and canonic figuration – a, bars 1-1027

In the Allegro moderato section, a five-note motif – c appears in the woodwinds and
horns from bars 17-22, and is then heard at bar 22 on the first violins, melodically
developed in sequential patterns until bar 25. As the opening three-bar phrase is heard an
octave lower at bars 25-27, the first violins are melodically developed from bars 27-35,
supported by chorale textures in the woodwinds and horns in crotchet passagework. The
recurrence of the five-note motif – c appears in an extended two-bar phrase – c1 in the
first and second violins – (see Fig. 2), subsequently doubled on the flutes, first and
second violins at bars 46-47, and later on the viola at bars 48-49 on the same rhythmic
pattern.

27
Manuscript Number 2694
 80

Figure 2: Symphonie Dramatique, First Movement, extended five-note motif – c1, bars 37-38

Theme A is announced on the first violins at bar 62, on a diatonic chord of A minor, and
is developed contrapuntally in the woodwinds and strings. At the end of Theme A (bar
76), the final diatonic chord is structured on E minor. Before the cadendo un poco
section, the five-note motif is slightly modified in a canonic figuration from the first and
second violins and viola – c1 at bars 91-93, concluding the section on Amaj7 chord at bar
93 – (see Fig. 3). After the cadendo un poco section (which serves as a twenty-bar
bridge), theme B appears at bars 113-120 on the first and second violins and double bass,
in contrapuntal textures, in the Tornando al primo tempo section, supported by long pedal
notes on the woodwinds and brass. The opening diatonic chord of this section is
structured on E-flat major seventh, with an added eleventh.

Figure 3: Symphonie Dramatique, First Movement, diatonic chord of Amaj7, bar 93

 81

A short bridge section ensues in the Moderato section (bars 155-174), and subsequently,
the tempo slows down to Meno mosso, at which point Theme C (bars 192-195) appears in
the first and second oboes, supported by chorale textures in the brass, and triplet
arpeggiated passages in the strings. The theme’s consequent phrase is doubled an octave
apart on the clarinets and first violins from bars 196-205, in counterpart with the cello,
and is accompanied by arpeggiated quaver and sustained semibreve passages in the
second violin and double bass respectively. Theme C continues to develop until bar 215
in chorale and contrapuntal textures in the brass and strings, where Pace makes use of
harmonics on the first violins for just three bars. Before the Ancora meno mosso section,
Theme D appears from bars 216-221, doubled in the oboes, bassoons, second violins and
cellos. A four-bar phrase in the first clarinets (bars 222-226) is later echoed on the first
flutes in bars 226-230.

A forty-six bar passage marked Ancora meno mosso serves as a bridge to a section
marked Vivo. The Vivo section employs the recurrence of the one-bar motif – b presented
in the first and second violins at bars 282 and 284. The section continues in arpeggiated
figurations on the strings against melodic material in the woodwinds and sustained notes
in the brass. Following the Vivo section, which employs chorale textures, the Allegro, ma
non troppo vivo recapitulates the Allegro moderato section, incorporating the five-note
motif – c in bars 318-337. Before the Meno mosso section, Pace employs Theme E
presented on the first oboe at bars 360-367, which is later developed until bar 381. Theme
F is presented at bars 381-388, being developed before the Energico section at bar 395.
Intensified in staccato and accentuated scale-like passages in the woodwinds, brass and
strings, the Energico section presents the final theme – G, at bars 408-416, later
developed for four bars where the short Risoluto section serves as a Coda from bars 420-
432 on a progression – ii-v-i of A minor, referring back to the sonority of the opening.
This choice of final chord on which to end seems rather arbitrary, however, as there is no
evidence of an overarching tonal plan for the movement.
 82

Second Movement:

Bars Sections Themes, Recurrences and Motifs

1-5 Theme A
8-12 Theme A echoed
17-20 Theme B
Lentamente
21-26 Development of Theme B
27-29 Theme C
30-35 Development of Theme C
36-42 Recurrence of the five-note motif – c2
(taken from 1st movement)
44-52 Theme D
Tranquillo
53-62 Development of Theme D
63-67 Theme E
68-108 Development of Theme E
109-113 Theme F
115-118 Theme F – echoed
122-125 Theme F – echoed
118 and 120 Recurrence of one-bar motif – b
Calmo
(taken from 1st movement)
132 Recurrence of the five-note motif – a
(taken from 1st movement)
125-135 Coda

Table 2: Symphonie Dramatique (1931), Second Movement, summary of form

The second movement is structured in two sections (see Table 2). The opening Theme A
appears in the Lentamente section – in the bassoons and horns at bars 1-5 – (see Fig. 4),
later transposed a major second lower in the same parts at bars 8-12 in obscure chorale
textures. At bars 17-20, Theme B appears in the first and second violins doubled by the
oboes, while being supported by contrapuntal and chorale textures in the lower strings.
Theme B is melodically developed in scale-like semiquaver triplet passages in the strings
while being supported by melodic ideas in the woodwinds. In the development section,
Pace makes use of instrumental techniques, such as, pizzicato, arco, and saltellato. After
the appearance of Theme B, Theme C is presented at bars 27-29, accompanied by tremolo
passages in the second violins and viola, supported by melodic ideas in the cello and
sustained minim passages in the double bass. In counterpoint with Theme C, the flutes
employ chorale textures against syncopated quaver passages in the oboes and clarinets.
The theme is later developed from bars 30-35, where the recurrence of the five-note motif
– c2, in the Tranquillo section (bars 36-42) emerges from the first movement, supported
by scale-like semiquaver and tremolo passages in the strings. This kind of motivic
 83

figuration is unusual where the same motif appears in another movement, rhythmically
modified in a demisemiquaver and quaver figuration.

