Audacious conductor and dazzling pianist in San Miguel concert

With fierce determination, the San Miguel Philharmonic orchestra, under the unrelenting guidance of Julian Quirit, asserts its presence in the musical scene with consistently high-standard performances. In its recent engagement at the CCP auditorium, Quirit audaciously conducted Beethoven’s monumental Symphony No. 3 in E Flat Major (the Eroica), judiciously opening the program with this work in deference to the composer himself who, because of its extraordinary length, believed that an audience would feel too tired listening if other selections had been played before it.

Indeed, the Eroica takes considerable daring to interpret; it surpasses Beethoven’s previous symphonies not only in length but also in magnitude. In this regard, Bernard Shaw remarked that the first movement (allegro con brio) "should be played by giants led by a demi-god". The baton-wielder, at the very least, should have a thorough grasp and understanding of the awesome score, its large dimensions being meant to produce a mighty splendor. The second movement (adagio assai) is a funeral march, deeply moving in its sonerously grave solemn mood. What other dirge, pray, can match it? The third (allegro vivace), with its exultant joy, is made more so by the thunderous percussions. Although the fourth (allegro molte-poco andante-presto) is less tightly structured than the preceding three, it nevertheless exudes a bounding spirit and vibrancy.

How did Quirit fare in Eroica with the 68-member ensemble – a relatively much smaller one than what the work demands? He kept a tight rein over the orchestra which conveyed remarkable tonal contrasts, from long, filigree pianissimo lines to rousing tuttis, and graduated dynamics in-between.

The over-all effect left the impression of Quirit’s authority and command despite a rather self-conscious, showy grandstanding podium style which, on occasions, tended to distreat the audience, as did the inappropriate applause between movements which disrupted continuity.

To be sure, Quirit does have the solid musical background, training and continuing experience gained here and in Australia which doubtless qualify him for his tremendous responsibilities as the man at the helm of the SMPO.

"Dazzling" might be an overused word, but it aptly describes the rendition of Grieg’s Concerto in A Minor by Albert Tiu who, onstage, was both an imposing presence and a brilliant pianist. Fully living up to expectations, Tiu demonstrated vast technical and artistic resources. A sweeping drive and vitality marked his massive chords; delicacy, his nimble runs.

His cadenza (first movement) was stunning, made so by a dynamic and powerful yet remarkably controlled execution that allowed for exquisite, sensitive nuances. Tiu’s riveting drive was combined with clarity of tone and an eloquent articulation that led to widely diverse tonal hues.

The encores were Rachmaninov’s quaintly charming Polka and Grieg’s Nocturne which put a serenely lyrical finish to Tit’s compelling performance.

Quirit was splendid in the finale, Rimsky-Korsakov’s Capriccio Espagnole. Why are some of the best "Spanish" pieces written by non-Spanish composers? Korsakov’s Capriccio is as Espagnole as any fiery music written by a full-blooded Spanish composer. Perhaps because the spirited Tartars and the equally spirited Moors are kindred spirits.

All the energy and vitality of the SMPO were released in Capriccio with most exhilarating effect. Another stirring piece, Khatchaturian’s Spartacus provided the encore; therein, Quirit sustained its rhythmic impact and momentum with panache. Bravo!

Calling Balletomanes

The Philippine Ballet Theater, uniquely hewing to its classic tradition, will stage Romeo and Juliet on Friday, July 4 (gala) and Saturday, July 5 (matinee) at the CCP auditorium. Kathy Lee Roslovtsev — she’s improved to her Russian mentor – will portray Juliet; Rom Janinerio, Romeo. I have seen Kathy dance in earlier roles. She is marvelous.