For some time now, internationally acclaimed pianist Raul M. Sunico has his admirers wondering how he can hold two administrative jobs — the first with the UST Conservatory; the second with the CCP — and still keep his mastery and command of the keyboard.
At his Manila Polo Club concert, he successively interpreted without intermission numbers of a widely varied program.
Each work contained dauntingly intricate passages that were met with striking, dazzling bravura.
Rachmaninoff is inextricably linked with his Prelude in C Sharp Minor; this made him known throughout the music world. He himself played it quite often, drawing crowds to listen to his tremendous power. It is interesting to surmise how Sunico would compare with the Russian. In any case, he was vastly impressive in the descriptive Prelude, a miniature drama which invited diverse interpretations.
Each of Chopin’s Etudes (the word literally means studies) was composed to overcome a pianist’s particular weakness or difficulty — with chords, runs, trills, thirds, octaves, etc. In Sunico’s hands, the Etude in E Op. 10 No. 3 did not sound like a study at all but as music of beauty and charm as Chopin had made it.
Chopin composed less than a score of valses, and his Waltz in C Sharp Minor, like the rest, evokes the ballroom and the spirit of the waltz, but not quite in the manner of Strauss’ waltzes which are wanting in Chopin’s peculiar retards and accelerations.
The melodies of Spanish folk dances surfaced in Granados’ Allegro de Concierto which was characterized by strong rhythms, as also by grace and elegance. Although it lacked the force of the works by De Falla and Albeniz, it incorporates, according to musicologists, Lisztian techniques which Sunico adroitly reflected.
Kumintang by Buencamino, the only work by a Filipino, began in a simple, languid fashion, progressing in a florid style that demanded technical skill of which Sunico had a surfeit.
Debussy’s impressionistic Arabesque No. 1, a shimmering reverie, was followed by Liszt’s Liebestraum (Dream of Love) which, unlike most works by the romantic composer, lacks bombast. It came from the pen of Liszt, the lover, and is perhaps his most familiar and most frequently played piece — soothing as a dream indeed.
Gershwin’s “Rhapsody in Blue”, commissioned by Paul Whiteman for a concert of popular music in the jazz idiom, was originally for piano and orchestra. It made “a lady of jazz”, setting an entirely new trend. It is the voice of America mirroring its energy, audacity, optimism, strength and courage through brisk rhythms, syncopations, unusual harmonies and melodies — these coming so naturally to Gershwin.
Each time Sunico plays the “Rhapsody”, which he does so often, in fact, that it seems his signature piece — it sounds more frenetic and exciting than ever. The audience thrilled to his vigor and éclat as he reached its climax with virtuosic intensity.
Ang Bayan, the encore, regarded as our second national anthem, and far more lyrical and beautiful than our national anthem, was interpreted with stirring ardor.
The concert displayed Sunico’s astounding versatility as he captured the essence, form and style of each work with power and poetry, this created by rich tonal hues, a wealth of nuances, arresting pauses and leaps. At his most inspired that evening, Sunico asserted his place among our best pianists.
The concert was presented by the Association of Phil-China Understanding.
Eduardo Edang delivered the invocation; APCU president Josie Baldovino welcomed the guests; APCU founder Charito Planas introduced Chinese Ambassador Liu Jian Chao who said that the survival of APCU was important, but how it would prosper and develop was even more so. Patty Chiong served as emcee; chairman Jess Cham gave the closing remarks.
Welcoming guests were Rachy Cuna, the country’s only floral architect; Lynn Sunico and Mrs. Nandy Pacheco, among others.
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The PEN, founded by F. S. Sionil Jose, will hold its general assembly today at 5 p.m., with literary icons Jose, Bien Lumbrera, Gemino H. Abad and Lito B. Zulueta presiding.