Excellent concert reprise honors composer Abelardo / Coyiuto replies to Virata

The UP Abelardo Hall concert was primarily in honor of composer Nicanor Abelardo after whom the venue was named, the concert consisting mostly of his works and by Buenaventura, San Pedro, Felipe de Leon Sr. and Rosendo E. Santos.

Widely diverse, the program encompassed genres covered by the UP College of Music. Interpreted were Bach, Filipino compositions, indigenous and jazz music, works for voice, piano, guitar, standard orchestral instruments and dance.

The performances were in varying degrees of excellence, proving the highest teaching standards. Among the most impressive were the flawless, fluid rendition of Abelardo’s Cavatina by violinist Joseph Esmilla and pianist Rudolf Golez; the closest inter-action between pianists Mauricia Borromeo and Pilar Margarita D. Balasio in Bach’s Concerto in F Minor; the singing of San Pedro’s Sa Mahal Kong Bayan and Sa Ugoy ng Duyan by the UP Concert Chorus, its fortissimos rousing, its pianissimos incredibly controlled under masterful conductor Janet S. Aracama.

Without a score as usual, Raul Sunico exquisitely played Nocturne in C Sharp Minor, a composition from the “creative genius” of Abelardo in the words of Ramon Santos, himself a distinguished composer.

Soprano Gerphil Geraldine Flores astounded listeners with her intensity in Abelardo’s Mutya ng Pasig, with Carolyn K. Cheng assisting on the piano, as did soprano Nikka Mae Lopez with her powerfully sustained top notes in De Leon’s Sa Nayon Ko. Flutist Eric D. Barcelo demonstrated his brilliance in this number as well as in Santos’ Meditation, with Cheng again as assisting artist.

I missed a performance by Pedro R. Abraham’s Kontra-Gapi, UP’s long-time resident gamelan or ethnic music-and-dance ensemble. Abraham’s group was awarded in February 1996 the UP Chancellor’s signal plaque for Outstanding Achievement in the Performing Arts. I understand “Edru” has retired but his contribution is distinctively tremendous.

Cited for their own immeasurable contributions were Corazon Canave Dioquino (piano department), Fides C. Asensio (voice department), Evelyn Mandac, the only Filipino who has sung at New York’s Met, and violinist Sergio Esmilla who organized the UP Youth Orchestra.

Dean Jose S. Buenconsejo, PhD, gave brief remarks on UP’s illustrious history which include the tenures of president Bienvenido Gonzalez who headed the UP in my day, Vicente Sinco, Carlos P. Romulo.

Among the many who likewise deserved to be singled out were dean Ruby K. Mangahas, Regalado Jose, Conservatory of Music director-conductor Ramon Tapalaes, Carmencita Arambulo, Rey Paguio, Francisco Feliciano, and Ryan Cayabyab.

The concert closed with Abelardo’s university song which was formerly sung in English (UP Beloved) and is now UP Naming Mahal. Production staff consisted of artistic director Alegria Ferrer, stage manager Sol Trinidad and narrator Verne de la Pena.

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Modesty aside, I  have had some association, albeit an indirect one, with the UP College of Music. Decades ago, I danced to a composition of Hilarion Rubio, and interpreted Maria Clara to Antonio Molina’s “Malikmata” in Leonor Orosa Goquingco’s choreography of “Maria Clara and the Leper” from her Noli Dance Suite.

Further, after the concert of New York’s Symphony of the Air which I reviewed, I requested its conductor Thor Johnson to audition baritone Aurelio Estanislao in my residence. Forthwith, Mr. Johnson himself accompanied Aurelio on the piano and duly impressed, arranged US engagements for him.

UP dance professor Basilio Esteban-Villaruz requested Leonor Orosa Goquingco, National Artist for Creative Dance, to endorse him for a London study grant. She graciously acceded to his request, thereby obtaining the grant for him through the British Council then headed by Rodney Bell.

When I began reviewing the performing arts – music, dance and theater – having, modesty aside, a background in all three disciplines – there were then very few presentations. In time, these proliferated while becoming more professional. Thus, since a few years back, I have devoted reviewing music concerts almost exclusively, and only occasionally theater and dance concerts, my schedule permitting.

It is challenging enough to cover all significant concerts. Recently, Joy Virata, Rep Stalwart, sent an invitation to a re-staging of “Mind’s Eye” saying that its reception last year “was beyond expectations.”

In explaining why I missed the play, I am quoting eminent art patron James Coyiuto who, addressing a letter to my niece Evelyn R. Garcia, writes: “With so many events in a day, it could be daunting for Ms. Orosa to choose which to attend and review.” Mind you, Mr. Coyiuto was referring only to the music scene.