Billed as "The Hits of the PPO in Europe," the presentation features two major works by Wolfgang Amadeus Mozart and short pieces by Filipino composers.
Mozart’s Symphony No. 38 "Prague", K504, which opened this concert, was completed by the composer in Vienna in December 1786 and performed for the first time in the Czech capital in January of the following year, hence the subtitle. (The PPO concluded its European tour in Prague where its performance was sponsored by President Vaclav Havel).
Maestro Ruggero Barbieri wielded the baton in a masterful account of the opening Adagio with its powerful exordium which continues until it subsides somewhat into a more tender vein and then breaks into a storm again in minor keys until it runs its course. Very unusual for a classical first movement I must say, for the first movement proper, Allegro, now follows this introduction with a number of themes in various moods but with an undercurrent of melancholy.
The Andante is one of those creations of Mozart that can be described only in the words of a poet, "sweet in its sadness." Even here, the storm threatens to intrude until it is pacified by the serenity of the second theme.
The finale, Presto, is brilliant with sunlight except for a passage when a cloud momentarily darkens the light, but this is dispersed soon enough and the symphony ends in an outburst of joyous melody and high spirits. Maestro Barbieri and the PPO can take pride in their splendid reading of Mozart.
The outstanding contribution to the concert is that of pianist Nena del Rosario-Villanueva. Far too long have we missed her presence on the concert stage.
Once again this great artist proves that all the accolades heaped upon her by the critics are well founded. To Mozart’s Piano Concerto No. 20, K466, she brings the kind of classical clarity that challenges the pianist to exercise restraint and control. The orchestra proclaims the two themes of the first movement, Allegro, before the solo instrument joins in and engages in a solemn discourse. In the Romanza of the second movement, the first theme introduced by the piano, a serene melody, enfolds an agitated middle section. The finale is a Rondo in which the principal theme, a hectic figure, is first announced by the piano before it is taken up by the orchestra.
Del Rosario-Villanueva and Maestro Barbieri and his ensemble are completely in accord in their account of this concerto which is deceptive in its apparent simplicity. This pianist proves the paradox that the greatest art seems artless.
The second half of the program intended to give European audiences glimpses of Filipino music, featured short pieces by Redentor Romero, Antonio Molina, Nicanor Abelardo and Angel Peña.
Over at the Francisco Santiago Hall in Makati, The Maestro Filipino concert series, presented by 98.7 dzFE, featured pianist J. Greg M. Zuniega and the Manila Symphony Orchestra II, conducted by Maestro Jose Arturo T. Molina, in a performance of Peter Ilyich Tchaikovsky’s Piano Concerto in B flat minor.
The concert opened with Ludwig van Beethoven’s Leonore Overture No. 3 and concluded with pieces by Antonino Buenaventura, Lucio San Pedro and Angel Peña, all of which were performed most creditably by the MSO II, but the Tchaikovsky concerto was the cornerstone of the presentation.
The concerto begins with a triumphant theme presented by the orchestra and solo instrument with a brief development section, and then a recapitulation before the main body of the movement is rendered. This consists of two contrasting themes: the first is a spirited melody and the second a lyrical one, both materials embellished with bravura passages, which Zuniega dishes out with complete self-confidence. The second movement is a series of enchanting melodies gleaned from the composer’s poetic vein. And in the last movement, soloist and orchestra pull out all the stops in their delivery of two contrasting ideas – an energetic Cossack dance and a peasant song which are treated at length until the first theme brings the concerto to a thunderous coda.
All in all, it was a most memorable performance by Zuniega and the MSO II under the magisterial conducting of Maestro Molina. This concert is a valuable addition to the Maestro Filipino series which will be released eventually in a compact disc.
At the CCP Little Theater, once again Maestro Barbieri conducted the PPO in Concert Series VI, Children’s Festival II.
This concert, the second of a series, is intended to wean children from pop and rock and win them over to the classics. It is a mish-mash of many pieces and excerpts from the music of the masters. Since kids generally have a short span of attention, this musical hodge-podge should do the trick.
Include in the program something with strong melodic appeal (a excerpt from Antonin Dvorak’s Symphony No. 9, "From the New World"); something loud and brassy to knock them off their feet, preferably a piece with cannon shots (Tchaikovsky’s 1812 Overture); something sad and sentimental to make them weep (a slow movement from Tchaikovsky’s Symphony No. 5); something weird, exotic that will scare them off their pants (Malcolm Forsyth’s "Dance" from Atayoskewin); and something really meant for children (Sergei Prokofiev’s "A Summer Day" from Children’s Suite). But best of all, tell them a story (Francis Poulenc’s The Story of Babar, The Little Elephant). And to top it all, get Kuya Bodjie Pascua of Batibot to narrate the tale of the cute jumbo who becomes the King of the Elephants.
Of course, the kids liked the concert, how could they not? After all, it was programmed for them. But I have this sneaking suspicion that their parents enjoyed it just as much, if not more.
At the Francisco Santiago Hall, the Institute for Orchestral Development in the Philippines, in collaboration with Miriam College and the Equitable PCIBank, presented the Metro Manila Community Orchestra in a delightful concert billed as Symphony Sampler.
According to its organizers, the MMCO was "conceived to provide orchestral experience for members of the urban community who do not belong to conservatories or who do not have a chance to play in a symphony orchestra. Existing outside the usual framework of orchestral organizations, this orchestra has proven in its numerous concerts that combined community efforts and a genuine love for music can also produce music at a very high level. Beyond that, the orchestra is mandated to service the needs of schools and other community organizations such as hospitals, orphanages, and prisons." Ranging in age from 11 to 48, the members of the ensemble train twice a week under conductor Chino Toledo "for the sheer joy of making music together."
This joy they shared in abundance with their audience in their performance of the works of the masters. Alfonso "Coke" Bolipata was on hand to annotate the numbers and lecture on the instruments of the orchestra.
Beethoven’s Prometheus Overture immediately proclaimed that this fledging orchestra had Titanic aspirations, no bones about it! And Joaquin Mikhail Afable, 13, the soloist in the Allegro from Joseph Haydn’s Piano Concerto in C and violinist Lorenzo Raval who played Antonio Molina’s Hatinggabi could not have been more impressive. Soprano Cynthia Culig-Guico fared better with Nicanor Abelardo’s Mutya ng Pasig than Manuel Velez’ Sa Kabukiran.
Toledo and his orchestra worked wonders on Si Pedro at ang Lobo — which is what Prokofiev’s Peter and the Wolf is in the vernacular: They have Ma. Teresa Macaspac to deliver the narration and the uproarious visuals of the Anino Shadowplay Collective to make this number a riot with young and old alike, such that the concluding number, Lucio San Pedro’s Ang Buwan sa Kabundukan, though well rendered, was anti-climactic.
Walt Disney, eat your heart out!