Esmilla, Golez: Superb duo / Rousing Ortiz concert / Grande Dame: Purita Kalaw

The MCO Foundation established by Armando Baltazar gained immense prestige with its presentation, on its 25th anniversary, of the superb duo: violinist Joseph Esmilla (after an absence of 17 years) and pianist Rudolf Golez at the Philamlife Theater.

The opening number was Brahms’ Sonatensanz. Musicologists aver that Brahms’ chamber works represent the best and the worst in the composer. The intense, tumultuous execution of the piece presaged the degree of excellence that would mark the rest of the concert.

R. Strauss’ Violin Sonata in E Flat Major, Brahmasian in vintage, was far different from his later works, and Esmilla etched each movement with tonal clarity, masterful control of the bow and soulful expressiveness, these characteristics becoming even more impressive in Ysaye’s unaccompanied Violin Sonata in E Major, doubtless a virtuoso piece. Its fiendishly challenging passages and complex embellishments were triumphantly met with assured, singular, unerring skill.

Fancy and delicacy marked Kreisler’s Caprice Viennois as well as his Tambourine Chinois, the latter’s pseudo-Chinoisserie in the outer movements dramatically contrasting with the lyrical inner movement, the violinist communicating the contrast eloquently.

The term “assisting artist” seemed a misnomer. Pianist Rudolf Golez was the violinist’s equal from start to finish, the piano scores as daunting in their fashion as the violin score — and as masterfully rendered. Further, violinist and pianist achieved absolute “togetherness” through the thunderous chords or the feathery pianissimos — the accent, rhythm beat and expression of one complimenting those of the other exquisitely.

Gershwin’s opera “Porgy and Bess” is as fresh, alive and spontaneous as the day it was composed, and Esmilla totally captured and reflected the enthusiasm and piquant spirit of its songs as arranged for the violin by Heifetz.

In Sarasate’s Andalucia Romanza, one listened to traditional Spanish songs and dances as violin and piano sparkled with zest and vigor, creating vivid tonal colors. The finale, Wieniawski’s charming and vibrant Polonaise Brillante, robustly interpreted, led to deafening applause and a standing ovation. For encores, Esmilla played a De Falla piece and Vallejo’s Cavatina.

Youth predominated at Angelo Ortiz’s concert “Variaciones Clasicas Espanolas” which was presented at the Meralco Theater under the auspices of the Instituto Cervantes.

Only 25, pianist Ortiz, twice named Champion in a 2006 Hollywood World Contest, exhibited a rhapsodic, audacious style which transformed the pieces into what he describes as “classic pop”. Fiery, intense and passionate as Spanish music already is, Ortiz made it even more so through his volatile temperament and agile fingers in Lecuona’s Malagueña, Gitanerias, and Granada. He was assisted by Banda 31 whose members’ ages range from ten upwards. Their collective verve and zest sent the pulses beating and the nerves tingling under a young, intensely spirited conductor whose name did not appear in the program.

The piano solo pieces that ensued, Cordova by Lecuona and Oriental by Granados, were relatively gentle and somber, with Ortiz stressing their melodic lines. He then assisted the adroit American saxophonist Michael Young in Alvarez’s familiar, all-too-brief, melodious Tango, and Lowel Lilac in an excerpt from Concierto Aranjuez by Rodrigo.

Banda 31 again excited and energized listeners with El Cumbanchero and the Spanish Festival Overture. All youthful hands were on deck, so to speak, each wind player snappily blaring to the limit.

Ortiz and Banda 31 turned excerpts of Bizet’s Carmen and Tover Huljic’s Cubana, Cubana into rousing music once more, making “classic pop” so wondrously alive. Despite a metallic-sounding piano, Ortiz emerged a true champion.

In his opening remarks, IC director Jose R. Rodriguez said the concert was a partial fulfillment of IC’s aim to disseminate Spanish culture. Jose M. Fons Guardiola helped to welcome the guests.

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Inevitable circumstances prevented me from attending Tuesday’s opening of “A Vision of Philippine Art”, selections from the collection of Purita Kalaw Ledesma at the Ayala Museum. Purita, grande dame of Philippine art, founded the Art Association of the Philippines which saw the vibrant growth and development of Philippine art which eventually engendered a lively debate between the conservatives and the moderns. Yet Purita was highly respected and revered by both camps!

The exhibit ends May 3.