Piano Peace

I first got aware of this event when I picked up a flyer for the Filfest 2010 Season that was available during the Chopin concert series. I admit that I wasn’t at all interested with the contents of the flyer at first because the concert venue, the Insular Life Theatre at Alabang, was too far south from where I live. So I just told myself why bother since it would be difficult for me to go and see concerts there.

But I still read what was inside the flyer while I was waiting for the show to start and the concert entitled Piano Peace got me curious. It’s no secret that concerts featuring pianists are what I really prefer compared to those that feature other instruments. And the distinction that the pianists featured in this concert were an interesting pair further fueled my interest. The pianists for the concert were Bishara Harouni and Yaron Kohlberg; the former is an Arab while the latter is a Jew. A pair like that performing in one concert is very rare so I told myself that I must get my gears turning so that I could catch this performance.

So I was glad that I was able to make it to the theatre to see this interesting pair. And right from the start they made a very good impression upon the audience when they appeared on stage wearing the Barong Tagalog. And the good impression continued as they played Dmitri Shostakovich’s Concertino for 2 Pianos in A Minor, Op. 94. I really like this piece since it’s a joy to hear and it has some passages reminiscent of some themes in Shostakovich’s Piano Concerto No. 2 which is my favorite piece as of this moment. I knew that the show had just started but at the back of my mind, I felt the urge to practice at the soonest time possible.

Then it was Yaron’s turn to play. And he did please me since he played music by Frédéric Chopin. I’ve said this before and I’ll say it again: I never grow tired of watching pianists play Chopin especially good pianists who can do his exquisite work justice. I can forgive Yaron for playing five out of the 24 Preludes from Op. 28 which is not my favorite Chopin piece to hear. But he made up for it by playing three etudes that are among my favorites: Etude Op. 10, No. 12, Etudes Op. 25, No. 5 and No. 11. I was absolutely glad that it somehow felt that this was a little extension of the Chopin concert series that I’ve enjoyed a month before this.

For the next piece, they played Franz Schubert’s Fantasia in F Minor for Four Hands, Op. 103. Since it’s a piece for four hands, they played side by side on just one piano and it was remarkable to see how well they work together. And it was during this piece when I was reminded that Yaron is Jewish and Bishara is Arab and there they were, playing side by side. It was very unlike what I normally see in the news and I hoped at that moment that this was how things should be in real life. And this was also the piece where I noticed how different their style and their personalities as they were playing. Yaron was more animated and grinned a lot at Bishara. And Bishara was more passive and reserved but he wasn’t overwhelmed at all by Yaron’s extroverted demeanor.

After this, it was Bishara’s time to do his solos and he started with Chopin’s Ballade No. 4 in F Minor, Op. 52. It was a bit odd seeing him play this piece seated not on the usual piano bench, but on the typical chair with back support. But aside from that interesting choice of seat, Bishara’s Chopin was quite mesmerizing. He is a tall guy who might come of as intimidating at first glance but there was this tenderness and depth in his Chopin. And then he showed his intensity and power at the end of this piece. Then he changed the pace with his next piece: Franz Liszt’s La Campanella which is the more popular name for Etude No. 3 in G Sharp Minor from the Grandes etudes de Paganini. I normally associate music by Liszt as just fireworks showpieces but Bishara had a way of making it more than just that. Again, there was this delicate artistry which is beyond just showing technique.

For the last piece, the duo played Darius Milhaud’s Scaramouche which is a piece that is just plain fun for me. And the two of them definitely looked like they were having fun especially Yaron who dealt with humor the snags that he encountered with his piano and his inexperienced page turner who was one of the usherettes that night. Despite these minor problems, the duo played with such joy that left everybody in such high spirits. Proof of this was the wild applause from the audience who demanded an encore and the duo granted them with a reprise of the first movement of this piece.

Pianist Bishara Harouni

Pianist Yaron Kohlberg

Honestly, I thought that the programme for the night was a bit short and I was disappointed a bit that they didn’t give another encore performance. But in an amazing turn of events, my experience with these two pianists extended beyond the night of the concert. And what I experienced after was one of the most memorable moments that I’ve had recently. But this story merits a blog entry of its own.

