Translated Repertoires in Malta, from Secular to Religious: The Case of Vincenzo Mifsud and Other Maltese Composers of the Nineteenth and Early Twentieth Century

In talking about the topic of musical translations across the Mediterranean, one needs to be specific about what one is meaning by translations. I am meaning the transfer of a genre of musical tradition, which is ‘secular’ and its adoption for a religious framework. In fact, we have three cultures, French, Italian and eventually English being adopted in Malta for religious usage. Sometimes, this involved controversy as a secular, anticlerical music was being given a religious significance, creating controversy in Malta. Again, Anglican and Imperial tradition (Elgar, for example) was being used for Catholic Music. I will be writing explicitly about this in Malta through the music that was played in churches during colonial times. At a time when there were no recordings or concert halls in Malta (and theatre was serving the few) the common people listened to music (and the new trends in music) mainly in churches. Obviously this was a source of controversy.