Figure 4: Symphonie Dramatique, Second Movement, opening bars in polytonal textures, bars 1-7

At bar 44, Theme D appears in the first flutes, oboes and clarinets, doubled in the first
violins, accompanied by alternating demisemiquaver passages in the violas and cellos,
and supported by syncopated pedal notes in the double bass. After a short development
section, Theme E appears at bar 63 in the first violins, accompanied by contrapuntal and
chorale textures in the woodwinds, brass and strings. The theme is developed from bar 68
on the same harmonic textures till the Calmo section at bar 108, where Theme F appears
in the first clarinets. The same theme is subsequently echoed in the first violins (bars 115-
118) and in the horns at bars 122-126. Between the two adjacent phrases of Theme F, the
recurrence of the one-bar semiquaver motif – b emerges from the opening section of the
first movement, appears in the first and second clarinets and flutes at bars 118 and 120
respectively. In addition, the five-note motif - a presented in the first movement appears
at bar 132 in the cellos. The movement concludes on a short Coda from bars 125-135 on
the diatonic chord of G major. This movement provides a very good example of Pace’s
highly unusual approach to structure: he simply presents a succession of six themes,
restating none of them, and the cyclic recurrences of the motivic figurations which appear
in the first movement.
 84

Third Movement:

3rd Movement Sections Themes, Recurrences and Motifs

1-9 Theme A
5-6 2-bar phrase
7-8 Agitato 2-bar phrase – sequence
10-14 Theme A – echoed
14-21 Development on Theme A
22-30 Poco meno mosso Development on Theme A
31-33 Recurrence of Theme A
34-41 Development on Theme A
43-48 Theme B
53-58 A Tempo (Agitato) Theme B – echoed
59-85 Development on Theme B
88-97 Theme C
98-112 Development on Theme C
113-118 Theme D
Andante
119-125 Development on Theme D
126-129 Theme E
130-133 Calmo, piutosto lento Development on Theme E
134-145 Bridge section
165-170 Theme F
Vivo
171-209 Development on Theme F
210-215 Meno Mosso Bridge section
218-223 Theme G
224-230 Vivo Development on Theme G
230-238 Bridge section
239-247 Meno mosso Bridge section continued
248-255 Recurrence on Theme E
256-275 Development on Theme E
264-266 Recurrence of five-note motif – a
Calmo, piutosto lento
(taken from 1st movement)
277-280 Theme H
282-290 Development on Theme H
300-345 Bridge section
312-226 2-bar canonic figuration
Energico
345-363 Theme I
365-397 Development on Theme I
398-401 Theme J
Sostenuto
402-407 Development on Theme J
Vivace e Marcato-Vivo-Meno
408-483 mosso-Vivo-Molto sostenuto Long Coda
and Presto

Table 3: Symphonie Dramatique (1931), Third Movement, summary of form

The final movement is longer than the previous two movements and has the character of a
continuous improvisation. As can be seen from Table 3, Pace takes his practice of stating
 85

thematic ideas one after another with only two themes restated – Theme A and E, in
addition to the motivic recurrence which appears in the previous two movements. As the
movement incorporates different thematic ideas that are continuously developed, and
does not conform to any eighteenth or nineteenth-century forms, Pace injects a five-note
motif which from the first movement. The problem inherent in this structural strategy is,
of course, that with only two restatements of material as point of reference, the number of
sections seems wholly arbitrary. There seems no reason in principle why further sections
could not be added, or why the movement should conclude at any particular point.

3.3.2 Symphony No. 2

Over thirty-five years elapsed before Pace composed Symphony No. 2 (1966). This
twenty-seven minute work in three movements was premiered at the Manoel Theatre in
an orchestral concert presented by the British Council and Rediffusion (Malta) Limited on
20 January 1968, under the baton of Maestro Joseph Sammut. The work is scored for a
standard symphony orchestra with double woodwinds plus an additional alto saxophone,
percussion, and harp.

First Movement:

As de Gabriele and Caffari observe, the first movement of the symphony is not in any
orthodox form, and that the

structure of this work differs in many ways from that of the classical models. The music
flows as a continuous train of musical ideas, growing and branching out freely. 28

28
Marcel de Gabriele and Georgette Caffari, Carmelo Pace, A Maltese Composer, Thematic, Annotated and
Illustrated Catalogue of Works, (USA: Minnesota, Hill Monastic Manuscript Library St. John’s University;
and Malta: Mdina, Foundation for the Promotion of the Music of Carmelo Pace Cathedral Museum, 1991),
169.
 86

Bars Sections Themes, Recurrences and Motifs

1-7 Theme A
Allegro energico
8-13 Canonic figurations - a
14-17 Theme B
17-20 Development of Theme B
21-37 Bridge section
38-64 Contrapuntal textures in woodwinds
60-66 Theme C
67-90 Bridge section
91-97 Recurrence of Theme A
98-104 Vivace Theme D
105-115 Bridge section
116-128 Allegretto Developmental section
129-131 Lentamente Bridge section
132-143 Andantino Theme E
158-163 Theme F
Allegro
164-173 Development of Theme F
174-180 Bridge section
181-186 Meno mosso Theme G
187-253 Bridge section
254-304 Allegro energico Coda

Table 1: Symphony No. 2 (1966), First Movement, summary of form

The first movement is structured in eight linked sections based on seven thematic ideas,
as shown in Table 1. In each section, the themes are presented either on the first violin or
in the woodwinds. The movement commences and ends in an Allegro energico tempo,
but the other sections vary in pace. As in the first movement of the Symphonie
Dramatique, the intitial theme, Theme A, is the only one restated. In addition, short
motivic passages are presented in two- and three-part counterpoint in the woodwinds and
brass, accompanied by contrapuntal textures in the strings.

Theme A is presented in three-part chorale in the first and second violins and violas,
accompanied by a sturdy angular melody in the bass (see Fig. 1). Accompanied by
intervallic patterns in the woodwinds and brass (second in the trumpets, for example), the
melody in the strings rises to an emphatic climax and is later developed in a two-bar
imitative distance at bars 8 to 13 in the woodwinds – serving as canonic figurations - a
descending from flutes, oboes to bassoons.
 87

Figure 1: Symphony No. 2, First Movement, Theme A from bars 1-729

The next principal idea, Theme B, is announced against contrapuntal textures between the
strings and woodwinds (see Fig. 2). At this point, a short developmental section occurs.
After bar 21, the music continues to develop into agitated contrapuntal textures in the
strings, reaching a climax in tremolo passages at bars 27 to 29 against syncopated
figurations in the rest of the orchestra. The passage continues, underpinned by emphatic
crotchet and quaver movement against counterpoints in the first flute and the upper
strings (in chorale textures) till bar 38. Maintaining the Allegro energico tempo, Pace
presents a combination of contrapuntal lyrical textures between the first oboes, flutes and
trumpets, accompanied by soft tremolo semibreves in the strings between bars 39 to 59.
This passage ushers in Theme C at bar 60, presented in the strings once more in
contrapuntal textures (see Fig. 3).