Chopin Manille 2010 Bicentenaire Cecile Licad II

Just a couple of days after her solo concert, renowned Filipino pianist Cecile Licad performed once again for the fifth concert of the Chopin Manille 2010 Bicentenaire series. This was without a doubt, the main highlight of the series since she was scheduled to play Frédéric Chopin’s Piano Concerto No. 2 in F Minor, Op. 21 with the Manila Symphony Orchestra conducted by Arturo Molina. And people knew it as well since a very diverse crowd ranging from the well dressed members of the high society to the young music students filled the Philamlife Auditorium. All of them were eager to see Licad perform this famour concerto.

But the Chopin concerto was the last piece for that night which meant that the orchestra had to play something else. Chopin composed almost exclusively for the piano so the other pieces had to be from other composers. And these pieces were Richard Wagner’s Overture to "Die Meistersinger von Nürnberg", Franz Liszt’s Les Preludes and Nikolai Rimsky-Korsakov’s Capriccio Espagnol, Op. 34.

The first half of the concert featured the orchestra playing the Wagner and Liszt pieces. I am remotely familiar with these pieces and this half was a real test of my patience. I was actually more eager to listen to the second half of the concert but I had to sit throughout these two pieces.

As expected, the second half was the most awaited part of the concert. And Rimsky-Korsakov’s delightful Capriccio Espagnol was a good way to start it. I’ve seen the orchestra play this piece before during the NAMCYA guitar winners’ concert a few months back. But for this night, the tempo felt a bit too slow than what I’m used to. Still, the clarinet and violin solos were quite lovely.

And saving the best for last, Licad then played the Chopin concerto. So long have I waited to see her play this piece live and it was absolutely sublime. In this concerto, there are certain parts that I absolutely adore and Licad nailed them perfectly. Kudos to the first bassoon for not letting me down as the second movement Larghetto was winding down. It was exquisite and he had a lovely tone during the counterpoint.

The audience thought that despite a superb performance from Licad, it was still not enough as they demanded an encore and she obliged with a handful of them. She played a couple of Chopin pieces: Etude in C Minor, Op. 10, No. 12 and Waltz in D Flat Major Op. 64, No. 1. And then she played a handful of pieces which I again failed to note the titles and their respective composers. But a couple of them she played as encores as well during her solo concert. After the concert, Licad was mobbed by members of the audience all wanting to have her autograph and their photos taken with her. Spotted among the audience were Rudolf Golez and Raul Sunico who were previous performers of the concert series.

Pianist Cecile Licad

Finally, the concert series is almost over since the next performance is still months away. I’ve had my fill of Chopin and I think that it’s time for me to have a change of pace. It’s time for me to rest a bit since I’ve been through a lot of concerts this March and it’s been tiring. But I’m still far from getting tired of all the concerts and the music; I just need to recharge so that I’ll be energized for the next concerts/recitals just lurking around the corner.

Chopin Manille 2010 Bicentenaire Cecile Licad I

The Chopin Manille 2010 Bicentenaire series had one of its main highlights with their fourth concert. And the reason for this was no other than Cecile Licad, who is considered as one of the most celebrated pianists in the Philippines. And because of this, a handful of distinguished people from the Philippine art scene were present at the Philamlife Auditorium to see Licad in a solo recital still featuring Frédéric Chopin’s music.

The concert started with a very familiar piece. And that was when I realized that Licad’s piece for the first half is exactly the same as Raul Sunico’s second half from the concert a few days before. I’ve always thought that Licad would play another set of pieces during the first part of the concert but she instead started with the four Scherzos: Scherzo No. 1 in B Minor, Op. 20, Scherzo No. 2 in B Flat Minor, Op. 31, Scherzo No. 3 in C Sharp Minor, Op. 39 and Scherzo No. 4 in E Major, Op. 54.

