To be sure, the Oxford Concise Dictionary defines clarion as a "shrill narrow-tubed trumpet formerly used in war". A second meaning is "rousing sound"; a third, "organ-stop of clarion quality, clear and loud".
To my mind, what best describes the concerts of the Clarion Chamber Ensemble is "rousing sound" – one that engages, absorbs or compels attention.
The Ensemble’s Sunday concert at the F. Santiago Hall was appropriately titled German Melody Spinners because beautiful melodies predominated to edify and elevate the spirit.
Many (myself among them) define heaven as exquisite music – I seem to be momentarily obsessed with definitions – and the choice of Haydn’s String Quartet, Brahms’s Sonata for Clarinet and Flute in E Flat Major and Schubert’s Quartet for Flute, Viola, Cello and Guitar often brought the audiences near enough to a celestial realm, far, far away from what the Bard calls "this mortal coil".
To begin with, the works were rendered by select instrumentalists, each of whose respective talent and skill has been carefully honed in the best institutions here and abroad. Founder music-director David J. Johnson makes no idle claims when he states that the ensemble is a "consortium of professionals musicians both local and international in Metro Manila".
Olga Pineda, first violin; Reginald Pineda, second violin; Yuka Sta. Ana, cello, and Edna Marcil Martinez, viol gave the Haydn Quartet a smooth, refined, lively interpretation while demonstrating the closest "togetherness", with the clearly-etched melodies surfacing continuously.
Despite the remarkable ensemble work, however, the collective rendition seemed rather wanting in luster and brio, in that rousing, fiery quality that drives the listener to the edge of his seat. Still, the the quartet honored the composer by having his melodies come alive with spirit and remarkable musicianship.
The Brahms Sonata offered sheer, unalloyed joy as played by Ariel Sta. Ana clarinetist; and Hyun Joo Lee, pianist. The various movements conveyed admirable kinship between clarinetist and assisting pianist as they brought the listener closer and closer to that "celestial" realm. Sta. Ana’s sensitivity and agility – complemented by Hyun’s strong rhythmic pulse – must make him one of our best clarinetists.
Judging from the foregoing numbers, Clarion instrumentalists conveyed the unmistakable impression that they were enjoying themselves immensely while producing fine music, for which reason the listeners enjoyed themselves likewise, the feeling being contagious and infectious.
This sense of enjoyment reached its highest point in the finale, Schubert’s Quartet, with Johnson, flutist; Renato Lucas, cellist; Alvin Salenga, guitarist; Donal Kidd, guest violist. Schubert at his most lyrical was played by the quartet at its most eloquent. Johnson, with his subtle nuances and controlled dynamics, was superb Lucas, with his luminous, throbbing tones, was likewise superb. The interplay between them in the second (Largo) and third (Patetico) movements could only be described in superlative terms.
The guitarist, Alvin Salenga, infused new, unique sounds; indeed, it might be assumed it was the first time the audience heard a guitar in a quartet. To be sure, the very nature of the composition prevented the guitarist from rendering florid or rapid passages in the manner he would have done as a soloist.
In sum, Schubert’s Quartet pointed up an uncommonly fascinating and enthralling program played by instrumentalists who made sure chamber music would not ever serve as a cure for insomnia.