Young French musicians Of formidable talent / Standing invitations

Never have a group of young musicians demonstrated such formidable talent as those who performed at the jam-packed Ayala Museum the other evening. Led by the violin virtuoso Nemanja Radulovic, who had played here in last year’s "French Spring", the string instrumentalists were tremendously impressive, each showing solid training and remarkable gifts.

The female string quartet, made up of violinists Ayuko Tanaka and Bleuenn Le Maitre, violinist Cecilia Grassi and cellist Ingrid Schoenlaub opened the chamber concert with Debussy’s String Quartet in G Minor, playing it smoothly and flawlessly, with the keenest musicianship, and an ensemble work brought to perfection. The softest pianissimos became intensely fervid; each movement throbbed with life.

The challenging piece was infused, as Debussy would have presumably desired, with widely ranging moods, sensations, atmosphere.

In Franck’s Sonata for Cello and Piano, pianist Juliana Steinbach was as inspired and inspiring as cellist Guillaume Martigne, she conveyed rich tonal colors, nuances and filigree pianissimos. She matched the cellist’s flowing cadences with her own pianism, meeting fire with fire in the lively, spirited interaction.

Debussy was again interpreted this time by violinist Radulovic and pianist Steinbach. Radulovic might have conjured the image of a youthful Paganini with his tall, lanky frame, his thick curly mane that kept covering his eyes as he tossed his head with rhythmic vigor, and swayed from side to side.

His forceful thrusts, rapid passagework and pyrotechnics dazzled. He showed consistent sensitivity as did the pianist, and together, their fireworks wove a magical spell.

Climaxing the program was Chausson’s long, extended Concerto for Piano, Violin and String Quartet in D Major. The interplay between solo violinist Radulovic and the quartet, between pianist Nicolas Stavy and solo violinist, and between quartet and pianist was stunning, the pianist proving equal to the string quartet. Often, Radulovic’s full, firm, vibrant tones soared above those of the rest! As violinist, pianist and string quartet played together, the burnished tones, shimmering vibrancy and combined volume gave an awesome effect. The electrifying performance drew a roar of approval from the audience which brought back the players onstage for several curtain calls.

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The concert that followed at the F. Santiago Hall produced an even greater impact, with the piano and strings playing alongside the winds – clarinet, flute, oboe and bassoon – the musicians showing compelling talent individually and collectively while demonstrating the distinctive tonal color of each of their respective instruments.

Debussy’s L’apres-midi d’un faune (The Afternoon of a Faun) were impressions of a faun rather than a direct description of one, and impressions of a rustic, idyllic setting rather than a specific description of it. The composer’s impressionism was eloquently delineated by the string quartet and the winds, and their complete "togetherness" create an exquisitely vague, hazy, shadowy ambiance. It was pure poetry.

In Poulenc’s Sonata for Oboe and Piano, oboeist Sebastien Giot approached the piece with ardor in the lively passages, and poetic expressiveness in the lyrical phrases, his tones always firm, secure and fluid. Pianist Stavy was the excellent assisting artist.

Prokofiev’s Overture on Jewish Themes evoked a brisk martial air interjected with melodic lines as succinctly rendered by Jerome Comte’s brisk, sparkling clarinet which was complemented by the flowing sounds from pianist Steinbach and the string quartet.

In the Trio for Piano, Violin and Cello by Shostakovich, as interpreted by the amazing Radulovic, pianist Martigne and pianist Stavy, the first movement had unaccompanied harmonics in the cello followed by the muted violin. At times, the performance became a three-cornered contest among piano, violin and cello, the latter two producing unusual, grating sounds through the most uncommon manipulation of the strings.

The largo had a hint of lyricism sustained by the piano; the allegretto perked up the work that led to an excitingly agitated conclusion.

Caplet’s Wind and Piano Quintet had flute (Sarah Louvion), oboe, bassoon and clarinet impeccably interacting, and it was fascinating to distinguish the varying tonalities of the winds, one from the other.

Saint-Saens’ charmingly descriptive Le Carnaval des animaux (Carnival of the Animals) brought together all 12 instrumentalists – augmented by two pianists – in a delightfully amusing depiction of the animal kingdom. Occasionally, some animals were delineated by solo instruments; e.g., the familiar Swan (translated into ballet as The Dying Swan) was interpreted by cellist Martigne; the lumbering elephant bassoonist Gaelle Habert. The musicians were obviously enjoying themselves as much as the audience was and the magnificently cohesive and thunderous tutti passages led to a standing ovation.

Immensely pleased with the reception were Counsellor for Cultural Affairs Francois Blamont and press attaché Benedicte Meyssan. As usual, audio-visual attaché Martin Macalintal served as emcee.

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I have received invitations to the cultural presentation "Katarungan at Kultura" to mark the 104th anniversary of the Philippine Supreme Court, and to the "Salinlahi" from Secretary of Tourism Joseph Ace H. Durano in celebration of the 107th anniversary of Philippine independence.

Both invitations were sent to The STAR office and not to my Makati residence, and having arrived later than expected, I have regretfully accepted other invitations received earlier.

The "Kalayaan" presentation features Lea Salonga, soprano Rachelle Gerodias, the Philippine Philharmonic Orchestra, Ballet Philippines, Tanghalang Pilipino, the Madrigal Singers, the Philippine Children’s Choir of Mandaluyong, Diliman Philippine Music Ensemble, Barangay Folk Dance Troupe, Kaloob: Philippine Music and Dance Ministry, A Performing Arts Kaisahan ng Lahi.

Josefino "Chino" Toledo is music director and conductor.