Figure 2: Symphony No. 2, First Movement - Theme B in counterpoint with first violin, bars 14-17

29
Manuscript Number 2709
 88

Figure 3: Symphony No. 2, First Movement - Theme C, and superimposes polyrhythmic patterns,
bars 60-65

Against intervallic patterns of perfect and augmented fourths and fifths enunciated by the
first oboe and the first violins, Pace superimposes polyrhythmic patterns in the strings and
the woodwinds, involving triplet crotchet and quaver passages against minims where
Theme C is presented in the strings – (see Fig. 3). The section maintains the same
rhythmic pattern from bars 60 to 81. In the final fifteen bars before the second Vivace
section commences, Pace concludes the first section in contrapuntal textures in the
strings, supported by superimposed diatonic harmonic progressions in the woodwinds. At
bar 91, a transposed restatement of Theme A is heard on the first violins at bars 91 to 97
(see Fig. 4).

Figure 4: Symphony No. 2, First Movement, restatement of Theme A, and superimposed diatonic
harmonic progressions, bars 91-96
 89

The next section, Vivace, which commences at bar 98, changes to 5/4 metre. Its principal
idea, Theme D, is announced in contrapuntal textures by the oboes in counterpoint with
the clarinets, supported by intervallic progressions of fourths, fifths and sevenths in the
bassoons (see Fig. 5). The section continues in animated contrapuntal textures until its
final four bars, which feature lyrical contours in the first violins in counterpoint with the
flutes, supported by doublings in the lower strings and brass.

Figure 5: Symphony No. 2, First Movement - Theme D, from bar 98

While the function of some sections of the movement is principally to present thematic
material, others are more developmental in nature. The ensuing Allegretto which
commences at bar 116 is a good case in point. As in Fig. 6, the Allegretto section consists
of a twelve-bar development. The section continues to a brief three-bar bridge passage
(Lentamente) at bar 129, with the final three bars featuring arpeggiated passages on the
harp.
 90

Figure 6: Symphony No. 2, First Movement – twelve-bar developmental section, bars 116-128

The fourth section, Andantino, presents a new lyrical idea, Theme E, at bar 132 on the
first oboe, accompanied by harp figurations and underpinned by sustained notes and
chorale textures in the strings (see Fig. 7). The Andantino section subsequently develops,
featuring syncopated rhythms in the strings against emphatic melodic progressions in the
bassoons against a tuba counterpoint. This passage is notable for its concern with small
details of sonority of a kind that are comparatively unusual in Pace’s work. He specifies
that the suspended cymbal should be played with a soft beater, for example, and employs
flutter-tonguing in the horns. The subsequent fifth section is at a quick Allegro pace and
in 2/4 time. The first violins play the opening Theme F at bar 158, doubled in pizzicato by
the second violins and viola, in counterpoint with the first and second horns, (see Fig. 8).
This section is energetic in character, featuring tremolo and running semiquaver passages
(mainly in the strings) against triplet figurations in the woodwinds. The section winds
down into a brief lyrical interlude commencing at bar 169 in 3/4 time.

Figure 7: Symphony No. 2, First Movement - Theme E, bars 132-143

 91

Figure 8: Symphony No. 2, First Movement - Theme F, bars 158-163

The Meno mosso section, which begins at bar 181 is intensively developmental, based on
a brief thematic idea which appears in the first violin – Theme G – (see Fig. 9), presented
against a contrapuntal background in the second violin, viola and cellos, and accompanied
by the harp. After having the oboes in counterpoint with the clarinets in a tranquil tempo,
supported by sustained minim sequences in the strings, at bar 193 the horns introduce a
new lyrical contour accompanied by soft triplet tremolo passages in the strings. As the
section progresses, new melodic ideas evolve which are heard in the woodwind and
brass—such as that commencing at bar 193 on the horns. From bars 206 to 253, these
contrapuntal textures develop, rising to a climax that ushers in the concluding Allegro
energico section at bar 254, which functions as a coda. At the beginning of the Allegro
energico, contrapuntal textures in the strings intensify in a gradual crescendo, against
other contrapuntal voices in the flutes, oboes, and clarinets, long sustained notes in the
horns, bass drum and timpani punctuations, and intervallic patterns of 4ths and 5ths in the
brass parts. The section rises to a climax from bar 272 in a sonorous full orchestral
texture. The movement ends on a six-note sonority comprising the pitches G. B-flat, D, F,
A, and E-flat.

Figure 9: Symphony No. 2, First Movement, Theme G, bars 181-186

 92

Second movement:

Bars Sections Themes, Recurrences and Motifs

1-5 Andante Theme A
42-77 Poco più mosso Fugal section
78-100 Andante Theme B
101-103 A tempo Theme C
138-143 Poco meno mosso Coda

Table 2: Symphony No. 2 (1966) – Second Movement, summary of form

The second movement offers an effective contrast to the first. As shown in Table 5, it
comprises five sections, mostly in slow tempi. The opening section of the movement
commences in an Andante tempo with a graceful Theme A played on the flutes (see Fig.
10). In counterpoint to the flutes, Pace introduces the alto saxophone at bar 6, with soft
harmonic support from the horns and trombones. The strings introduce lyrical melodic
material from bar 12, occasionally accompanied by harp arpeggios. Solos from the flute,
clarinet, and the alto saxophone are later amalgamated in contrapuntal textures at bar 22 -
the prominence of the alto saxophone in this section, and indeed, in the movement as a
whole, is very notable. The first section continues in a similar fashion.

Figure 10: Symphony No. 2, Second Movement – Theme A, bars 1-5

 93

In the second section, marked Poco più mosso, which commences at bar 42, the tempo
quickens slightly to introduce semiquaver fugato textures in the strings. The strings
continue to develop this material against a chorale-like theme in the horns. From bar 53,
the passage rises to a climax in which the woodwinds present an idea in sustained dotted
minims, accompanied by more animated rhythmic figures in the brass and strings, mainly
in chorale textures. In a tranquil pace, the woodwinds present lyrical melodic contours in
marcato minims at bar 67, and continue in contrapuntal textures till bar 76. Before the
Andante section, the harp concludes the section with soft arpeggiated passages at bar 77.

