Yatco’s masterly baton, F. Ramirez’s virtuosity

Wielding the baton over the PPO in a recent concert at the CCP auditorium, Conductor laureate Oscar C. Yatco conveyed in Tchaikovsky’s Symphony in B Minor (Pathétique) widely ranging orchestral colors, sweeping rhythms and awesome tutti passages.

Doubtless, Prof. Yatco had held sway not only over the PPO but also over the audience. Proof of this was the applause which broke out after the third movement (allegro molto vivace), with the final one (adagio lamentoso) still to follow. Such was the tremendous energy Prof. Yatco had drawn from the players!

The unusual behavior of the listeners called to mind that decades ago, New Yorkers had earlier violated the no-applause-between-movements rule after the NY Philharmonic had rendered the same allegro of the Pathétique.

The "brooding melancholy" which kept recurring throughout was consistently maintained to convey the idea of death and mortality, thus giving substance to the claim that the Pathétique is the composer’s most profoundly moving work as also to his own confession that he had infused it with a "subjective sentiment".

The very quiet, almost inaudible opening of Wagner’s Reinzi Overture later burst into several near-shattering, mighty fortissimos. Its shifting moods were eloquently reflected in the overture, incidentally, the only part of the opera, which is still being interpreted. Again, Wagner’s Overture, Tehaikovsky’s Pathétique and Prokofiev’s Piano Concerlo No. 3 in G Major with Fil-Spanish pianist Felipe Ramirez as soloist, demonstrated Prof. Yatco’s striking command of large works. Indeed it was he who had introduced these to Filipino music lovers.

Prokofiev’s No. 3, certainly meant for a virtuoso pianist, is predominantly percussive, dissonant and atonal to those accustomed to the lyricism of Mozart, Beethoven, Schubert, Schumann, etc. The piece requires considerable dynamic power, and this Ramirez provided in full measure, particularly in the chordal passages. His nimble fingers took on the runs and trills with a flourish; his tones were as clear as a bell even in the most rapid passages.

What was so gratifying about the duo performance of conductor and pianist was the total rapport that existed between them even through the most diabolically complex and tricky tempi.

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In a piano recital which followed at the F. Santiago Hall under the auspices of the Instituto Cervantes, focus was on the versatile Ramirez as virtuoso pianist, composer and assisting artist.

The first portion of the program, a most lyrical one, consisted of works by Spanish composers: Albeniz’s Serenata, Sevillanas and Leyenda from Suite Española, Granados’s exquisitely melodious La Maja y el Ruiseñor, and Ramirez’s own charming Notte di Roma and Jennifer’s Ballade (presumably dedicated to his conductor-wife Jennifer).

Never was Ramirez’s virtuosity more evident than in Chopin’s Polonnaise (Heroica), De Falla’s Fantasia Betica and Prokofiev’s diabolically demanding Tocatta Op. 11, with the pounding, propulsive staccatos the title suggests.

The encore piece by Liszt only deepened the listener’s conviction that Ramirez is most admirable in selections that require spell-binding technical skill, power and fleet finger work.

Leading soprano Rachelle Gerodias, as to have been expected, fascinated and enchanted the audience with her finely nuanced, expressive rendition of Abelardo’s Bituing Marikit, Angel Peña’s Iyo Kailan Pa Man – the soprano graciously acknowledged the composer’s presence – and F. Santiago’s Ang Kaya Ang Kapalaran. From these songs, one gathered the impression that Spanish music, not excluding what Ramirez had interpreted with spirit and sensitivity, did influence our own.

It was, therefore, with logic that the selections, hewing to Director Javier Galvan’s ideas stressed Phil-Spanish friendship and cooperation.

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On March 21, Phil-German Month at Paco Park, under the auspices of the German Embassy, will feature top flutist Eric Barcelo and pianist Ena Maria Aldecoa in works by Weber, Ramon Santos, Cadiz, Mozart and Beethoven. On March 28, the Madrigals, with Mark Carpio as choirmaster, will close the yearly program with sacred, secular, folk and popular songs. Admission is free.