Fortunately, she let the audience applaud after each Scherzo. But I guess that she had no choice since the audience started applauding even before the reverbaration died from the final chord of the first piece. I’ve seen her play before and she didn’t disappoint. She played with the command, authority needed with the imposing chords of some of these scherzos. And she showed the delicate touch which was featured in the contrasting themes of these pieces. She was also a bit animated in her playing. Some might find it engaging but some might find it distracting.

I guess that the audience was engaged by her playing since the applause got louder as she finished the rest of her pieces. Playing the four scherzos, in my opinion, was a very good and exciting way for Licad to start the night.

Unfortunately, the second half of the program was a bit of a letdown for me since it featured the 24 Preludes, Op. 28. This set of pieces has always perplexed me and it’s not easy for me to appreciate fully although I really like a few from this set like Preludes No. 9 and 20. I guess that one has to really be familiar with all the pieces in here and not only that, but also to be able to look at the piece as a whole in order to really appreciate it. And it’s one that I’ve somewhat struggled with up to now. It’s also a test of patience since it’s quite a long piece when all 24 pieces were played and some people who weren’t familiar with the piece were trying to grasp from other people when it would end. But despite my bias regarding this piece, I still was able to appreciate the masterful way Licad played. Although I admit that I listened more closely to the sections that I liked more.

As expected whenever Licad performs here, the crowd gave her a resounding standing ovation which prompted her to do several encores. I was only familiar with the first one which was Chopin’s Etude No. 3 in E Minor, Op. 10 which is actually a regular encore performance from her. If I’m not mistaken, she did four more after that but I failed to get the titles of those other pieces. But the crowd was absolutely in high spirits after every encore and Licad radiated joy as she made her curtain calls. So it’s no surprise that after the concert, people flocked to the table set up to have their programmes, CD’s, books and other memorabilia signed by this remarkable woman.

Pianist Cecile Licad

Chopin Manille 2010 Bicentenaire Raul Sunico

The third concert of the Chopin Manille 2010 Bicentenaire series was the fifth show that I’ve been to in seven days. Travelling to watch all these shows coupled with very little sleep and not to mention the intense summer heat has made me very tired and weary. But that didn’t stop me from going to the Philamlife Auditorium to catch this performance that featured pianist Raul Sunico. Besides, this is a celebration of the music of Frédéric Chopin.

Sunico is no stranger to me since I see him a lot at the Cultural Center of the Philippines since he is the Vice President and the Artistic Director there. Aside from that, he is also the Dean of the UST Conservatory of Music. It’s a wonder how he is able to find the time to practice and prepare for performances such as this.

I was a bit thrown off when Sunico didn’t follow the format of the previous two concerts of talking a bit before performing the pieces. But then, this is usually how recitals are. Unfortunately, as I’ve said earlier, I was already feeling very tired and not having this small talk didn’t make it easy for me to get into the zone. And it didn’t help that he started the night with Barcarolle in F sharp major, Op. 60. I have nothing against this piece, in fact I really like this but it was too sedate, ethereal and flowing for me with not too much tension, agitation or drama to jolt me out of my seat. I was just glad that he didn’t start with a Nocturne or that would’ve lulled me to sleep! I vowed to myself that I had to rest big time so that this wouldn’t happen to me again.

The next piece Sunico played was the three Mazurkas, Op. 56. Unfortunately, these pieces aren’t really familiar to me. I tried to listen to it and appreciate it but it was difficult. And like what I’ve said before, it’s tough when a piece preceded something else that I was really looking forward to. And the next piece after this, Sonata No. 2 in B Flat Minor, Op. 35 was the one that I was really waiting for.

This Sonata is one of my favorite Chopin pieces which meant that I was all ears when he played it. Sunico always has a restrained way of playing the piano. Some might call if stiff and uninteresting but I think that his playing is devoid of possible distractions like exaggerated facial expressions or unnecessary body movements. That is why I was able to really watch and listen to his interpretation of this Sonata. And by this time, the urge to sleep because of exhaustion was gone.

