Electrifying, thrilling and tasteful Tomescu
April 10, 2006 | 12:00am
It has been five years since I last saw Romanian violinist Alexandru Tomescu perform in Manila. The occasion was an unfortunate one. Tomescu was to play two violin concertos during the occasion, the Tchaikovsky and the Mendelssohn concertos, I think; the orchestra was the defunct National Philharmonic Orchestra. The late Redentor Romero, who led the orchestra, was in the hospital in critical condition. Hermie Rañera conducted the orchestra in his absence. The next day, Romero passed away.
To call Tomescu’s playing at that show brilliant would be insufficient; it was electrifying, thrilling, and tasteful, too. There was no grand display of virtuoso playing for playing’s sake; everything was musical and refined.
It is very rare that a soloist plays two concertos in one night; with this feat, the Romanian violinist belongs to the elite group of musicians who command the stamina and power to survive a demanding evening of music.
Tomescu’s recent concert at the Philamlife Theater, staged by Music News and Features as part of its current Great Performances series, and presented in cooperation with the Philippine-American Life Insurance Company and Manila Pavilion Hotel, might have been more intimate with its program of violin sonatas and virtuoso showpieces, but it did not lack the high or the power you would expect from an orchestral work. In fact, the program of chamber works revealed the violinist’s more tender and intimate side.
The concert opened with Leclair’s Sonata in D, Op. 9 No. 3, a classic in the repertoire of violin sonatas. This was followed by Beethoven’s Sonata in F, Op. 24 No. 5, which is more popularly known as the "Spring" sonata. Indeed, both pieces evoke the season of spring, with their imitation of a bird’s song in its numerous trills. The lyrical melodies are pastoral in style, imitating the songs one would expect to hear out in the open fields of ages past.
While the Leclair sonata highlights the violinist’s virtuoso ability, the Beethoven places both violinist and pianist on equal footing with writing that is just as demanding on both players. In Mary Anne Espina, Tomescu found a worthy partner for his inspiring playing, matching him with a performance that highlights Beethoven’s sweet music.
The second half of the concert concentrated on compositions that emphasized the violinist’s range as a performer. Virtuoso show pieces alternate with lyrical compositions to bring to the fore Tomescu’s talent.
In Paganini’s "Dance of the Witches," Kreisler’s "Liebesfreude," and in the final "Gypsy Airs" by Sarasate, Tomescu called on a wealth of violin technique to dazzle his audience with his masterful playing. Pizzicato, harmonics, double stopping, echo effects: none of them fazed him. Instead, he offered colorful playing that brought to life these show pieces.
In the lyrical pieces, he called on a highly emotional playing style that recalled the orchestral source of the "Meditation" from Massenet’s "Thais" and Tchaikovsky’s "Melody." He could pare down his sound to recall a more intimate attitude, such as in the lyrical melody from the "Meditation," and he could broaden his tone to echo a more orchestral sound.
Tomescu received rousing applause for his spontaneous and inspired playing of Constancio de Guzman’s anthemic "Bayan Ko," as transcribed by the late Redentor Romero. He found the heart of the piece, bringing out its romantic beauty. In his encore, Abelardo’s "Cavatina," he made it sound freshly minted, emphasizing its endearing music.
In all these pieces, Espina showed she was Tomescu’s partner, providing him with solid support to hold up his consummate playing.
It was a Sunday night, and Tomescu’s concert was the perfect ending for a wonderful weekend. If only most concerts were as pleasant and refined?
Music News and Features presents Cecile Licad in a solo concert at the Philamlife Theater on April 27, 8 p.m. For inquiries, call 900-7023 and 0910-8851136.
To call Tomescu’s playing at that show brilliant would be insufficient; it was electrifying, thrilling, and tasteful, too. There was no grand display of virtuoso playing for playing’s sake; everything was musical and refined.
It is very rare that a soloist plays two concertos in one night; with this feat, the Romanian violinist belongs to the elite group of musicians who command the stamina and power to survive a demanding evening of music.
Tomescu’s recent concert at the Philamlife Theater, staged by Music News and Features as part of its current Great Performances series, and presented in cooperation with the Philippine-American Life Insurance Company and Manila Pavilion Hotel, might have been more intimate with its program of violin sonatas and virtuoso showpieces, but it did not lack the high or the power you would expect from an orchestral work. In fact, the program of chamber works revealed the violinist’s more tender and intimate side.
The concert opened with Leclair’s Sonata in D, Op. 9 No. 3, a classic in the repertoire of violin sonatas. This was followed by Beethoven’s Sonata in F, Op. 24 No. 5, which is more popularly known as the "Spring" sonata. Indeed, both pieces evoke the season of spring, with their imitation of a bird’s song in its numerous trills. The lyrical melodies are pastoral in style, imitating the songs one would expect to hear out in the open fields of ages past.
While the Leclair sonata highlights the violinist’s virtuoso ability, the Beethoven places both violinist and pianist on equal footing with writing that is just as demanding on both players. In Mary Anne Espina, Tomescu found a worthy partner for his inspiring playing, matching him with a performance that highlights Beethoven’s sweet music.
The second half of the concert concentrated on compositions that emphasized the violinist’s range as a performer. Virtuoso show pieces alternate with lyrical compositions to bring to the fore Tomescu’s talent.
In Paganini’s "Dance of the Witches," Kreisler’s "Liebesfreude," and in the final "Gypsy Airs" by Sarasate, Tomescu called on a wealth of violin technique to dazzle his audience with his masterful playing. Pizzicato, harmonics, double stopping, echo effects: none of them fazed him. Instead, he offered colorful playing that brought to life these show pieces.
In the lyrical pieces, he called on a highly emotional playing style that recalled the orchestral source of the "Meditation" from Massenet’s "Thais" and Tchaikovsky’s "Melody." He could pare down his sound to recall a more intimate attitude, such as in the lyrical melody from the "Meditation," and he could broaden his tone to echo a more orchestral sound.
Tomescu received rousing applause for his spontaneous and inspired playing of Constancio de Guzman’s anthemic "Bayan Ko," as transcribed by the late Redentor Romero. He found the heart of the piece, bringing out its romantic beauty. In his encore, Abelardo’s "Cavatina," he made it sound freshly minted, emphasizing its endearing music.
In all these pieces, Espina showed she was Tomescu’s partner, providing him with solid support to hold up his consummate playing.
It was a Sunday night, and Tomescu’s concert was the perfect ending for a wonderful weekend. If only most concerts were as pleasant and refined?
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