Tchaikovsky redux!/ Historic marker unveiled

Returning to the excellence of the previous Philippine Philharmonic Orchestra concert at the CCP main auditorium, Maestro Eugene Castillo conducted John Biggs’ “States of Mind for String Orchestra”, Richard Strauss’ “Four Last Songs,” with Rachelle Gerodias as soloist, and Tchaikovsky’s “Symphony No. 5 in E Minor.”

Indeed, the more imminent the end of Maestro Castillo’s tenure with the PPO, the more impressive his baton-wielding becomes. Biggs’ highly descriptive composition had “Frenetic” differing widely from “Melancholic” and “Diabolic.” Each piece had a distinct mood and ambiance, differentiated one from the other by intensive expressivity and changes of tempo.

Unlike the striking contrasts in Biggs’ clever innovativeness, each Strauss song did not sound stylistically different from another although to be sure, his composition is extremely larger in orchestral dimension. Gerodias’ rich and masterfully controlled voice, rising above the ensemble, wafted through the hall gloriously.

The evening’s peak was doubtless Tchaikovsky’s Symphony, its Fáte Motif calling to mind Beethoven’s own in its dominant persistence. The Fifth has become the most frequently rendered of Tchaikovsky’s symphonies, and a musicologist describes it thus: “With some important modifications, it follows the pattern of the F minor Symphony, particularly in that a fate motive binds the movements together, though here Tchaikovsky uses the device with increased dramatic power.

“The first movement has an ambiguous stamp, blending gloom with a certain nervous gaiety, and using a somber darkling palette with burnished highlights and smoky depths. The second movement, to be played ‘with all freedom’ (con alcuna licenza), begins with a plaintive, yearning melody for solo horn that has made it a salon favorite (a song hit) in transcription. It works up gradually into an attack of public sobbing that would be embarrassing were if not so effective musically.

“The third movement is not the usual tricky scherzo at which Tchaikovsky so excelled. A waltz, it begins questioningly, tentatively, almost listlessly, but develops fleetness and excitement until the first mood returns, only to be cut off short by a hint of the fate motive.

“The fourth movement is a stumbling block to those who assert that Tchaikovsky always took refuge in despair, for this tremendous, varirhythmed essay in mighty orchestration is one of the great yes-sayings in all music. Its effect after three movements of predominant melancholy, is powerful beyond description.”

I chose to quote the foregoing because Maestro Castillo reflected with magnificent eloquence the qualities of the symphony as summarized, further he delineated its exquisite, recurring lyricism through tonal colors and cohesiveness  and created stirring, thunderous, overpowering climaxes by drawing from and shaping the orchestra’s potential reserves of vigor, vitality and robustness. The audience, thoroughly aware of the Maestro’s wondrous achievement, called him back repeatedly to the stage to take a bow.

St. Paul University Manila will have its historical marker, the Chapel of the Crucified Christ, unveiled and blessed on Nov. 23 at 3:30 p.m.

Designed by architect Andres Luna de San Pedro, and built under the tenure of Rev. Mother Saint Xavier Vermeersch, SPC, the chapel was inaugurated by Apostolic Nuncio Guglielmo Piani in 1927. It was occupied by the Japanese forces and razed during World War II, except its Crucifix at the façade.

The chapel was reconstructed according to the architect’s original design, and re-inaugurated by Archbishop Michael J. O’Doherty in 1948. The marker will be unveiled by NHI chairman Ambeth Ocampo. Sr. Zeta Caridad Rivero, provincial superior, will make the response. The St. Paul U. Chorale will sing.