Coyuito triumphs again / Otoniel Gonzaga to sing Christmas carols as classics

Cristine Coyuito has long emerged as one of the country’s leading pianists. The compositions she interpreted in her Sunday recital at the CCP Little Theater were for the seasoned, mature performer of solid training, unerring musicality, emotional responsiveness and technical mastery.

Beethoven’s Alla Ingharese quasi un Capriccio (erroneously called "The Rage over the Lost Penny" by others) was, as the original title suggested, capricious, playful and vivacious. Coyuito reflected and bodily conveyed her own enjoyment while she was rendering the piece – as in fact she demonstrated in the rest of the works.

Schumann composed Fantasiestucke during his stormy courtship of Clara Wiecke, and this might explain the gamut of moods and emotions which Coyuito conveyed through tonal colors of intense beauty and subtle nuances both in light or dark passages. One felt a sweeping passion in In der Nacht (In the Night), humor in Grillen (Whims), expansiveness in Aufschwung (Soaring). Through the pianist, the composer likewise addressed the listener most intimately and persuasively through the rest of the series.

The "wildness", the blazing quality characteristic of Chabrier’s clog dance Bouree fantasque was totally captured by Coyuito, yet what one unfailingly noted were the refinement and polish of her rendition even in the most vigorous and clangorous portions of the whimsical, intricate work.

Incidentally, the listener could not help noticing, furthermore, the pianist’s graceful playing. Devoid of mannerisms, it was always a pleasure to watch whether the music was slow and lyrical or fiery and dramatic.

Ravel is known and admired for his clarity, impeccable taste, classic symmetry and economy of means. These qualities were obvious in Valses Nobles et Sentimentales which, like Schumann’s Fantasiestucke, evoked varied moods, emotions and images though it did so in an entirely different style. The pieces were not danceable waltzes though they basically kept to the waltz tempo (one, two, three) yet had diversified rhythmic patterns (strange as these might seem). Brilliant and imaginative in conception, they had an element of grace, of elegance and charm which Coyuito consistently expressed.

The opening movement, Allegro maestoso, of Chopin’s Sonata No. 3 in B Minor opened with an exquisite melodic line which was later interlaced with other melodic lines which were as beautiful as any to be found in other Chopin sonatas. How the pianist made the larghettos sing! The runs so evenly executed in the finale, presto non tanto, were exciting in their lightning swiftness and technical mastery.

It has been observed that Chopin "arrived at a personal idiom that is absolutely unmistakable – an original style so pervasive that a fragmentary bar or two will serve to identify a composition as his". With utterly delicate shadings, shimmering tones and sonorities, Coyuito made Chopin’s idiom her very own. She was paying tribute to his 157th death anniversary come Oct. 17. The tremendous applause and standing ovation led to the andante movement of Mozart’s Sonata K 545 and H. Villa-Lobos’ O Polichinel (Punch) from Prole do Bebe No. 1, the first encore a gentle contrast to Chopin’s Finale, the latter an intricate, mighty, vigorous piece of rhythmic staccatos.

Coyuito travelled from peak to peak as she essayed her formidable program. As previously observed, she has long emerged as one of our top pianists, and her place will be secure for many years to come. Coyuito is indeed the pianist’s pianist, and this qualifying comment was seemingly borne out by the presence of pianists at the recital, among them Prof. Regalado Jose, Greg Zuniega, Lourdes de Leon, Virginia Villanueva, composer Ramon Santos, as well as scores of piano teachers and their students.

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Christmas carols are being aired over radio and TV now that the "ber" months have set in. Thus, it is not too early to announced that "Adeste Fideles", a gala Christmas concert, will be presented on Dec. 14 at the Santuario de San Antonio.

The world-acclaimed tenor Otoniel Gonzaga, now based in the US and Germany, will lead top singers – tenors Frankie Aseniero, the newly-discovered George Yang, sopranos Rachelle Gerodias, Camille Lopez Molina and Karla Gutierrez – on the occasion.

The program will consist of Oh, Holy Night, Adeste Fideles, Joy to the World, Pan is Angelicus, and other carols in unique and beautiful arrangements that will transform them from pop to classic. Handel’s Hallelujah Chorus will be rendered by the Coro de San Antonio, Coro Tomasino, the Chiang Kai Shek College Youth Choir and the Philippine Children’s Choir from Mandaluyong. Rodel Colmenar will conduct the Manila Philharmonic Orchestra.

The concert will be under the auspices of the Management Association of the Philippines (MAP) and the Santuario de San Antonio Parish (SSAP). Proceeds will go to their outreach programs.

The concert was conceptualized by music aficionado-business executive Eddie Yap who proposed it to the MAP’s first woman president Evelyn Singson and to parish priest Fr. Tony Rosales who heartily approved of the venture. Forthwith, both the MAP and SSAP appointed Eddie to take charge of the over-all concert – to his extreme gratification because he had been envisioning the concert since the Forbes Park Association was established, so much so that the concert became an obsession with him!

"Adeste Fideles" will be the first-ever Christmas concert to be held at Santuario de San Antonio.