Melita: Maltese Piano Music is a new album by Charlene Farrugia, recipient of the Malta’s International Achievement Award, once described as the ‘Princess of Maltese Piano’ by music critics, having made her concerto debut with the Malta Philharmonic Orchestra at the age of 13 as the orchestra’s youngest ever soloist. Since then, she has been a regular performer on the Maltese cultural scene.
The album has only just been released and is already receiving international acclaim, so Times2 caught up with Charlene to find out more.
Why do you think Maltese music is an important genre for an album?
Maltese music is a hidden gem in the classical world. It is rich, evocative, and deeply connected to the island’s soul. It carries echoes of history, of stories told through melody, of an identity shaped by centuries of cultural exchange. I believe it is essential to bring this music to light, to share its beauty beyond our shores, and to ensure that it takes its rightful place on the international stage. Malta has always been a meeting point between Europe and Africa, and this is reflected in its music. You can hear it in Carmelo Pace’s harmonies, which hint at something ancient and mysterious beneath their classical surface, or in Charles Camilleri’s melodies, where folk-like themes intertwine with rhythms that feel almost Middle Eastern. But beyond these influences, Maltese music is deeply personal, shaped by the island’s relative isolation. This album is my way of giving that voice the space to be heard, to resonate beyond Malta, and to invite listeners into a sound world that is both intimate and timeless.
How did you choose the works to include on Melita: Maltese Piano Music?
The music on this album is a journey through Malta’s landscape. It’s a tapestry woven from different voices, styles, and emotions, yet all rooted in the island’s unique spirit. Each piece was chosen not only for its beauty but for the story it tells, revealing the depth of Malta’s musical heritage and its evolution throughout the 20th century. This was a time when Maltese composers, standing at the crossroads of Europe and the Mediterranean, shaped a musical language that is both deeply personal and outward-looking, intimate yet expansive. Carmelo Pace embodies this duality. His Second Sonata is a work of depth and maturity, balancing structure with expressive freedom, while his Bagatelles offer a glimpse into his lighter and more playful side. Charles Camilleri, on the other hand, channels the raw energy of the Mediterranean, where folk traditions merge with classical forms. His African Dreams pulses with rhythm and vitality, echoing the broader cultural influences that have shaped Malta across centuries. Josie Mallia Pulvirenti’s transcription of Impressione Sinfonica is deeply atmospheric, unfolding like a painting in sound whilst Carlo Diacono’s Fantasie Impromptu is infused with both brilliance and introspection.
I approached the structure of the album much like I would a concert program. I created a sense of journey, contrast, and flow. I wanted the listener to experience the full spectrum of Maltese piano music, from its most introspective and lyrical moments to its most virtuosic and rhythmically driven passages. The works are arranged in a way that allows each composer’s voice to shine while also complementing the broader narrative of the album. Some pieces, like Carmelo Pace’s Second Sonata, have a more expansive and structured development, while Charles Camilleri’s African Dreams pulses with rhythmic energy and unpredictability. Ultimately, I wanted the album to feel like an emotional and musical journey. More than just a collection of works, this album is a conversation between composers across time, and an invitation to immerse oneself in the spirit of Maltese music.
I sought to capture not just the technical intricacies of each piece, but their essence. Interpretation is never just about playing the notes, in contrast it’s about uncovering the soul of the music and breathing life into it.
Recording these works came with its own set of challenges. Many works had never been recorded before, which meant there were no past interpretations to draw from, only the score, the sound I imagined in my mind, and the moment of bringing it to life. The studio, unlike the concert hall, is a space of absolute clarity; every nuance is exposed and every intention is magnified. The greatest challenge was preserving the energy of a live performance: the spontaneity, the vulnerability, and the rawness of expression, while capturing the precision and depth the recording process demands. In the end, I wanted this album to feel alive, to be more than just a documentation of these works.
What’s next for you in your musical journey?
A dream close to my heart is a second album of Maltese piano music. This first recording was only a glimpse into the vast landscape of Malta’s musical heritage. There are still so many voices waiting to be heard. I want to bring them to life and to share them with the world, to ensure that this music is not only remembered but continues to evolve. At the same time, I am inspired by the future and by the pulse of creation, and I have interesting collaborations with contemporary composers in the pipeline. Beyond the concert stage, my students at the university have become an integral part of my artistic life. To guide young musicians, to help them refine not only their technique but also their ability to listen, to feel, to shape sound into something deeply personal, is a responsibility and a privilege. There is no greater reward than seeing a student’s artistry unfold. But above all, I want to keep performing, to keep searching for those rare, fleeting moments where music transcends sound.
This CD recording project was supported by Arts Council Malta and Bösendorfer.
See more on the album Melita: Maltese Piano Music
See more on Charlene Farrugia