Through a consistent coverage of PPO performances for the last 30 years, I might claim to have followed, in a real sense, the development of the ensemble way before it acquired its present name and stature. For this reason, I could well empathize with its triumphs and travails under various conductors – the most important of them having been Oscar C. Yatco, now the PPO’s conductor laureate – as pointed out by CCP President Nestor C. Jardin in his prefatory remarks. The most relevant of these, of course, was the disclosure that substantial financing is sorely needed for a new set of instruments.
As for the evening’s concert, it was with considerable inspiration and impetus that Barbieri conducted the descriptive tone poem The Isle of the Dead, the likewise programmatic The Bells, the exquisitely lyrical song Vocalise which Rachmaninov himself later transcribed for the orchestra, with the Piano Concerto No. 3 climaxing the heavy and gratifyingly solid musical pre-sentation.
In a wholly characteristic gesture of noblesse oblige, the eminent international concertist Raul Sunico substituted for the 25-year old Russian Sergey Koudriakov who fell ill at the last minute. The audience inevitably realized how gallant and generous was Sunico’s gesture last Friday: besides carrying on as UST dean of music, he was himself preparing for the unprecedented feat of playing no less than four Rachmaninov concertos the following Sunday!
Originally inspired by a painting, The Isle of the Dead evoked the image of tall cypresses and cliffs towering over shimmering waters through long sustained pianissimo lines, these serving as setting for the lugubrious entrance of a boatman, a flag-draped coffin and a lone mourner. The cellos eloquently introduced the funeral theme which was taken up by the other instruments, then by the solo violin. The subdued character of the music was rigorously maintained, with the cellos suggesting the Dies Irae, the while heightening and enhancing the ensuing thunderous climax before the ominously quiet air was resumed to express the finality of death and dissolution.
Vocalise, interpreted by a predominance of strings (and a minimum of winds) was the only work characterized by pure melody from start to finish – a revelation of Rachmaninov’s marvelous lyrical vein. What a welcome respite it was from the robust vigor and vibrancy of the other compositions!
Described as a "choral symphony" rather than an oratorio, The Bells was inspired by a poem of Edgar Allan Poe in a Russian translation. Ever profound in his conceptions, Rachmaninov conjures sleigh bells (first movement), wedding bells (second movement), a fire alarm (third movement) which ends in a death knell. Each movement, as musicologists explain, reflects a phase in the journey through life – joy, anticipation of happiness, revolt and rebellion, and finally death – these delineated by a dramatic interplay of orchestral sounds, accents and dynamics.
Tenor Nolyn Cabahug made the most impact on the listeners; soprano Rica Nepomuceno and baritone Lawrence Jaytana demonstrated solid vocal equipment as well as expressivity. Chorus Philippines and the Unida Ecumenical Chancel Choir, in joint performance, produced impressive vocal contrasts.
The PPO rose to the demands of the very Slavic Concerto No. 3 in D Minor, with Barbieri summoning the best efforts from strings, woodwinds, brasses and percussions in the Allegro ma non tanto, Intermezzo and Alla breve. Barbieri was thoroughly responsive to the challenging score. At no time were Sunico’s technical mastery, tonal intensity, power and sensitive artistry ever in doubt. Equally importantly, pianist and conductor were in singular rapport from the beginning through the dazzling, brilliant finish. (More on Sunico’s performance of the same Concerto with which he ended Sunday’s feat.) As for Barbieri and the PPO, the concert gave them justifiable cause for pride and a sense of achievement.
Heading the audience were Russian Ambassador and Mrs. Anatoly Nebogatov for the all-Rachmaninov Concert which the embassy jointly sponsored.