The true, the beautiful: Ching’s Symphony No. 2 / Cecile’s new triumph

A persistent viral flu drove me to slacken my pace, thus causing me to miss significant performing arts presentations. One of these was the PPO concert which had Ruggero Barbieri conducting Jeffrey Ching’s "Imp of the Perverse" (Symphony No. 2 in one movement).

Only the erudite Ching, with his incredibly broad literary and artistic background, imagination and orginality, would have thought of taking the title of his work from an Edgar Allan Poe story with these lines as epigraph to the score:

"I am not more certain that I breathe, than that the assurance of the wrong or error of any action is often the one unconquerable force which impels us and alone impels us to its prosecution . . . In the case of that something which I term perverseness, the desire to be well is not only not aroused, but a strongly antagonistical sentiment exists."

Ching’s explanation of his work should intrigue both musicians and psychologists: "As with Rodin’s sculptures, the title was chosen after the piece was finished and implies no literary or programmatic aspiration for the music. In the symphony, I study the possibilities of a consciously anti-Classical approach, fragmented, and avoiding fluid textures in favor of abrupt shifts between extreme moods. There are also allegory passages (where fragments are freely played by individual instrumentalists without measure or fixed beat), but unity is sought through the pre-Classical passacaglia technique (variations built around fixed melodic units). This leads to many false climaxes before the final one, a vast crescendo over a steady, pounding beat.

"The Poe story parallels the macabre elements in the symphony. A man commits the perfect murder, but after a long struggle with his soul finally gives himself up, not because of a guilty conscience, but because he cannot resist the thrill of self-destruction, thus falling prey to his ‘imp of the perverse’.

"It seemed to me that this insane demonstration of existential freedom – of superhuman freedom not bound even by rational self-interest – was a distinctly modern psychological discovery by Poe. With many points of contact with my transition from the comforts of Classical sonata form to the hazards of well, of whatever ‘free form’ this symphony has devised for itself."

A revised version of Ching’s Second Symphony was premiered by the Jeunesses Musicales World Orchestra conducted by Woldemar Nelsson on July 19, 1995.

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The indefatigable Cecile Guidote (Mrs. Heherson) Alvarez, recently given heady tribute at the James Reuter Theater in St. Paul’s College for her pioneering achievements in theater, has defied nature (she was diagnosed as a cancer patient) and garnered new honors. These for her Earthsavers Dreams Ensemble whose performers are handicapped.

The Ensemble finally found official acclaim on a global stage on the occasion of the UNESCO General Conference in Paris witnessed by PGMA. It reaped honors for the country when its members were designated UNESCO Artists for Peace, with Cecile giving the acceptance speech on behalf of all the disabled and disadvantaged youth. The blind child singer and an urban poor dancer representing our marginalized youth performed at a dinner reception hosted by Ambassador Hector Villarroel following the awarding ceremonies.

Cecile’s ensemble has reaped glowing praises abroad repeatedly, and Cecile justifiably feels that "the moment of ecstasy" in Paris came after "agonizing efforts to prove the validity of a policy providing cultural services for the poor".

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I likewise missed the latest concert of the Clarion Chamber Ensemble "The Bold and the Sublime". Under the impetus and inspiration of David Johnson, himself a gifted flutist, the ensemble has consistently given such fine, polished performances that it has put chamber music on the musical map of Metro Manila, in a manner of speaking.

As part of the MCO’s "Festival of the Arts", the concert featured works by F. Devienne, J. Kreutzer and Brahms. The Clarion Chamber Ensemble is "the joy, focus and passion of music making".

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It may seem odd or strange but the audience had a wonderful time watching the aspiring ballerinas and danseurs of Candy Africa Piedad – she is herself a marvelous ballet dancer – performing at a recital.

For one thing, the dancers exhibited meticulously correct technique; for another, they unfailingly conveyed bubbly spirit, energy and enthusiasm. (Nothing can substitute for youth!)

Much applauded were excerpts from Swan Lake, Sleeping Beauty and brief American choreographic works restaged by Candy after American Ballet Theater. Some dancers tried their hand at choreography: Katherine Sanchez, Leslie Ann Palomera, Katrina and Kristina Dermo. The White Swan was Paola Vega; The Black Swan Pas de deux was interpreted by Florence Lapat and Jerome Espejo. Florence is only 16!

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The third book of eminent economist-historian Benito J. Legarda, Jr., Occupation 42, was recently launched under the auspices of the DLSU Office of the Presidential Adviser for Academics and Research in cooperation with DLSU Press.

I quote: "The book records the first year of the Pacific phase of WW II as it affected Filipino civilian life, specifically from Dec. 8, 1941, when the war broke out, until the crucial days in 1942 when local government officials finally bowed to the Japanese. The narrative touches on the declaration of Manila as an open city, the Bataan and Corregidor fighting fronts, the infamous Bataan death camp. A short second section covers events related to the ensuing campaign for liberation, including American strategic military clashes and maneuvers in the Pacific, the Cabanatuan raid, and the Manileños’ ordeal in February 1945."