A confluence of talents / Not-to-be-missed events

Having pianists Pia Margarita D. Balasico, Abelardo Galang II and Jose Artemio C. Panganiban III perform together in “3 Grands: A Piano Celebration” was a brilliant idea. Their concert at the CCP was a confluence of talents, buttressed by each pianist’s solid musical background. Each displayed considerable élan and brio through nimble fingers.

Mozart’s Sonata for Two Pianos in D Major had Galang on Piano I, Balasico on Piano II. (One inevitably noted her graceful manner of playing.) Mozart’s sonatas are generally lightweight; nevertheless, they exhibit the soundest craftsmanship, that is, a mastery of the technical resources of the time. The pianists, in felicitous “togetherness”, reflected the sparkle, the gladsome mood of the sonata’s outer allegros while underscoring the rather lambent air of the inner andante.

Poulenc belonged to “Le Six” (The French Six) and accordingly, as musicologists aver, his compositions are “witty, satiric, whimsical and occasionally impudent”, proving him a master in his own very distinctive, imaginative and clever fashion.

His Sonata for Two Pianos, with Galang on Piano I and Panganiban on Piano II, contained forceful passages of driving rhythm for each pianist. But on the whole, the composition was a powerful, compelling chordal dialogue which totally fascinated, excited and intrigued. Except for the initial section, Galang and Panganiban kept “pounding the chords together or alternately to the very end, while sending pulses beating through the unique auditory experience.

Mozart’s Concerto in F Major for Three Pianos and Orchestra, interpreted by Panganiban on Piano I, Balasico on Piano II, Galang on Piano III conveyed grace, charm and elegance as the three struck every note, chord, run, or arpeggio in perfect unison. Again, the Mozartian spirit, playful and merry, pervaded. Josefino “Chino” Toledo, conducting the string section of the Philippine Philharmonic Orchestra with firm command enriched the interpretation as he drew cohesive, robust, expressive sounds from the ensemble.

The final portion — all Philippine — contributed its own particular and very typical color and ambiance. Augusto Espiritu’s Kulay Tugtugin (Suite for Three Pianos) was composed expressly for the pianists, and the ingenious, arresting note clusters built around native folk tunes, gave each performer an opportunity to shine.

What arrested attention, heightened interest and earned admiration was the lullaby Ili-Ili Tulog Anay heard in varying degrees of pianissimo — an exquisite pianissimo sustained throughout. Control of dynamics was superb.

Each foregoing number garnered hearty applause, but audience approbation and lusty cheers exploded after the Philippine themes, leading Panganiban, Galang and Balasico to play the lullaby once more.

On Jan. 16 at the CCP main theater, Ruggiero Barbieri will conduct works of composers from European Union countries: Sibelius’ Finlandia, Britten’s “Four Sea Interludes” from Peter Grimes, Janacek’s Sinfonietta. Celebrated concert pianist Jiovanney Emmanuel Cruz will be the soloist in Liszt’s Les Preludes.

On Jan. 24, likewise at the CCP main theater, the UST Conservatory will present the UST Symphony Orchestra under the baton of Korean guest conductor Jae-Joon Lee, and the internationally acclaimed UST Singers under the direction of choral conductor-pianist-arranger Prof. Fidel Calalang.

The program will consist of Beethoven’s Egmont Overture, Karl Jenkins’ Requiem for chorus and orchestra in its Philippine premiere, and Dvorak’s Symphony No. 9 (“New World”).

The Intramuros Administration will present eminent pianist Ingrid Sala Santamaria in a concert on Saturday, Jan. 17 at Almacenes Reales, Fort Santiago, 6 p.m.