Keys to the future
Since its establishment in1985, the Manila Chamber Foundation Inc. (MCOFI), has consistently afforded its support to the country’s young artists attain exposure by presenting them in concerts through its Young Artists Recital Series, with Banco de Oro’s (BDO) Francisco Santiago Hall readily serving as the venue. Many of the country’s performing artists now who have benefited from the MCOFI Young Artists Program can look back with pride and gratitude to the wonderful experience the foundation has given them. As I wrote some time ago, the MCOFI has virtually served as Makati’s “cultural oasis” that provides the spiritual dimension to the city’s material well-being as a premiere commercial center.
The MCOFI, in cooperation with the BDO, has again presented two youngsters in separate piano recitals that are sure to wow Manila’s concert lovers. Both are gifted, and are winners of several prestigious piano tilts. Recently, 12-year old Lorenzo “Enzo” Bueno Medel, a seventh grader at La Salle Green Hills, had his auspicious recital debut. Having studied piano since the age of nine and a half years old, he impressed his listeners with his ability to handle solo pieces as well as a concerto of no mean proportion. He cut a strong presence, and had proper decorum on stage.
In the solo pieces, he was at his best in Mozart’s Sonata in C Major K. 330, Liszt’s Gnomenreigen (Dance of the Gnomes) and Santiago’s Souvenir de Filipinas. Finesse characterized his playing of Mozart. His tones sang and were well-tempered. Remarkably, he showed a keen understanding of the piece to convincingly evoke a sonority reflective of the style of the period.
He had a grand tour de force in Liszt and Santiago, showing virtuosity feat especially in the latter piece. Without banging the keyboard, he chiseled out a robust climax to the Liszt work. The Lisztian essence of Santiago’s piece, he brought out with stunning brilliance. The inclusion of these two pieces in the program, which were played successively, was an effective choice as they evoked similar stylistic temper. Obviously, Santiago’s piece was scored in the Lisztian manner, sounding like La Campanella that showed fiery brilliance. Enzo brought out the grandeur of the piece with fresh insight; there was no sentimentality, just plain festive pianism.
He brought down the house in the Mendelssohn Concerto in G Minor, Op. 25 with his teacher, Prof. Mauricia Borromeo of the UP College of Music on the second piano. Played without a break, Enzo keenly showcased a promising technical prowess. After taking off quite comfortably in the first movement, he touched the second movement with a buoyant romantic flair, disclosing quite a burning sensitivity. He touch on greater heights of playing as he breezed through the third movement with mighty dispatch. He firmly essayed the octaves; lusciously plucked out those staccato chords, and adequately ran his fingers over tricky rotational passages. The audience was simply awed, and burst into hearty applause at the end.
Previously, in the same hall, 15-year-old Maria Regina “Inna” Montesclaros likewise wowed her audience in her solo recital. A sophomore at the Colegio de San Agustin in Makati City, Inna has played quite a number of times in the hall, and is therefore not a stranger to it.
Remarkable was her playing of the first four selections of Schumann’s Fantasiestucke, Op. 12, which showcased a debonair, mature disposition. Technically proficient, it was with ease that she played the work, calling such technical prowess to disclose a succulent sense of pianism. She elegantly chiseled out the melodic line of “Des Abend (In the Evening);” dished out an uncompromising rhythmic incisiveness in Aufschwung (Rupture) and Grillen (Whims) and sang in abandon in Warum (Why?).
She brought out the essential lyricism of the Schubert opus, Impromptu No. 3 in G-Flat Major, adeptly crafting singing melodic lines anchored on sensitive voicing. It was in Ginastera’s Danzas Argentinas that Inna was formidably at the height of her brilliant playing. She infused stark coloring, marking all sections with brilliant vividness. In the opening Danza del Viejo Boyero (Dance of the old Herdsman), she wove a palpable cacophonous texture and sustained an arresting rhythmic drive. She hushed the next dance, Danza de la moza donosa (Dance of the beautiful maiden) into an undulating romance, whose graceful lilt and quietude could very well be mistaken for a berceuse or lullaby, what with the pedal point the left hand harped on. Inna was furiously rhythmic in the third dance, Danza del Gaucho Matrero (Dance of the Arrogant Cowboy), running her fingers briskly over the keyboard, and powerfully striking out chords and ending the piece with a shimmering glissando.
Inna’s teacher is Prof. Cecile Basilio-Roxas of Sta. Isabel College. She has attended master classes given by Dr. Raul Sunico, dean of the UST Conservatory of Music. Enzo, on the other hand, has attended a master class given by Prof. Reynaldo Reyes of the Towson University in Maryland.Commendable is the strong support their proud parents gave and will continue to give to hone further their talents. Enzo’s parents are Stephen and Ruth Medel, both physicians; while Inna’s are Edgardo and Merceditas Montesclaros who are financial managers.
