Ochanine's tour de force, Dibner's amazing skill / Concert for St. Cecilia

Traffic was so congested, I arrived at the CCP main theater seconds after the start of the opening number. Strauss’ “Death and Transfiguration”. Despite my urgent pleas to the usher to make an exception and let me in, he refused to accede to my request.

As I entered the auditorium, American bassoonist Steven Dibner walked onstage, with Philippine Philharmonic Orchestra conductor Olivier Ochanine alongside him for Weber’s “Bassoon Concerto in F Major”.

Weber is best-known for his operas; music analysts aver he wielded influence on such major romantic composers as Schumann, Chopin, Liszt and Berlioz. Weber “poured new color into the orchestra and gave an extramusical quality in innovations of varying degrees of merit.” His bassoon concerto is little known. Into it Dibner infused marvelous life and spirit, demonstrating mastery of his instrument while creating gentle, fluid, lambent tones, his subtle artistry and superb technical skill calling for raves.

Ochanine gave Dibner splendid support: a robust, brisk opening and closing allegro, and a soulfully rendered adagio.

Dibner was similarly awesome in Elgar’s “Romance for Bassoon and Orchestra” — romantic as the title implies, and traditional, the flowing piece evoking tranquility and a meditative mood. The dialogue between bassoon and orchestra reflected warmth and joy, with Dibner again revealing his amazing technique and profoundly moving expressiveness.

Followed Schubert’s “Symphony in C Major”. In the field of song, Schubert was supreme. Liszt described him as “the most poetic of all musicians”. The “Symphony in C Major”, called “great” or “grand”, is the composer’s masterpiece.

The impressive work, overly extended, is built on an awesomely vast scale, in a tour de force, Ochanine conducted it without a score, his phenomenal memory having retained every note, every phrase, every passage, every pianissimo, every fortissimo. Totally aware of the composer’s inventive treatment of the instruments, together or separately, e.g., the trombones in the first movement, Ochanine fully drew from the orchestra’s reserves, thus producing rich, varied tonal hues.

While wielding an emphatic baton, he conveyed poignance through the strings, keeping the woodwinds and brasses unwaveringly precise and eloquent, particularly in the trumpet and oboe solos.

In total command, the youthful conductor infused the dramatic passages with tremendous, fiery bravura, and the lyrical or melodious passages — of which the symphony abounds in Schubert’s characteristic manner — with haunting, glowing beauty while majestically thundering tuttis intervened. How the enthralled listeners felt the composer’s restlessness and passion throughout!

The lusty, prolonged clamor led to a vigorously interpreted encore.

The St. Scholastica’s School of Music and its alumnae, and the Sr. Baptista Battig Music Foundation will present “Celebration!”, their annual tribute to St. Cecilia, patroness of music, on Nov. 21, 6 pm at St. Cecilia's Hall.

Teachers alongside their pupils will be in an “aural and visual passing of the torch”. The program follows: Grieg’s “Praeludium” by the cello ensemble: Arnold Josue, Gerry G. Gonzales, Giancardo Gonzales, Aries Solares, Angelita Moris and Sarah Libo-on. Franz Doppler’s “Duettino for Two Flutes and Piano” by flutists Enrique Barcelo and Gaille Ramos, and pianist Judy Tan.

Ravel’s “Tzigane” by violinist Gina Medina and pianist Mary Anne Espina. Holst’s “Ave Maria” and Gyorgy Orban’s “Laude Sion” by the SSC Chamber Choir under Lourdes V. Hemo.

The guitar ensemble — Jose Valdez, Benchito Carino, Joseph Guzman, Kriss Eusebio, Kevin Reyes — in “Sana’y Wala ng Wakas” by Willy Cruz and “Soleares” both arranged by Jose Valdez. Arthur Benjamin’s “Jamaican Rhumba” and Ryan Cayabyab’s Medley of OPM by piano duo J. Greg Zuniega and Rica M. de los Angeles.

“Awit ni Kleinzach” in Tagalog from Offenbach’s “Tales of Hoffman” with Pablo Molina, Ivan Nery, Joshua Alisang, Carlo Mañalac, John Doak, Ralph Perez and Joshua Floresca. From Bizet’s “Carmen”; Camille Lopez Molina, Aissa Guilatco, Sharon Quintero, Niccolo Nery and Joshua Alisang. From Delibes’ “Lakme”; Myramae Meneses and Iona Ventocilla. “Libiamo” from Verdi’s “Traviata”: Camille and Pablo Molina and students, with Greg Zuniega, pianist.

Arianna Abello-Korting’s recital at 3pm precedes the St. Cecilia concert at 6 pm.