Mozart’s 250th birth anniversary was marked by the playing, with vigor and youthful enthusiasm, of the Il Re Pastore Overture. Earlier, the Adventist University of the Philippines (AUP) (mixed) Chorale stirringly rendered, a cappella, the national anthem and Our Father. In the printed program, the name of Ramon Lijauco Jr. immediately followed the title of the religious song, so I presumed (rightly, I hope) that he was both its composer and the choir master.
Interpretation was forthright or straightforward, rather wanting in nuances and a wider range of dynamics. Nevertheless, the neophyte choir showed considerable promise.
The orchestra, augmented by participants of the Development Summer Camp, with members including one from Nigeria, several from Korea – the concert master and a cellist among them – and guests like piccolo player Ray Sison, exhibited the properly brisk, robust and martial style for Col. Antonino Buenaventura’s march Awit ng mga Kabataan and compositions Philippines Triumphant (with its Bahay Kubo passages recurring), and Ode to the Republic. Fe B. Mangahas, speaking on the composer’s legacy, mentioned his early exposure and conversance with band music, Antonino’s father having been a band master/conductor. Inevitably, Col. Buenaventura’s compositions, those rendered anyway, are greatly influenced by band music. The beautiful, charming exception was Pandango sa Ilaw which most of us had inadvertently assumed was a folk tune!
Before intermission, "National Treasures" were publicly recognized by Conductor Coo, among them Buenaventura’s wife, distinguished violinist Rizalina Exconde who was marking her 88th birthday.
During intermission, Mrs. Imelda R. Marcos, an avid music patron in her time, was called to the stage by Conductor Coo to deliver some remarks. She paid tribute to the Filipino’s inherent musicality, adding that in her campaigns in the barrios, she invariably discovered many musical talents in the remotest areas.
Piece de resistance was Chopin’s Concerto in F Minor, with eminent concert pianist Dr. Ingrid Santamaria as soloist. Academicians have never considered the concerto Chopin’s forte. His solo pieces are what vastly distinguish him, unravelling, as they do, the infinite possibilities of the piano as a musical instrument. Undeniably, however, his Concerto in F Minor, though limited in breadth, depth and scope is characteristically melodious, with its engaging embellishments and rhythmic vibrancy eloquently conveyed by the soloist.
Dressed in an elegant, shimmering terno, the beauteous Santamaria was – to use a cliché – cool, calm and collected – interpreting the piece with grace and refinement, imbuing it with subtle, delicate nuances, as also with power. The runs were executed with outstanding dexterity; they were even clear, fluid and fluent.
Under Coo’s baton, the ensemble gave lively, spirited support, with the woodwinds and brasses consistently dependable; the strings, exuberant. The beginners’ ensemble admirably grasped the general form and sentiment of the composition though it could in future acquire more tonal refinement and cohesion. The performance was highly auspicious, in any case, and we look forward to more of Coo’s vibrant podium work.
Thunderous applause and a standing ovation ensued for pianist and conductor. Bert Robledo served as humorous emcee. And a most persuasive one who endlessly reminded listeners that the concert was raising funds for the orchestra. This reviewer consequently responded to the appeal.
The concert was presented by the Italian Embassy, and as my sister Helen O. del Rosario and I were leaving, Ambassador Rubens Fedele told us that because he was a movie buff as a youngster the program proved nostalgic and enjoyable. That the initial film clip celebrated life and the last celebrated death was to him highly symbolic.
In the audience were First Secretary Martin Brook, Phil-Italian Association VP Tonet Lagdameo and Cecile B. Mitra.