The third section, Andante, starts at bar 78. Its principal idea, Theme B continues on the
same material, as shown in Fig. 11. The section continues to unfold in imitative textures
in the strings, and commencing at bar 90, the flutes, oboes, and clarinets combine in
contrapuntal textures with the alto saxophone and brass, rising to a climax. The tempo
slows down at bar 101 to introduce the next section, marked A Tempo. The alto
saxophone introduces a short three-bar thematic idea – (see Fig. 12), against contrapuntal
textures in the strings. As the alto saxophone and bassoon move contrapuntally, the
section continues in a tranquil mood, getting softer until bar 113.

Figure 11: Symphony No. 2, Second Movement – Theme B, bars 78-80

 94

Figure 12: Symphony No. 2, Second Movement, Theme C, bars 101-103

At bar 114, the tempo alters and the metre becomes compound duple time. The section
features similar contrapuntal textures in the strings, with short melodic ideas in the alto
saxophone and brass. The movement continues to develop in chorale-prelude style in the
strings, with arpeggiated chordal passages on the harp and sustained dotted minim
passages in the brass. The movement concludes Poco meno mosso with a brief coda at
bars 138-143.

Third Movement:

Bars Sections Themes, Recurrences and Motifs

1-186 Allegro vivo Theme A
187-259 Meno mosso Theme B
260-292 Andante calmo Theme C
293-331 Poco più mosso Theme D
332-351 Ancora più mosso Theme E
352-369 Allegro Bridge Section
370-381 Largamente Coda

Table 3: Symphony No. 2 (1966), Third Movement, summary of form

The final movement comprises seven sections, commencing Allegro vivo and concluding
in a Largamente coda: the overall form is shown in Table 3. No thematic material is
repeated at any point: each section presents a wholly contrasting thematic idea. Theme A
commences with a tremolo on the strings, which acts as a background to the syncopated
chordal idea announced by the horns. This section is agitated in character, and
 95

predominantly contrapuntal in its textural organisation, which continues to Theme B from

bar 110 and develops until bar 138.

The second section, marked Meno mosso, which commences at bar 187, is more tranquil,
and its principal idea, Theme C, appears in the flutes. A subsidiary four-bar idea is later
heard in the clarinets, alto saxophone and bassoon, later on the first violins. This section
is notable for its unusual exploitation of coloristic effects, including string harmonics. The
third section, Andante calmo, commences at bar 260 with Theme C announced on a solo
violin in a high register, marked a piacere before being handed over to the first oboe
accompanied by contrapuntal textures in the strings, with chordal and arpeggiated
passages on the harp. The fourth section, Poco più mosso, introduces a four-bar Theme D
heard on the cellos, and later repeated by the violas in an expanded variant. After an
accelerando, the next section Ancora più mosso introduces Theme E, which is
subsequently developed. This section serves as a bridge section to a brilliant Allegro, but
after a few bars, the tempo slows to Largamente, as the final Coda of the movement.

3.3.3 Shorter Orchestral Works

Apart from large-scale orchestral works, over the course of his career Pace produced
numerous shorter compositions, many of which are akin to light music and employ a
much more conventional tonal harmonic language. As they largely follow similar
compositional formulae, this section will merely attempt to provide a brief overview of
his compositions in this vein, focussing on a small number of them to illustrate the
general approach and their character.

Most of these scores were performed by student groups or by local amateur orchestras,
such as the Malta Cultural Institute orchestra and the orchestra of the British Institute.
Little is known about the circumstances surrounding the genesis of these scores, but it is
evident that Pace found it considerably easier to obtain performances of them—
presumably because they are stylistically much more accessible than his post-tonal works
and they are technically undemanding. Pace was by no means unusual in writing music of
this nature: there was a considerable demand for light music at the period, and even
 96

composers who predominantly wrote more serious works contributed to the genre: one
thinks of Vaughan Williams in Britain, for example, who composed a considerable
quantity of tuneful works for amateurs. Similarly, Walton and Shostakovich are good
examples of serious composers who wrote lighter orchestral works also—such as the
former’s Scapino or Johannesburg Festival Overture, or the latter’s jazz suites.

Pace’s works in this vein exhibit similarities with the light music of British composers
such as Haydn Wood (1882-1959) or Eric Coates (1886-1957), both of whose work was
much played at the period, and which Pace would have had many opportunities to hear in
British radio broadcasts. (The British Forces Broadcasting Service (BFBS) was
operational until 25 March 1979, and Pace would also have had access to BBC
services. 30 ) Many of these pieces were written in small forms and had a dance-like
character (such as waltz, polonaise, and march); equally popular was the short orchestral
folk-song rhapsody. As Michael Payne has shown, this repertory remained very popular
well into the 1950s, and the BBC maintained several light orchestras to perform it. Its
listenship waned thereafter, largely because of the advent of newer styles of popular
music and American musicals.31 Nevertheless, BBC still devoted a considerable quantity
of air time to light music until the 1960s.32

The Children’s Dance from Coates’s Miniature Suite No. 1 (1911), the opening of which
is shown in Fig. 1, provides a good example of the style, with its tuneful melodies,
straightforwardly tonal harmonic language, and deft orchestration:

30
Doreen Taylore and Doreen Taylor-Wilkie, A Microphone and a Frequency: Forty years of Forces
Broadcasting, (University of Michigan: Heinemann, 1983), 174.
31
Ibid: 47.
32
See Michael J. Payne, The man who write tunes’: An assessment of the work of Eric Coates (1886-1957)
and his role within the field of British light music, (Durham: PhD Thesis, 2007), 46.
97
 98

Figure 1 Eric Coates Miniature Suite No. 1 – Children’s Dance, bars 15-30

A few examples from Pace’s light works will serve to illustrate the similarity of approach:
Nocturne d’Avril (1950) for piano and chamber orchestra (see Fig. 2), Allegro Giocoso
for chamber orchestra (1980) (see Fig. 3), and Variations on an Old Welsh Melody (1956)
for chamber orchestra (see Fig. 4).
 99

Nocturne d’Avril (1950) is a five-minute through-composed work for pianoforte and

chamber orchestra, which was first performed at a concert of the Malta Cultural Institute
on 2 February 1950. It is cast in a simple ternary form, and its opening section features a
broad lyrical melody in C minor, against a simple syncopated accompaniment. As can be
seen from the excerpt below, its triadic harmonic language is quite straightforward, the
only significant departures from common practice being the somewhat unusual harmonic
borrowings from the major key (for example, the juxtaposition of the dominant minor-G
minor with A minor instead of A-flat major in bars 2-3). The style here is not far removed
from nineteenth-century salon music.

