Klaus Döring's Classical Music/Klaus Döring's Klassische Musik: Philippine Daily Inquirer

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Sunday, October 6, 2024

Feast for the ears: PPO kicks off concert season

PPO performs with violinist Shlomo Mintz under the baton of Maestro Grzegorz Nowak --ORLY DAQUIPIL/CONTRIBUTOR

Monday, September 23, 2024

Violinist Shlomo Mintz headlines PPO’s season opener

Shlomo Mintz as orchestra soloist --CONTRIBUTED

Tuesday, September 3, 2024

Pianist George Harliono dazzles Manila, Dumaguete

British-Indonesian pianist George Harliono. -- CONTRIBUTED

From his public relations-issued pictures alone, British-Indonesian pianist George Harliono struck one as having the best of both worlds—the Eurasian handsomeness that can only issue from the fine mix of two races.

But beyond good looks, he struck his first-time Manila audience as a young—he’s 23 years old—flaming talent to watch. The audience at the Ayala Museum wouldn’t let him go after he struck the last chords of Igor Stravingsky’s “Trois Mouvements de Petrouchka.” Filipino pianist Mariel Ilusorio, seated on the side front row, led the standing ovation. He obliged with Piazzolla’s “Libertango” as first encore.

The people didn’t cease applauding after that, and what followed was an extreme crossover to pop tunes like “Over the Rainbow” and the Elvis Presley ballad “Can’t Help Falling in Love.”

The purist in music reviewer and writer Pablo Tariman, who tried to shout “Chopin!” above the din, said if Harliono played another light ditty, he would place a candelabra on the Steinway & Sons grand piano (lent by the family of the late piano pedagogue Henrietta Tayengco-Limjoco) a la Liberace!

Tariman was good for a few guffaws, but we thought Harliono deserved better, considering he played a repertoire that was scarcely heard in the Philippines: Beethoven’s “The Tempest”; Mikhail Glinka’s “The Lark”; Mily Balakirev’s “Islamey”; Jean-Philippine Rameau’s “Les Tendres Plaintes”; Tchaikovsky’s “Dumka”; and the Stravinsky fireworks.

No wonder the hall attracted many piano majors and graduates, mostly from the University of Santo Tomas, or students of master piano accompanying artist Najib Ismail.

Wilder reception

According to witnesses, the reception for Harliono, who performed at the Luce Auditorium on the 123rd anniversary of Silliman University in Dumaguete City, was even wilder. While the Ayala Museum added some additional chairs for the Aug. 23 performance, the auditorium in the prime university in the south was packed with cheering students.

In an interview with the Inquirer Lifestyle at Café Romulo, where he was feted with a buffet dinner, Harliono described his Filipino audiences as “warm and kind,” so kind that they plied him with food and gifts like sterling silver cufflinks. Those who came, he added, were “young audiences, half of whom are studying the piano. It was nice seeing them look enthusiastic to meet me. I’m glad they enjoyed my program.”

At first, he thought that his program was “too heavy and serious,” so he also prepared lighter encores. He said the serious program was meant for those who study music, while the encores were “for those who don’t come ordinarily to classical music concerts.”

That evening at the café, he was seen talking at length with Ilusorio. Asked what their subject was, he replied, “It was about my teacher Pascal Nemirovski, with whom Mariel had a master class some 20-25 years ago.” The young pianist described his teacher as “very scary and strict but one of the best. In his 60s, he has mellowed. He’s now kind and sweet to me. His other students have won the Leeds and Tchaikovsky piano competition prizes.”

‘Halo-halo’ and adobo

He said that in the beginning, it felt strange to be of Indonesian and British parentage. “I grew up in a small town. I looked more Asian when I was small, then more European or Hispanic, even Mexican, in college.”

He continued, “I want to get more in touch with my mother’s Indonesian side. I was never taught to speak Bahasa. Now I understand a little. I can now spend four months in Indonesia to learn more.”

While he used to enjoy concertizing in Europe, he now wants to play more frequently in Southeast Asia, China and Russia.

To relax, he listens to Tchaikovsky symphonies and orchestral works by other composers. He said, “I don’t listen to piano. I’m more of an orchestra listener. Most pianists, when they’re in a train or a car, don’t listen to music. We would rather watch the view.”

Of the Filipino food he tried, he would like to come back for halo-halo and the Holiday Inn Makati’s pork adobo.

Young violinist leaves music lovers in awe at MSO’s rousing concert

Contributed

The Manila Symphony Orchestra (MSO) treated Manila music lovers to engaging symphonic listening recently at the Ayala Museum that featured young violinist Jeanne Rafaella Marquez as its soloist. John L. Silva of the board of trustees welcomed the audience, whom he informed of the MSO’s mission to “inspire through music, cultivate the next generation of musicians, and share unforgettable musical experiences with our audience.”

Jeffrey Solares, the orchestra’s associate conductor, announced the program and introduced Justin Texon as the concert’s guest concert master, and his better half, Jareena Inacay Texon, as guest violinist in the second violin row.

The orchestra, conducted by its music director, Marlon Chen, roused its listeners in its opening number, Puccini’s “Preludio Sinfonico,” an earlier work composed during the composer’s student days. At once, the MSO bewitched the audience with its solid performance. Needless to say, the work served as an effective rousing opener.

Marquez was the toast of the evening. A winner of competitions held in Manila, Singapore, Vienna and New York, she hushed the audience, who listened intently to her playing of the formidable Brahms Violin Concerto. She surged through the three-movement work and eloquently displayed a virtuosity of high order, combining both technical prowess and mature disposition.