My favorite movement in this piece has always been the second one which is the Scherzo. But the movement that I appreciated most in Sunico’s performance was the third: the popular funeral march. I was a bit amused when there were some whispers among the audience when they heard the familiar melody of this movement. I guess that a lot of them weren’t aware that Chopin composed this tune since if they knew and read the programme before the concert; they wouldn’t have been surprised at all. But at least now they know! But what really worked for me wasn’t the main theme which is the popular funeral march. It was rather the Lento that I liked more. This piece ended the first half of the concert.

The concert resumed with Sunico playing the four Scherzos. The beginning of Scherzo No. 1 in B Minor, Op. 20 leaves a lasting impression with the surprising outbursts following the chords that start the piece. And when he played this part, the audience realized that this piece is indeed a heavyweight. I was surprised when he decided to play all four without any pause. When he finished the first, some people in the audience wanted to applaud but they were stopped from doing so when he then started to play Scherzo No. 2 in B Flat Minor, Op. 31. This Scherzo is my favorite of the four since I like the contrasting themes and it has tension, drama, a very nice lyrical secondary theme and ultimately, a triumphant finish. Again, it was very interesting to see the differences in Sunico’s playing from what I had in mind. He gave me a new perspective on how this piece is played.

As expected, Sunico then played Scherzo No. 3 in C Sharp Minor, Op. 39 right after. This piece is the one with the delicate descending arpeggios that is like the flowing of water down a gentle stream. This is my second favorite among the four. And it’s very obvious that he ended this set with Scherzo No. 4 in E Major, Op. 54. This last piece is my least favorite among the four and for me it was somehow anticlimactic to end the concert with this piece. But that wasn’t the case for the rest of the audience since they applauded generously after the last piece ended since they had to wait until all four were finished.

I would’ve appreciated it more if he switched the order of the pieces like with what he did when he played the four Rachmaninoff concertos years ago. And I also wished that he didn’t play all four Scherzos in just one sitting. He could’ve taken a bow after finishing a piece, let the audience applaud and to also let me breathe for a while so that I could prep myself for the next piece to be played.

Sunico finally got the chance to be humorous during his encore. He played Etude No. 1 in A Flat Major, Op. 25 and joked to the audience that he would not be naming the composer of this piece. And somehow, this lighthearted moment continued on after the show as people eagerly went backstage to congratulate Sunico for his performance.

Pianist Raul Sunico

It was nice seeing Rudolf Golez again whom I also saw during the Ashkenazy concert. He has read my entry about his performance and I am extremely glad that he liked what I wrote.

Chopin Manille 2010 Bicentenaire Dana Ciocarlie

As I’ve said before, I always liked Frédéric Chopin’s music. And to have the Chopin Manille 2010 Bicentenaire series of concerts devoted to his music, it’s like being a kid again during Christmas time. I’ve already been to the first concert and I went back to the Philamlife Auditorium for the second concert of the series to see pianist French-Romanian Dana Ciocarlie perform this time.

But aside from the concert, there was also the opening of the Chopin in Paris exhibit as well. This event was sponsored by the French Embassy and Alliance Française so I was a bit uncomfortable whenever I found myself surrounded with French speaking people since I don’t know the language at all. So I just viewed the exhibit with a glass of wine in hand since there plenty was of it at the event. And since I’m a Chopin fan, I already knew a lot of the information that accompanied the photos at the exhibit. But it was still a good way for me to get psyched for the concert.

So the concert started with Dana Ciocarlie talking a bit about the pieces she was going to play for the first half. I’ve said this before and I’ll say it again. I do like this setup because not only does it prepare the audience for the music performance but it also shows a bit of the personality of the pianist. And she was very charming, cheerful and came off as very warm and gentle like a nice cup of English breakfast tea. So for the first part, Ciocarlie played Rondo à la Mazur in F Major, Op. 5, the 3 Mazurkas, Op. 59 and Polonaise Fantaisie in A Flat Major, Op. 61. These pieces reflected more of the Polish side of Chopin since the Mazurka and the Polonaise are dances of Polish nature.

