Music, homilies honor Assumption foundress / Tiking bids goodbye

It seemed like Old Home Week – a high school and college reunion of alumnae who filled the CCP auditorium to the rafters to honor Mère Marie Eugénie, French foundress of the Religious of the Assumption. No less than President Gloria Macapagal-Arroyo, the country’s top Assumption alumna, was present to be counted among Mother Eugénie’s avid followers.

The evening’s musical portion had Nena R. Villanueva, our first piano prodigy and, by extension, the first Cecile Licad, playing Chopin’s Concerto No. 2 in F Minor, assisted by the UST Symphony Orchestra under the baton of Herminigildo Ranera.

Although Chopin revolutionized piano music with his unique, original, distinctive compositions, the concerto was never his forté. Take it from a keenly perceptive musicologist who observed: "No one has ever been satisfied with Chopin’s two concertos (the other being the E Minor). At their best, they resemble his solo pieces when, in short, he forgets the orchestra (which he often does), and writes a sprightly waltz or rondo. Separate movements of these concertos could easily be made into solo pieces without loss of effectiveness – and possibly gain in the allegro vivace of the F Minor (the evening’s piece) or the rondo of the E Minor. No one has impugned their charm, insinuating movements or persuasive rhythms. They are not great music, but they are very pleasant to listen to."

Indeed, in this regard, Villanueva’s impeccable, flawless technique, incredibly fluid and nimble finger work and exquisite phrasing thoroughly charmed the audience. But with the absence of massive chords and bravura passages demanding tremendous élan and brio, no listener sat up with the spine tingling or pulse beating faster.

In Mozart’s Sonata in D Major for Two Pianos, Villanueva and Sr. Cecilia Hervas, R.A., considerably impressed the audience with their marvelous "togetherness", their close ensemble work that left almost nothing to be desired. They conveyed Mozart’s lively, light-hearted spirit, with Hervas’s fluency and gentle, refined touch complemented by Villanueva’s force, strength and sparkle. Owing to the nature of the sonata, no "fireworks" were ignited. But always, the duo’s fluidity and fluency of interpretation earned admiration from the audience. Sr. Hervas has finally revealed her hidden talent.

Under Ranera, the UST Symphony Orchestra showed marked promise, depicting youthful vigor in Rossini’s Barber of Seville Overture.

The second part of the tribute to Mère Marie Eugénie had the brilliant and beautiful PETA actress Cecile Bulaong and the highly respected theater director-professor Ma. Paz "Chinggay" Lagdameo taking turns reading from the life and spiritual reflections of the venerable foundress. These were interspersed by Hervas’s rendering excerpts from works by Schumann, Liszt and Chopin – some of the most beautifully lyrical in piano literature. As fillip, the AC Chorale featuring a talented soloist sang When You Believe in Miracles to orchestral accompaniment.

The essence of Mère Marie Eugénie’s reflections may be drawn from the following quotes in the printed program, each prefaced by a sponsor’s name:

Mr. and Mrs. Ernesto Rufino: "When characters are weak, the reason is that truth is diluted. Strong principles make strong characters."

Mr. and Mr. Xavier Loinaz: "Leave to each being its own free expression of nature. Destroy only what is an obstacle to grace, but let grace bloom freely and give to each creature its particular form according to the design of God."

Luz Morales: "God is leading us, and a more loving and wise hand could not guide our destinies."

The message of Provincial Superior Sr. Marie Emmanuel Melocoton, R.A., bears the foundress’ fundamental principle: " . . . to make Jesus Christ known as Liberator and King of the world . . . is the beginning and end of Assumption education."

My sincere thanks to outstanding Assumption alumnae Nini Quezon Avanceña and Josefina ("Nening") Pedrosa Manahan for having invited me to the concert.

* * *

His countless friends, particularly the music lovers among them, are distressed over the recent passing of Vicente "Tiking" Lopez, Jr. He was one of the country’s finest cellists. I still remember the robust, luminous tones he produced at a concert during which the late Conching Rosal was the featured singer. As Tiking played, the impish Rosal stood in front of him onstage and tried her best to distract him in the spirit of levity. But Tiking, unmindful of the soprano’s "flirtations", resolutely carried on without missing a note.

Tiking never lost his passion for music. Last February, my sister Helen and I attended a mini-recital at the Elena Apartments featuring soprano Lilac Caña. Before then, our host showed us a video of a string quartet, with him as cellist. After listening, I quickly urged, indeed, pleaded with Tiking to go back to his cello. Sure enough, according to his grandson Martin (the philanthropic music entrepreneur), Tiking started playing on his beloved instrument.

Just two weeks ago, I missed another mini-recital he presented at which, as a typical gesture of noblesse oblige, he gifted a talented student with a violin. I missed my last chance at enjoying the company of a charming patron of the arts, a wonderful cellist and a warm, compassionate friend of the family.