In the first movement, she dished out those challenging arpeggios with solid dispatch, and rendered the cadenza, written by the composer’s close friend Joseph Joachim, with flourish. The rich orchestration of the second movement, which the musicians played brilliantly, was full of aural allure from the violinist’s dynamic embellishments. The final movement was all the more absorbing as the young violinist dished out those third and sixth chords, and crafted elegantly the short cadenza before the piece came to its grand ending.

Rapport

The rapport between violinist Marquez and Chen was tight. Chen wielded his baton with solid dispatch, as he forged intimate rapport with the musicians. Together, they mesmerized the listeners with a superb playing of Brahms’ only violin concerto.

A thunderous applause greeted the violinist at the end, as she acknowledged some curtain calls. The applause only quieted with her playing of Bach’s Gigue in E major. This was followed by a duo that she did with the Germany-based Texon. They played Aleksey Igudesman “La Cucaracha” for two violins, to the delight of the audience.

In the second half of the concert, one had more pleasurable symphonic listening with no less than Tchaikovsky’s Sixth Symphony, the “Pathetique.” Chen and the MSO performed this gargantuan symphonic piece with a broad sweep, so to speak. The orchestra’s young musicians played with gusto as they surged though the four-movement work.

The familiar second theme of the adagio-allegro non troppo of the first movement, which Tin Pan Alley adopted as “This is the Story of A Starry Night” all the more moved the audience to intent listening. The musicians played with conviction, and ensemble playing among them was as its best. All the more astounding was their rapport with the conductor, who stood at the podium with dynamic poise, as the orchestra played for more than 40 minutes.

When the last note of the lugubrious last movement-adagio lamentoso was sounded, the audience froze for a while before bursting into a thunderous applause.

As the oldest orchestra in Asia, the MSO deserves the patronage of everyone, both in the private and public sectors. It is a living embodiment of Filipinos’ astounding musicality that deserves continual support. Bravo, MSO!

Successful recital

Congratulations to clarinetist Herald C. Sison for his successful recital held recently at Manila Pianos. The recital was facilitated by Richard Sy-Facunda, a true patron of the musical arts, who arranges performances at the venue.

Sison is earning his bachelor’s degree in music from the St. Paul College of Music-Manila under the Expanded Education Equivalency and Accreditation Program. He is under the tutelage of Ariel Sta. Ana, the principal clarinetist of the Philippine Philharmonic Orchestra.

Sison played showed virtuosity as he surged through Schumann’s Fantasiestucke, Op. 73; Michele Mangani’s Sonata for Clarinet and Piano; and Carl Nielsen’s Concerto for Clarinet and Orchestra, Op. 57.

Gabriel Allan F. Paguirigan provided collaboration at the piano, and Rhonnel M. Ibañez at the percussion. Congratulations!

Monday, December 18, 2023

Ryan Cayabyab’s one-man 1991 Christmas album now streaming

By: Allan Policarpio - Reporter

After years of physical and digital unavailability, “One Christmas,” the landmark a cappella holiday album by National Artist Ryan Cayabyab, is now officially up for streaming on various music-streaming platforms.

The 10-track collection was produced by Telesis Records in 1991 and stayed in the market for years, before curiously disappearing from the shelves. But with Viva Music’s recent acquisition of Ivory Records—the original distributor of the said album—“One Christmas” can now be enjoyed by everyone and provide some much-needed variety to Filipino revelers’ Christmas playlists.

“This year, the album resurfaced through Viva. And although I only know vaguely how it meandered its sway to an online release, it gives me great joy to see it in the market again,” Cayabyab told the Inquirer.

In 1981, Cayabyab put out “One,” a groundbreaking album of original songs and Filipino classics that had the eminent composer weaving together more than a dozen variations of his voice to simulate the sound of a vocal ensemble or a choir singing a cappella. He also served as the arranger and producer.

Ten years later, Cayabyab — together with Telesis’ Margot Gallardo and sound engineer Monching Payumo — used that very same concept for what would have been his first Christmas album.

32-year-old project

“‘One Christmas’ was recorded in 1991, 10 years after ‘One’ was recorded and released… This makes ‘One Christmas’ a 32-year-old project done in analog format without the help of a pitch editor, like Melodyne,” he said.

True to form, the one-man multitrack a cappella album is a colorful mix of well-loved carols and new compositions, which vacillated from joyous and festive anthems to more haunting, sentimental pieces.

“Like ‘One,’ I went for traditional Filipino songs — this time, with Christmas as the theme, and added a couple of original songs such as: ‘Heto Na Naman,’ ‘Ano’ng Gagawin Mo Ngayong Pasko?’ and ‘Kumukutikutitap’ (written with Jose Javier Reyes),” Cayabyab said.

National Artist Felipe de Leon’s “Pasko Na Naman” was used as a binder music for the album, which also includes “Ang Aking Pamasko” by Antonio Velarde and National Artist Levi Celerio; “Maligayang Pasko at Masaganang Bagong Taon” (Vicente Rubi and Celerio); “Himig Pasko” by Serapio Ramos; and “Payapang Daigdig” (De Leon).

Sprinkling of pop

There’s also a sprinkling of contemporary pop tunes like “Miss Kita Kung Christmas” (Hermie Uy and Fe Ayala) and “Pasko Na Sinta Ko” (Francis Dandan and Aurelio Estanislao).

Some of the recordings of the traditional tracks in the said album, Cayabyab pointed out, would later serve as the basis of orchestrations and arrangements of his subsequent Christmas albums, “Pasko 1” and “Pasko 2” (San Miguel Foundation for the Performing Arts) in the mid-2000s.

Unfortunately, these two albums aren’t officially available on digital platforms. “I’m still praying that they get released in the market, too, in observance of the unique Filipino Christmas celebrations during this season of love!” Cayabyab said.