The Rondo is a very early work of Chopin and it’s not one of the most well known and I admit that I am not really familiar with it. But the mazurkas that followed are very familiar to me. They were among the first Chopin piano pieces that I’ve listened to. And it is always a delight for me to see them played by a competent pianist.

And my most awaited piece of the night finally arrived. The Polonaise Fantaisie is my favorite Chopin piece for the solo piano. When she played the first couple of chords followed by the ascending notes, I was already mesmerized. She had a natural, unforced manner in which she played this piece. After this, I felt that I could go home satisfied but there was still more to come after the interval.

Fortunately, I wisely stayed on for the second half since Ciocarlie had a surprise for everyone. She played a piece that wasn’t on the programme for the night and it was something that she just learned. The audience was very much delighted when she announced that this piece was Fantasie-Impromptu; not the one by Chopin but by Filipino composer Nicanor Abelardo. And this further endeared her to the audience since she took an effort to learn this piece.

She then returned to the Chopin programme and continued with two Nocturnes. The first one she played was the Nocturne in E minor, Op. post followed by the popular Nocturne No. 2. in D Flat Major, Op. 27 The first Nocturne isn’t one of my favorites but the second is definitely one of mine. Sometimes, my patience is tested whenever a piece I’m not too fond of precedes the one that I prefer more.

The next piece she played was the Ballade No. 2 in F, Op. 38 which started calmly not unlike the previous pieces that she played. Thankfully, this Ballade has a second part that sounded destructive and violent. And if any of the audience fell asleep during the Nocturnes, this Ballade would’ve woken them up.

She then had a handful of waltzes to end the programme. She first played the popular Waltz No. 1 in D Flat Major, Op. 64. And next were the 3 Waltzes from Op. 34 Trois grandes valses brillantes. She sounded very cheerful with her spiels when introducing the works and she was able to bring some of that cheerfulness and playfulness with some of these waltzes.

For her encore, she played something by Shumann but I failed to get the title of the piece. But I recognized her second encore as being the Etude No. 10 in A Flat Major, Op. 10. The audience wanted more from her and she obliged but reminding the audience that it was already her “last” encore. This last encore was something by Schubert and again, I failed to get the title of this piece.

Pianist Dana Ciocarlie

There were more people who watched this concert than the previous one featuring Rudolf Golez. It took me quite sometime in order to have my programme signed since Ciocarlie was busy entertaining some members of the audience after the show. It was a bit intimidating since most of these people were talking to her in French. And when it was finally my turn, I told her that I was very glad that she played my favorite Chopin piece. She then asked what it was, and when I told her that it was the Polonaise Fantaisie, she told me that it was also her favorite and that this piece is indeed a masterpiece.

There are still a few concerts left in this Chopin Manille 2010 Bicentenaire series and I am already geared for the next performance date.

Chopin Manille 2010 Bicentenaire Rudolf Golez

I’ve always liked Frédéric Chopin. His works not only have exceptional beauty but they also hold a special place in my life. A lot of his works have forever been associated with special moments in my life. And before my grandmother passed away, her afternoon naps were accompanied by Chopin’s music since that was when I usually practiced the piano. And the place where she had her naps was adjacent to the room where the piano is. But I had to stick to playing just Nocturnes since I would’ve disturbed her slumber if I played a Scherzo for example.

When I found out about the Chopin Manille 2010 Bicentenaire series of concerts at the Philamlife Auditorium, I would’ve been extremely excited under normal circumstances. But this was when my family and I were still in mourning. And as I’ve said many times before, I summon the strength and the courage to face the difficulties in life through music. So I knew that I need to watch this especially since this is Chopin. I believe that there’s no better way for me to get back on track again than a night of Chopin’s music.

The first concert of the series featured pianist Rudolf Golez and expected, he had an all Chopin programme. Before starting his first piece, he talked a bit about Chopin and a little background of the works that he was about to play. I always liked this format especially with solo/chamber performances. It makes the concert more intimate and relaxed. And it didn’t hurt the Golez managed to put in some humor into it as well making the night less stiff and more enjoyable to watch.

