Arguably, no other person is more qualified to be the vice-president-artistic director of the Cultural Center of the Philippines than Raul Sunico.
A virtuoso, he played the four Rachmaninoff Concertos in a single evening in 2003, a feat unmatched by any other Filipino or foreign pianist. He has over 500 works in his vast repertoire, each of which he can render at any given time.
Sunico holds a Bachelor of Music degree, a Bachelor of Science in Mathematics degree and a Master of Statistics degree from the UP, an MA degree in Music from Juilliard in NY, and a Ph.D degree, major in piano performance, from New York U.
He studied piano under leading teachers including Sascha Gorodnitzki, and took master classes under Gary Graffman and Leon Fleisher, among others. He has garnered awards in national and international piano competitions, and actively concertizes in major cities of America, Europe, Australia, Japan, China and the UAE.
He has authored music books for schools, made countless classic and native recordings and musical arrangements. He serves as chairman or member of the jury in various piano competitions.
Concurrently serving as UST Conservatory dean, Sunico expresses his aims and views while making a distinction between the UST Conservatory as a private institution and the CCP as a government or public institution belonging to the people.
As CCP v-p and artistic director, Sunico envisions the global acceptance of Filipino artists. Here, one bears in mind that although there are scores of excellent Filipino artists, scores more need further training and development. Being himself a music educator, Sunico stresses the need for elevating the standards of music education, deploring the fact that music teachers in public schools often lack a musical background. Upgrading music education will inevitably widen and deepen music awareness in our communities.
Sunico also emphasizes the need of striking a balance between artistic relevance, acceptance, appreciation and artistic integrity. There should be no compromising of musical or artistic standards.
CCP presentations do not draw the public in great numbers. The CCP’s marketing arm must be energized to create immediate awareness of its activities through media and other means.
Budgeting and financing are perennial problems which have become daunting in the present economic crisis. There is the so-called “donor fatigue”, with the same commercial establishments and individuals being approached for contributions.
Someone suggested tapping pharmaceutical firms rendered affluent by the tremendous increase in the current fight against viral flu.
Students should be trained to buy concert tickets with their own allowance. Productions cost money and performers are paid talent fees. If students pay for their tickets, they will appreciate what they see and hear even more.
Sunico strongly emphasizes the need for more foreign presentations, arguing — without resorting to colonial mentality — that foreign artists have much to offer. Because of their generally superior training and performance standards, they can inspire our own artists. Again, foreign importation means a further dent on the CCP coffers.
Having joined the CCP only in mid-June, Sunico firmly refuses to take credit for the events celebrating its 40th anniversary this year.
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The uniquely distinguished Kabayao Quintet consisting of violinist Gilopez, his pianist wife Corazon, and their children — violinists Sicilienne, Farida and Gilberto — brought honor to our country with lustily applauded concerts in Madrid and Paris. Hosted respectively by Ambassadors Antonio Lagdameo and Rora Tolentino, the concerts were held at the Duque Cultural Center and the American Cathedral to mark Philippine Independence.
Gilopez’s brilliant protégé Jimmy Tagala, Jr. highly impressed listeners in Sarasate’s Carmen Fantasy and Gilopez’s transcription of Bahay Kubo.