Yatco, Tiu: Tour de force / Esmilla, Golez: Newest duo

Doubtless a distinct highlight of the PPO’s appropriately described “tour de force” series was the recent concert of Germany-based Conductor Laureate Oscar C. Yatco and Singapore-based piano virtuoso Albert Tiu at the CCP main theater.

Characteristically masterful, Maestro Yatco vividly etched each movement of Hindemith’s Symphonic Metamorphosis of Themes by Carl Maria Von Weber. In a long discourse, Paul Rosenfeld partly describes Hindemith’s music thus: “What most thoroughly individuates Hindemith’s work, well-nigh assigning to it a special category, is the circumstance that the principal source of the auditor’s tension and interest is the movement itself, the melodic line’s sheer manner of progress. The interest is never entirely unrewarded by aesthetic gratification. Frequently lyrical, the dynamic-motory lines express moods and attitudes. Yet, constant and adequate as it is, their expressivity somehow provides a minor gratification aside from the main one. That remains the melodic line’s excursive way of running out, leaping, and renewing and extending itself.”

Yatco’s interpretation showed firm command of the orchestra and comprehension of the score. The ensemble clearly delineated the first movement; in the second, described by Olin Downes as “chinoisserie,” the flute lambently expressed the melody, with the strings taking over at a faster clip. In the Andantino, the wind instruments assumed a dominant role; in the finale, the percussions vigorously struck a lively rhythm.

The work, new and eclectic, wove a strange excitement and fascination over the audience.

Brahms’ extensive Symphony No. 1 in C Minor, powerfully dramatic and passionate, in both score and rendition, was lyrical — and exquisitely so — in only a single movement, Yatco finally gathering the orchestral forces with resolute briskness in the final tutti passages.

Albert Tiu stunned the audience in Chopin’s Concerto in E Minor, demonstrating startling virtuosic skill, as also depth of feeling. His range of dynamics, incredibly wide, was particularly shown. Unlike Rachmaninoff’s or Tchaikowsky’s concertos, Chopin’s piece lacks their devastating power. Accordingly, Tiu had to limit his dynamics mostly to pianissimos, these varying in limitless degrees.

Tiu’s manner called to mind what we had read of Chopin’s own. Long afflicted with illness (tuberculosis) which greatly sapped his strength, Chopin ingeniously maneuvered his tones in such a way that the loudest, compared to the softest, relatively thundered. Presumably, Tiu’s rendition must have pleased Chopin.

Runs were utterly flawless, fluid and limpid, like water flowing down the stream. Filigreed pianissimos created exquisite tonal colors; chords remarkably contrasted with runs. Focusing on every detail of line and rhythm, Tiu infused the work with romantic sentiment. The melodies sang with luminous sonorities; the climaxes electrified.

Musicologists are agreed that Chopin had no real talent for orchestration, further averring that separate movements of his Concerto can be made into solo piano pieces. Tiu played these with incomparable lyricism and tenderness.

Maestro Yatco drew from the PPO its optimum best, while capturing the romantic essence and spirit of the work.

Loud, prolonged clamor brought back Tiu whose encore, “The Swan” from Saint-Saens’ Carnival of Animals, was originally composed for the cello. The piano arrangement similarly led to a vision of the swan gliding gracefully and serenely, and later, (as danced to by Pavlova and other ballerinas) dying very, very slowly.

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Violinist Joseph Esmilla, after a 17-year absence, and pianist Rudolf P. Golez will play in MCO’s 20th  anniversary concert series on Jan. 29, 8 p.m. at the Philamlife, R. Strauss’ Violin Sonata, and masterpieces by Sarasate, Kreisler, Winiawski and transcriptions by Heifetz.

Esmilla and Golez entered Juillard in NY, the former at 14, the latter at 13, both taking post-graduate courses, Golez in Graz, Austria. Esmilla has enthralled international audiences; Golez was the sole prize winner in Kuala Lumpur’s Asean International Chopin Festival.