Dynamism on the podium / Spirited band concert

The Philippine Philharmonic Orchestra’s opening concert last Friday for its 22nd season was a glorious combination of old and new, of contemporary and traditional classic (romantic). Rendered were Alfredo Buenaventura’s Bathaluman Overture, Kenneth Leighton’s Symphony No. 3 Laudes musicae with lyrics by Sir Thomas Browne, poets Elizabeth Barrett Browning and Shelley, and as finale, Brahms’ Symphony No. 1 in C Minor.

For audience enlightenment, Conductor-Music Director Eugene Castillo revived Buenaventura’s masterpiece which depicts both the deity Bathala ("strange and exotic") and the goddess Paraluman ("entirely human in her feelings"), the vitality and energy of the former shown through dramatic passages, the gentle qualities of the latter through lyrical. In the process, Buenaventura demonstrates skill in orchestration, for instance, in the use of horns, violins and trumpet in the opening Allegro.

Castillo handled the sweeping phrases, the abrupt accentuations and contrapuntal dissonances vigorously and incisively, his keen perception drawing a clear-cut delineation of the contrasting elements between deity and goddess. For the impressively original, ingenious and imaginative composition, Buenaventura took a well-deserved bow.

Leighton’s Symphony had for soloist American tenor William George. He enunciated the beautiful text with utmost clarity and expressivity, thus enhancing the music. His timber seemed to classify him as a lyric tenor: although not too powerful, the voice was sweet and melli-fluous, and had immense sustaining power in the long, flowing lines which sounded lyrical to the modern listener but atonal to the conventional. Under Castillo’s baton, the orchestra eloquently conveyed both the devotional and descriptive character of the music and the text.

There are contradicting opinions of Brahms’ Symphony. A critic thinks it "predominantly dour, and except for the introduction to the first movement and the finale, could be interpreted as the last composition of an embittered old man". The carping critic adds that the finale is in part lifted from the chorale finale to Beethoven’s Ninth Symphony.

By contrast, the PPO program notes assert that Brahms was "at his most ambitious and was able to surmount his own awe in the face of history, and to fashion works of timeless breadth and power." What ensued from Castillo’s rendition led one to discern the Symphony’s magisterial rather than "dour" quality. With zestful thrusts of his baton, Castillo reflected the power, beauty and magnificence of the work, sensitively interpreting the exquisitely melodious opening of the fourth movement which led to heavy textures, his intense, febrile attacks building up to a veritable maelstrom in the finale.

In sum, the tireless, dauntless, innovative Castillo presented a dynamic program of new and old music dynamically interpreted. The thunderous applause led to a standing ovation.

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"Serenata", the UST Band Festival, featured about 15 leading bands (at the Philamlife auditorium) from the UP, the UST, the Army, the Navy, the Air Force, the International School, the City of Manila, Adamson U., Feati U., Muntinlupa, San Juan, Cardona, Sta. Maria, Sta. Cecilia, and the Philippine Youth Symphony Band.

The invitation of UST Dean Raul Sunico pointed out that the Festival "will feature mostly music for the concert hall and formal occasions meant to highlight each band’s expertise and ability, as well as more popular and Filipino melodies from traditional and modern repertories. This event aims to transcend the prevailing preconception of the bands as mere marching and town fiesta fixtures, and instead highlight each group as a symphonic ensemble of high musical caliber.

"Considering the interest generated by our bands in competitions, the festival is also a tribute to their vast potential as well as an added opportunity to display their prowess."

I chose to attend the concert of the Manila City Band (Mayor Lito Atienza’s own), the UST Wind Orchestra, and Taiwan’s Chiayi Wind Orchestra.

The 72-member Manila City Band sounded brassy, especially with its four tubas. Under the direction of Daniel P. Quianzon, the band conveyed considerable zest and spirit in popular and familiar numbers. Being partial to Spanish music I enjoyed "South of the Rio" best, it being a medley of Spanish tunes which the very disciplined band rendered with infectious gusto to the immense delight of the full house.

The huge UST Wind Orchestra filled the entire stage with its 89 members and a double bass player. It sounded like a symphony orchestra minus the strings, and the remarkable Conductor Herminigildo G. Ranera drew tremendously powerful, massive and cohesive sounds that reached the rafters.

Except for Macarena, the program was new: Fanfare for a New Era by James Curnow, Elsa’s Procession to the Cathedral by Wagner, and the vastly daunting Symphonic Movements by Vaclav Nelhybel. Here, Rañera tightly and boldly held the reins in complex, labyrinthine passages for soloists or for sections. The players met the challenge with aplomb and fluency under Rañera’s brilliant baton-wielding. The roars of approval for each piece proved never was there a more appreciative audience!

Taiwan’s excellent Chiayi Wind Orchestra, with only 26 members, was comparatively small but conductor Ying-Am Tseng made it seem double its size. Its timber was between that of the Manila City Band and the UST Wind Orchestra.

Charming Chinese traditional music, mostly descriptive, was introduced e.g. the Sword Dance, Herdsman Song and Fishing Boat – Singing in the Evening, the latter two featuring a dazzling virtuoso flutist. Music from the movie Crouching Tiger, Hidden Dragon demonstrated the breath-taking prowess of the percussion section which was complemented by rapid hand-clapping from the rest.

"Dark Twilight" by an unnamed Filipino composer, a medley of Chinese melodies and the rousing Sousa March Carnival left the audience noisily clamoring for more. The band generously responded with an encore.