Figure 2: Nocturne d’Avril (1950), for piano and chamber orchestra, bars 1-1333

33
Manuscript Number 2734
 100

Other works, such as the Allegretto Giocoso, also invoke nineteenth-century precedents.
This colourfully-scored eight-minute composition is almost reminiscent of Mendelssohn’s
incidental music to Shakespeare’s A Midsummer Night’s Dream, with its airy, delicate
string and wind figurations:

Figure 3: Allegretto Giocoso (1980), for chamber orchestra, bars 1-2734

Five Variations on an Old Welsh Theme furnishes a good illustration of the folk-song
rhapsody genre. The seven-minute through-composed work is very simple in style, and
was evidently written with amateur performers in mind. The only slightly unusual feature
34
Manuscript Number 2718
 101

is the rather remote relationship between the tonal centres of each variation. In the final
variation, Pace employs a thematic recurrence taken from the first variation, and
concludes the work in a climax, featuring contrapuntal textures in accentuated semiquaver
and quaver passages in the home key.

Figure 4: Pace's Variations on an Old Welsh Melody (1956), for chamber orchestra, bars 1-2935

35
Manuscript Number 2703
 102

3.4 Concertante Works

Apart from being the first significant Maltese symphonist, Pace was also the first native
composer to write concertos. There are seven of these in total: two piano concertos, three
concertinos for piano and chamber orchestra, one clarinet concerto and a concertino for
bassoon and chamber orchestra. As five of these are small-scale works written in a
conservative tonal idiom, I will focus here on two post-tonal works which are intrinsically
of greater interest: Piano Concerto No. 2 (1944) and the Clarinet Concerto (1970). As in
the previous section dealing with the symphonies, my aim is to elucidate the distinctive
features of Pace’s approach to the genre, and to contextualise his work in relation to
nineteenth-century traditions and twentieth-century developments.

As with his symphonies, Pace’s approach to the genre of the concerto defies ready
categorisation. It owes something to nineteenth-century models, but little to the kinds of
most prominent formal models that were adopted. Piano Concerto No. 1 (1940) is in three
movements, like concertos by Chopin, Schumann, Grieg, Tchaikovsky, and
Rachmaninoff that are part of the standard repertoire.36 There, however, the similarities
end: as the summary of its formal organisation in Tables 1-3 shows, each movement is
structured in a manner that owes little to precedent.

36
For a discussion, see Ralph Hill, The Concerto, (Melbourne, Vic: Penguin Books, 1952).
 103

Bars Sections Themes, Recurrences and Motifs

1-3 Lentamente Introduction
4-13 Moderato Introduction
14-21 Theme A
A Tempo
22-34 Development on Theme A
35-43 Bridge section
43-52 Poco meno Theme B
53-69 Development of Theme B
70-75 6-bar bridge section,
76-84 A Tempo Theme C
85-93 Development of Theme C
94-109 Theme D
110-119 Development of Theme D
119-123 Motif from Theme B
123-128 Bridge section
129-130 Meno Motif from Development of Theme A
131-135 Bridge section
136-138 Motif from Development of Theme A
139-146 Recapitulation of Theme A
147-157 Recurrence of the Development of Theme A
158-166 Bridge section
Poco meno
166-182 Recapitulation of Theme B
183-222 Lento Cadenza
223-240 Allegro moderato Coda

Table 1: Piano Concerto No. 1 (1940), First Movement, summary of form

Bars Sections Themes, Recurrences and Motifs

1-8 Adagio Introduction
9-24 Theme A
25-28 Bridge section
29-39 Development of Theme A
40-65 Development of Theme A - continuation
66-67 Molto lento Cadenza
68 Presto Cadenza
69-93 Recurrence of Theme A
Adagio
94-100 Coda

Table 2: Piano Concerto No. 1 (1940), Second Movement, summary of form

 104

Bars Sections Themes, Recurrences and Motifs

Allegro
1-23 Introduction
moderato
24-27 Bridge section
Pesante
28 Recitativo Pianistico
29-40 Theme A
41-63 Development of Theme A
63-75 Vivace Recurrence of Theme A
76-105 Recurrence of Development of Theme A and
continues to develop
106-111 6-bar orchestral bridge section
112-120 Theme B
120-125 Development of Theme B
126-133 Calando Recurrence of Theme B – transposed
133-138 Recurrence of Development of Theme B –
transposed
139-144 Development of Theme B
144-157 Bridge section
158-164 Theme D
Allegro
165-190 Development of Theme D
191-238 Poco animato Orchestral bridge section
239-243 Piano and Orchestra bridge section
244-251 Recapitulation of Theme B - transposed
252-261 Recurrence of Theme B - transposed
261-283 Allegro Bridge section
284-296 Recurrence of Theme A - transposed
297-319 Recurrence of Development of Theme A –
Come prima transposed
320-371 Recurrence of Theme A and continues to
develop
372-378 Calando Orchestral bridge section
378-386 Recurrence of Theme B
386-391 Recurrence of Development of Theme B
392-399 Poco meno Recurrence of Theme B – transposed
399-410 Recurrence of Development of Theme B -
transposed
Allegro giusto
410-416 Orchestral bridge section
Meno mosso
416-365 Cadenza
Grandioso

Table 3: Piano Concerto No. 1 (1940), Third Movement, summary of form

 105

Figure 1: Concerto per Pianoforte No. 1 (1940) in D minor, First Movement, bars 1-1237

37
Manuscript Number 2636
 106

Piano Concerto No. 2 is cast in one movement, like Liszt’s Second Concerto 38 or the
Skryabin Piano Concerto 39 — but its sectional construction would seem to owe
comparatively little to such models, especially in its lack of employment of thematic
transformation. Nineteenth-century influences are more evident in the nature of the piano
writing and Pace’s general concept of the concerto: both of his concerti undoubtedly
derive from the ‘grand’ virtuoso concerto, with their big gestures, highly dramatic
rhetoric, and use of the full gamut of Lisztian and post-Lisztian pianistic resources. The
solo part is predominant throughout, and the orchestra is largely assigned a subsidiary,
accompaniment role. In this respect, they differ from the kinds of ‘symphonic’ concerti
described by Ralph Hill, in which ‘the work of the solo instrument and the orchestra is
closely knit and artistically purposed’, with the orchestra being ‘a partner rather than a
servile accompanist.’ 40 The opening of Piano Concerto No. 1 (see Fig. 1) is a good
illustration of Pace’s style of keyboard writing.

