Sunico continues to baffle music-lovers. He accomplishes his multifarious tasks and responsibilities – as dean of the UST Conservatory whose activities have doubled since he took over, as prolific composer-arranger and as author of music books – at no sacrifice to his unremitting solo or joint piano engagements.
The recent program "An Enchanted Evening with Raul Sunico" proved this: he was at his stunning best.
The four Chopin pieces were utterly poetic and lyrical, their tonal colors denoting languorous or intense moods. The Barcarolle in F Sharp opened the "floodgates of love"; the Nocturne in E Flat No. 2 conveyed yearning, searching, a reaching out for the unattainable; the Waltz in C Sharp Minor No. 2 was exquisitely soulful and meditative (only Chopin can give a waltz that kind of approach); the Polonaise in E Flat was a vigorous, lofty epic – a most daunting piece reserved only for the very dexterous and daring. Sunico’s power was tremendous but his massive densities would have been even more impressive with a resonant, receptive piano.
Remembering the comment "Chopin makes poetry with the piano, Debussy paints with it," I thought the latter’s Le Plus Que Lente and L’isle Joyeuse were "painted" with refined, subtle nuances, turning Debussy into a modern Chopin.
Charm and elegance characterized Granados’ Allegro de Concierto which has less originality and dramatic flair than De Falla’s compositions. But Sunico rendered the work appealing, colorful and vibrant in true, distinctive Spanish fashion, evoking love and passion.
Sonatine is one of Ravel’s best works for the piano, and Sunico demonstrated sensitivity to what has been described as "The passionate surge of the first movement (Moderne), the tender, nostalgic grace of the second (Minuet), and the nervous vivacity of the finale (Anime) which bears the double imprint of youth and mastery." Further Sunico acutely observed the concise lyricism, the ingenious melodic style, emphasized rather than hindered by the structured austerity, giving it a classic character."
In playing Debussy and Ravel in one evening, Sunico portrayed some basic stylistic differences: whereas Debussy is sensuous, Ravel is precise, direct, intellectual. As one musicologist commented: "Where Debussy shimmers, Ravel glitters." (How ironic that Parisians earlier accused Ravel of plagiarizing Debussy!)
Sunico’s versatility showed in his clever arrangements of Velarde’s Buhat and Gallardo’s Saranggola ni Pepe.
Tremendous power and keen expressivity were fully demonstrated in the exciting grandeur of Liebestod (Tristan and Isolde) from Wagner’s opera as transcribed by Liszt. Sunico reflected the music of passion, of glowing love, of turbulent yearning ending tragically. The fiery emotions were sublimely conveyed by Sunico’s dexterity over the entire keyboard. The chromatic scale to denote great restlessness and anguish made for an arresting, absorbing, indeed, overpowering auditory experience.
Liszt’s stirring Hungarian Rhapsody No. 15, which is really Gypsy rather than Hungarian, was awesome as Sunico unleashed amazing power for the climactic ending.
The over-all program magnificently illustrated the pianist’s firm grasp of widely divergent music styles, including modern, syncopated rhythms and abrupt harmonies in Gershwin’s Three Preludes with its tango, Charleston and the blues – a far cry from Chopin’s romanticism and Debussy’s impressionism!
The prolonged, rapturous applause brought on Sunico’s witty, whimsical arrangement of "Happy Birthday" which he dedicated to Sr. Anunciata, dean of the College of Music.
What a spectacularly enchanting evening with Raul Sunico!
The Sonata in A Major (inadvertently printed as C Major) showed Mozart’s total mastery of the technical devices of the period, and Makk exhibited these to the utmost, infusing the marvelous theme and variations with tonal colors deeper than are found in other Mozart sonatas. Makk extracted tantalizing hues unsuspected from both the piano – a brand new Steinway – and the piece itself. The tempo of the Turkish March (Alla Turca-Alegegretto) was accelerated to such speed, it nearly took one’s breath away.
Augusto Espino’s Suite, based on several Filipino songs, were interpreted with overwhelming bravura and dynamism, each whipping up a virtual thunderstorm. Liszt’s Mephisto Waltz, typical of his sound and fury, had Makk’s outstanding strength and brio producing an electrifying effect.
More FEU events later.