Bach concertos, rare songs
Brahms once declared that the greatest events of his lifetime were the founding of the German Empire and the publication of Bach’s complete works. Indeed, what distinguished Johann Sebastian Bach from the seven generations of Bach was that “he happened to be the greatest musical genius the world has ever known”. After years of neglect following his death, Bach is being deservedly honored through the continuing performance of his works.
Six notable pianists recently paid Bach tribute at the F. Santiago Hall by each playing a concerto of his. By opening “Back to Bach”, Peter Porticos had the challenging role of warming up the audience to the rest of the concertos. He thoroughly succeeded in doing so with his clear articulation and brisk interpretation of the Concerto in G Minor.
The sparkling first movement (Allegro) of the Concerto in A Major was played in a highly spirited manner by Najib Ismail who enhanced the rest of the work with his marvelous touch. The Concerto in D Minor that ensued was longer and more technically difficult than the previous two concertos, Allan dela Cruz’s interpretation of it was occasionally heavy-handed. The second movement, Adagio, whose beautiful lyricism Dela Cruz remarkably conveyed, led one to assume Bach a romantic composer. The pianist’s expressiveness characterized the almost virtuosic selection.
The second movement, Siciliano, of the Concerto in E Major, seemed almost like a cadenza, the strings accompanying Naomi Paz Sison’s rather rapid playing being hardly audible.
Michael Lopez’s vigorous Allegro opening led to the exquisitely melodious second movement, Largo, which was almost as lyrical as the Adagio of the D Minor concerto. Lopez, who looked the youngest of the pianists, played the shortest concerto — in F Minor — whose form and substance he admirably etched.
Mary Ann Espina knew the score best, hardly looking at it as she delineated, with utmost fluency, the Concerto in D Major’s rhythmic diversities, contrapuntal devices as also its spirit and essence. Her performance was an arresting climax.
Eminent Vienna-based pianist-conductor Aries Caces wielded the baton with grace, authority and style. Taking turns as concert master were Filharmonika’s Rachelle Alcances and MSO’s Gina Medina. If sounds emanating from the pianists and the string chamber ensemble were sometimes not quite balanced, rapport between them was total.
Bach being one of music’s immortals, it seemed fitting to dedicate an entire evening to his compositions which, incidentally would have sounded more authentic on the harpsichord. But as rendered, they were all recognizably Bach in style, yet vastly different from one another. In sum, “Back to Bach” was highly gratifying.
The Intramuros Administration under Ana Marie “Bambie” Harper presented rare 19th century Philippine classics and patriotic songs at Casa Blanca to honor the Filipinos who valiantly fought colonial oppression. Excellent artists were featured: pianist Nena R. Villanueva, violinist Alfonso “Coke” Bolipata, soprano Camille Lopez and tenor Jonathan Badon.
Director Felipe de Leon Jr. who accompanied some of the songs on the piano, the other being Jourdann Petalver, explained that the brisk, martial Alerto Katipunan, sung cohesively by the Lyceum Chorale, was the anthem Bonifacio had asked to be composed; however, it was replaced by the present anthem which Julian Felipe composed upon Aguinaldo’s request.
Jaime Laya gamely rendered Jocelyn Baliuag whose title camouflaged its intent as a revolutionary song. The Lyceum Chorale sang the rarely heard 19th century classic Marangal na Dalit. Tenor Badon’s emoting enlivened his powerful, riveting singing of Mulang Mauso ang Damit na Kundiman.
Villanueva was her brilliant self in the also seldom-heard Philippine Rhapsodie by A. Doronila. How movingly Bolipata interpreted Molina’s familiar Hating Gabi, Abelardo’s Cavatina and
A robust stirring rendition of De
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