In the twentieth century, the nature of the concertos written changed considerably; and
although there was a strong continuing influence of Romantic models, there was also a
tendency to break with the lush sonorities and highly charged rhetoric of Romanticism.
Pace’s concerti have little, if anything in common in style or manner with the most
notable early twentieth-century piano concertos: there is nothing comparable to the harsh,
percussive sonorities that pervade the Bartók 41 or Prokofiev 42 concerti, or the neo-
43 44
classical elegance of the Ravel or Stravinsky concertante works, with their
predominantly spare and transparent keyboard writing.

38
For a discussion, see Kenneth Hamilton (ed), The Cambridge Companion to Liszt, (Cambridge and New
York: Cambridge University Press, 2005).
39
For a discussion, see Leonid Sabaneev and Judah A. Joffe, Modern Russian Composers, (New York:
International Publishers, 1927).
40
Hill, The Concerto, 16.
41
For a discussion, see Peter S. Hansen, An Introduction to Twentieth Century Music,(Boston: Allyn and
Bacon, 1961).
42
For a discussion, see Hansen, An Introduction to Twentieth Century Music.
43
For a discussion, see Hill, The Concerto.
44
For a discussion, see Jonathan Cross, The Cambridge Companion to Stravinsky, (Cambridge, England:
Cambridge University Press, 2003).
 107

3.4.1 Piano Concerto No. 2

Piano Concerto No. 2 (1944) is written in one movement comprising eleven sections and
lasts about forty minutes (see Table 1). It is constructed as a fast-slow-fast arch form –
commencing with a slow introduction followed by an Allegro section, a central slow
section and a concluding Allegro. It is mostly composed in a post-tonal idiom, though
tonal harmony makes an appearance in sections 5 and 7.

Bars Sections Themes and Motifs

1-13 Largo Introduction
14-26 Andante Theme A
27-33 Orchestral bridge
34-47 Theme B
48-56 Development of Theme B
57-75 Recurrence of Theme A
76-80 Orchestral bridge section
81-84 Theme C (Antecedent)
85-88 Theme C (Antecedent)
89-94 Development of Theme C (Consequent)
95-97 Development of Theme C (Consequent)
98-101 Recurrence of Theme C (transposed)-
Allegro moderato (Antecedent)
102-109 Development of Theme C (Consequent)
110-117 Orchestral bridge section
118-125 Theme D
126-136 Development of Theme D
137-173 Development of Theme – continued
174-177 Theme E
178-206 Development of Theme E
207-210 Theme F
211-218 Development of Theme F
219-225 Cadenza
226-242 Andante Recurrence of Theme A
243-246 Recurrence of Theme C – transposed
247-250 Lentamente Development of Theme C
251-267 Recurrence of Theme C
268-271 Recurrence of Theme C
272-296 Più mosso Development of Theme C
296-299 Short orchestral bridge
300-316 Orchestral bridge section
316-320 Theme G
320-323 Development of Theme G
323-332 Development of Theme G – continuation
333-341 Largo Theme G continues to develop
342-349 Theme H
350-359 Development of Theme H
361-366 Motivic fragment from Theme H and
continues to develop
 108

369-391 Virtuoso passagework

Allegro – Poco meno
391-415 Orchestral bridge section
mosso
416-421 Theme I
423-450 Development of Theme I
451-462 Theme I continues to develop
462-472 Orchestral bridge section
472-478 Allegro Theme J
478-486 Development of Theme J
486-492 Recurrence of Theme J – transposed
492-496 Recurrence of Development of Theme J -
transposed
497-540 Giocoso (in uno) Virtuoso passagework
541-554 Short orchestral bridge section
555-561 Recurrence of Theme I
562-572 Theme J
573-581 Allegro moderato Recurrence of Theme J
582-589 Recurrence of Theme J
590-598 Brief cadenza
599-614 Development of Theme J
615-626 Lentamente Theme K
627-826 Allegro in uno Finale - Coda

Table 1: Piano Concerto No. 2 (1944), summary of form

Pace’s piano concerto commences with a thirteen-bar introductory passage on the

pianoforte, in Largo pace, (see Fig. 1)—a gesture that may have been inspired by the
45
precedents of Beethoven’s Fourth Concerto or perhaps Rachmaninoff’s Second
Concerto46.

45
For a discussion, see Hill, The Concerto, 132-135.
46
For a discussion, see Hill, The Concerto, 294-297.
 109

Figure 1: Piano Concerto No. 2 (1944), Largo, opening bars from 1-1347

The orchestra enters at bar 14 when Theme A appears on the cellos and double basses. A
slightly varied recurrence of the first theme is presented in the oboes, at bar 17 in the
same section. After a short orchestral bridge of seven bars, Theme B is heard at bar 34 on
the piano, projected in chordal passages, and later developed in arpeggiated and scale-like
passages until bar 47. The theme is further developed by double-octave passages in the
upper registers supported by arpeggios, and the theme continues to develop up to the
recurrence of Theme A in bar 75. A short orchestral bridge section links to the subsequent

47
Manuscript Number 2637
 110

theme – C at bar 81. This is heard in the upper register in double-octaves supported by
arpeggiated passages in the lower register of the keyboard from bars 81-109 - (see Fig. 2).
The orchestra plays a wholly supportive role throughout this passage, with the piano
constantly predominant. Theme C is developed before being restated on the piano an
augmented fifth lower at bars 87-88, and later heard a perfect fourth higher at bars 98-
101. The theme is then developed to bar 109, after which a short bridge section in the
orchestra is heard at bars 110 to 117. Theme D then appears at bars 118-125 and develops
into agitated semiquaver passages in the upper register, supported by chordal passages
until bar 136. Theme D continues in virtuosic arpeggiated and chordal passagework until
bar 173. The appearance of Theme E is heard from bars 174-177, and developed until bar
206.

Figure 2: Piano Concerto No. 2, Theme C, bars 85-94

 111

Theme F appears at bar 206 on the piano (see Fig. 3). This short four-bar thematic idea is
presented in arpeggiated passages in the bass register supported by diatonic chordal
passages in the upper register, progressing towards the cadenza at bar 219.

Figure 3: Piano Concerto No. 2, Theme F, bars 206-217

At bars 219 to 225, the piano presents energetic passagework, with lyrical melodic
contours in the higher register of the piano supported by running scale-like passages in
the lower register. After a short pause at bar 225, Pace incorporates the recurrence of
Theme A at bars 226-242, and continues to restate, in a transposed passage, the
recurrence of Theme C at bar 243, in the Lentamente section. Theme C is subsequently
restated on the oboe and violins (see Fig. 4) from bars 251-267. After the orchestral
bridge section, the same theme – C is heard on the piano from bars 268-296 in the Più
 112

mosso section. Thereafter, there is a short bridge section before the next section
commences in Largo tempo, at bar 300.

Figure 4: Piano Concerto No. 2, recurrence of Theme C, bars 251-273

After a brief orchestral interlude on the horns and strings, the piano enters in the key of
D-flat major, and Theme G appears at bar 316 in the upper register (see Fig. 5).
Thereafter, the soloist presents virtuoso passagework and changes key to C major at bar
333, leading shortly to the new section, Poco più mosso, at bar 317. The piano
accompanies lyrical ideas in the orchestra, and at bar 342, introduces Theme H. As the
section continues Theme H is restated in the cellos at bar 350, and in the upper register of
the pianoforte in a slightly modified version from bar 361. The solo part continues with
florid arpeggiated passages spanning the entire range of the keyboard, while the thematic
 113

material continues to develop. A short orchestral interlude supervenes at bar 392, which
slows down for a few bars to Poco meno mosso at bar 409.

Figure 5: Piano Concerto No. 2, Theme G, bars 316-324

As the interlude by the orchestra continues, the piano enters in another thematic idea at
bar 416 with double-octave passage work – Theme I. The piano part progresses and
develops into different rhythmic patterns and angular melodic ideas, until Theme J
appears at bar 472. Theme J continues to develop and is restated in transposed passages
till bar 496. The next section is marked Giocoso in uno. Here, the piano part is once again
assigned virtuoso passagework whilst the trumpets and the first violins combine in
contrapuntal textures. As the concerto continues on the same harmonic and textural vein,
displaying virtuosic passagework in the piano part and developing new thematic material,
the work enters in the Allegro moderato section at bar 541, with a short orchestral
interlude of fourteen bars in which the cellos and double basses are brought to
prominence. At bars 555-561, Pace restates Theme I in the piano, and thereafter, Theme J
appears at bar 562, in the cellos and double basses, before being presented in the upper
register of the pianoforte at bar 573, and subsequently, on the violins at bar 582. As a
 114

brief cadenza for the soloist follows till bar 598, Theme J is developed in the lower
register of the piano from bars 599-614.

Theme K of the ensuing Lentamente section is presented at bar 615 on the violas. As the
theme unfolds, it also pervades the final section, Allegro in uno, commencing at bar 627
where it develops into different rhythmic patterns, concluding on a climax of double-
octave and arpeggiated passages on a chord of C major at bar 825-826.

3.4.2 Clarinet Concerto

The Clarinet Concerto (1970) is a twenty-five minute work scored for clarinet and
chamber orchestra. The work was composed for Freddie Mizzi (b.1934)48, who performed
it for the first time at the Manoel Theatre on Friday 25 September 1970 on the occasion of
the 20th Session of the Regional Committee for Europe of the World Health Organisation.
The Manoel Theatre Orchestra was conducted by Maestro Joseph Sammut.

The concerto is structured in three movements: Introduzione ed Allegro Moderato, Tema

pastorale con tre variazioni and Rondo Burlesco. The soloist remains in the limelight
throughout, with the orchestral playing a wholly subsidiary role.

First movement:

As shown in Table 1, the movement consists of seven sections. It opens with a three-bar
introductory passage on the flute, supported by contrapuntal textures on the strings, (see
Fig. 1). Theme A is presented by the solo clarinet in bar 3 (see Fig. 2). This idea features
large intervallic angular leaps (such as a compound perfect fourth) that serve to launch
virtuosic display passages. The orchestral accompaniment is predominantly contrapuntal,

48
Michael J. Sciavone, Dictionary of Maltese Biographies, Vol. II, G-Z, (Malta: Pin Independent
Publication, 2009), 1195.
 115

with the wind and brass lent prominence. At bars 26-33, Pace employs choral-like
textures which serve as a short bridge to the third section.

Bars Sections Themes and Recurrences

1-3 Introductory passage
3-17 Lento Theme A
19-26 Development of Theme A
26-33 Maestoso Orchestral bridge passage
33-37 Theme B
37-40 Recurrence of Theme B – transposed
40-52 Development of Theme B
52-58 Allegro moderato Orchestral bridge passage
58-65 Theme C
66-75 Development of Theme C
77-91 Development of Theme C - continues
94-101 Theme D
102-110 Recurrence of Theme D
A Tempo
110-114 Orchestral bridge passage
115-156 Continuous development of Theme D
159-163 Largo Orchestral bridge passage
164-170 Mosso Theme E
170-177 Recurrence of Theme B
177-189 Recurrence of the development of Theme B
189-194 Orchestral bridge passage
Allegro moderato
195-208 Recurrence of Theme D
208-210 Orchestral bridge passage
211-224 Coda

Table 1: Concerto for Clarinet (1970), First Movement, summary of form

 116

Figure 1: Concerto for Clarinet (1970), First Movement, bars 1-749

Figure 2: Concerto for Clarinet, First Movement, Solo Clarinet Part, bars 1-13

49
Manuscript Number 2836
 117

At bar 33, Theme B appears, and is immediately developed, with the clarinet part
supported by contrapuntal textures (see Fig. 3). Subsequently, at the beginning of the
bridge section, Pace employs doubling of melodic material between the flutes, oboes,
clarinets and on the first violins, with counterpoint in the lower strings and brass (see Fig.
4). After a short bridge section, Theme C appears at bar 58, employing similar rhythmic
patterns as in the two themes stated previously, and later developed until bar 91.

Figure 3: Concerto for Clarinet, First Movement, Theme B, bars 33-38

Figure 4: Concerto for Clarinet, First Movement, Bridge section, doubling of melodic material,
bars 52-58

Theme D enters at bar 94, an eight-bar antecedent-consequent structure featuring lyrical

contours, with florid semiquaver passages on the solo clarinet. The same theme re-
 118

appears at bar 102, its first phrase melodically altered, but employing the same rhythmic
pattern. The consequent phrase is melodically enhanced by means of different rhythmic
patterns. Between bars 110-114, a short orchestral bridge passage links to the
development section. This section of the movement (commencing at bar 115) features
angular melodic passages against virtuosic passagework on the solo clarinet part,
supported by melodic doublings and contrapuntal textures, mainly in the strings.

The Largo section serves as a bridge from bars 159-163. Pace then introduces Theme E at
bar 164 in the Mosso section which showcases virtuosic passagework for the soloist and
also functions as a short cadenza almost at the end of the movement (see Fig. 5). This
section recapitulates material from the Allegro moderato section, with Theme B re-
appearing at bar 170. Towards the end of the movement, Theme D is restated at bar 195,
supported by contrapuntal textures in the strings, and doublings in the woodwinds and
brass. The first movement concludes with a Coda from bar 211 to 224, ending on a
cadence comprising two diatonic chords, Fmin7 closing onto E-flat major.

Figure 5: Concerto for Clarinet, First Movement, clarinet solo part, Theme E, bars 164-170

Second movement:

The structure of the second movement, although described as a theme with three
variations, is somewhat unusual, in that other themes also make their appearance. As
illustrated in Table 2, the second movement commences in a short Adagio section in
compound duple time and twenty-nine bars in length that presents the theme that forms
the basis of an ensuing set of variations (see Fig. 6). At bar 30, in the Moderato section,
the first variation employs Theme A on the solo clarinet part which displays soft virtuosic
 119

semiquaver passages, developing into accentuated quaver passages up to the second

variation, while being supported by contrapuntal and chorale textures mainly in the
strings.

Bars Sections Themes and Recurrences

1-29 Adagio Introductory passage
st
1 Variation
30-60 Theme A
Moderato
60-64 2nd Variation Orchestral bridge passage
65-72 Andantino Theme B
72-100 Mosso Development of Theme B
100-105 Meno mosso Orchestral bridge passage
106-107 Two-bar codetta
108-114 3rd Variation Theme C
115-128 Allegretto Development of Theme C – retrograde
melodic treatment based on Theme C
128-133 Recurrence of Theme C
134-140 Adagio Seven-bar coda

Table 2: Concerto for Clarinet (1970), Second Movement, summary of form

Figure 6: Concerto for Clarinet, Second Movement, Opening theme, bars 1-23
 120

In the second variation, Andantino, a five-bar melodic idea appears in the bassoon
supported by minim chorale progressions in the flute, oboe and clarinets. Theme B
appears at bar 65 where the solo clarinet part is assigned arpeggiated staccato passages up
to the Mosso section at bar 72 - (see Fig. 7). Here Theme B is melodically developed in
the solo clarinet part in compound duple time. In this section, the orchestra reaches a
climax where the strings and the solo clarinet are fused in contrapuntal textures,
melodically enhanced in scale-like and arpeggiated passages. At the end of the second
variation, a short two-bar passage functions as a bridge to the third variation - Allegretto.

Figure 7: Concerto for Clarinet, Second Movement, Theme B, bars 65-72

In the third variation, Pace introduces a second new thematic idea, Theme C, at bar 108.
Here, the woodwinds and the strings echo rhythmic patterns; whilst the solo clarinet part
presents a flurry of semiquaver passages in short trill-like patterns (see Fig. 8). A
retrograde passage appears at bar 115 based on Theme C whilst the woodwinds and
strings provide refrains between each section. The variation changes time signature at bar
123 to compound duple time. The solo clarinet part outlines large intervallic patterns,
such as ninths, tenths, and compound major sixths. A recurrence of Theme C appears on
the first violins transposed a major third lower. This short transition serves as a link to the
final Adagio section, which is seven bars in length. The movement concludes on a G
major triad.
 121

Figure 8: Concerto for Clarinet, Second Movement, third variation, bars 108-112

Third movement:

The third movement constitutes five sections, and opens at an Allegro moderato pace in a
simple duple time – (see Table 3). Theme A is heard on the solo clarinet at bar 2
supported by saltellato patterns in the strings (Fig. 9). The first theme is structured on an
asymmetrical twenty-three-bar period.

Bars Sections Themes and Recurrences

2-25 Theme A
26-34 Orchestral bridge passage
34-49 Theme B
52-69 Allegro moderato Development of Theme B
72-102 Recurrence of Theme B
102-110 Orchestral bridge passage
110-133 Recurrence of Theme A
134-137 Poco meno mosso Four-bar bridge passage
138-143 Theme C
Riprendendo il
144-159 Development of Theme C
tempo di prima
160-169 Recurrence on the development of Theme C
172-176 Theme D
177-182 Recurrence of Theme D – transposed
183-204 Development of Theme D
204-207 Short orchestral bridge passage
Allegro moderato
208-218 Theme E
218-240 Development of Theme E
243 Cadenza
244-253 Orchestral bridge passage
253-260 Theme F
Mosso
260-270 Development of Theme F

Table 3: Concerto for Clarinet (1970), Third Movement, summary of form

 122

Figure 9: Concerto for Clarinet, Third Movement, Opening Theme, bars 1- 6

After an orchestral bridge passage from bars 26-34, Theme B appears at bar 34, with its
lyrical contours supported by sustained chorale-like textures in the strings. This is
developed both melodically and rhythmically before being restated at bar 72, whereupon
it undergoes further development until bar 102. A short bridge section of eight bars forms
a link to the subsequent section, where the first theme recurs at bar 110. At bar 121, the
second theme is restated, transposed a major second higher. The section slows down to
Poco meno mosso at bar 134 for a four-bar bridge section, followed by the Riprendendo il
tempo di prima section where Theme C is introduced at bar 138. Throughout the
movement, the handling of the orchestra is relatively simple, based on contrapuntal and
chorale textures, with occasional use of doublings. The solo clarinet part is predominant
throughout, being constantly supported by the orchestra. The section concludes at bar 169
where Theme D appears at bar 172 in the Allegro moderato section, on the first violins.
The section continues to develop into another thematic idea – Theme E. At bar 243, Pace
introduces a cadenza for the solo clarinet, consisting of florid semiquavers. After a short
orchestral passage from bars 244-253, the movement concludes in the Mosso section -
Theme F, being developed until bar 270, ending on a diatonic chord of A major.