He started with the Twelve Etudes, Op. 10. I’ve already listened to dozens of recordings of these etudes. I’ve also seen quite a number of videos online performing these etudes. But nothing beats seeing them played in a concert hall by a competent pianist. Golez interpreted some of the etudes in a very interesting manner. Some were played the way I would play them, well if I could play them. And some were played quite differently from what I would prefer but it was nonetheless still very interesting. This is what I like most about watching a piano concert with a very familiar programme. I may know the piece very well but there’s always room for pleasant surprises.

The concert took a small break after the etudes and Golez resumed with the Four Mazurkas, Op. 33. Despite being a Chopin fan, this set of pieces aren’t one of my favorites. But I decided to just sit back, listen and prepare for what’s next to come. Luckily, these Mazurkas are just short pieces so I didn’t have to wait that long.

The next piece played was Ballade No. 1 in G minor, Op. 23 which is one of my favorites. I am more drawn to the passionate, dramatic and melancholic music of Chopin than for the happy sounding ones. And this was when I started to get engrossed with the performance. And I guess the audience also got mesmerized because the applause got noticeably louder after this piece.

There was a change of pace for the next piece which was Tarantelle in A flat, Op. 43. Like the Mazurkas, this sounded a bit too happy for my taste. So I had nothing else to do but to try to enjoy this piece. And just like the Mazurkas, this wasn’t that long as well.

So after a relatively happy tune, Barcarolle in F sharp major, Op. 60 was played and after a not so favorite Chopin piece, the concert went back to something that I like more. It’s not very often that I get to experience these pieces played live by accomplished pianists so I knew that I had to take everything in.

The then came concert to an end with the final piece planned for the night: Andante spianato and Grand Polonaise for Piano and Orchestra, Op. 22. But Golez played it without an orchestra. I was a bit thrown off by this version since I’m more used to hearing a recording of that piece with an orchestra. It was a bit funny when I realized that my mind was imagining the orchestra playing along. This was truly a showcase piece and there were indeed many fireworks like what Golez said before starting to play. The audience was impressed by the fireworks as many stood up after he finished playing the final note.

For an encore, Golez got a bit cheeky by squeezing in a Wolfgang Amadeus Mozart piece on what was supposed to be a night of Chopin. The audience forgave him and let him play Rondo No. 1 in D Major, K. 485. Yes, I did forgive him as well and let him play this very happy sounding piece of music since he has more than satisfied my Chopin craving for the night.

He then tried to make amends for this inclusion by playing what he claimed to be everybody’s favorite: Fantaise-Impromptu in C sharp minor, Op. 66. It’s my turn to be cheeky since Golez got it wrong. This piece isn’t my favorite. I’ll tell what my favorite Chopin piece is if and when it is played in the subsequent concerts of this series.

Pianist Rudolf Golez

A Touch of Dutch

Dutch pianist See Siang Wong was the main attraction at the concert entitled “A Touch of Dutch” that was held at the Culturual Center of the Philippines. Accompanying him was the Philippine Philharmonic Orchestra under the baton of Herminigildo G. Ranera. This concert was also presented by the Embassy of the Kingdom of the Netherlands.

For that night’s performance, only the orchestra section was available and it made the affair a lot more intimate. I knew beforehand that it would be a double piano concerto performance but upon receiving the programme, I found out that a Mozart overture would be the starting piece of the night.

I was delighted that the orchestra had a nice performance to Wolfgang Amadeus Mozart’s Overture to The Marriage of Figaro, K.492. They played it comfortably and it made me feel relaxed which was a good way to start the show. It’s a popular piece and the orchestra had no problems with it. And it helped a lot that this overture is a favorite of mine because it just makes me happy whenever I get to hear it.

I am not really an avid fan of Joseph Haydn and the era where he came from. But that didn’t hinder me from enjoying Wong’s rendition of the Piano Concerto in D Major Hob. XVIII:11. It was playful, light, youthful and full of joy. There were a few tentative moments at the beginning when the orchestra couldn’t seem to get settled with the pace of the piano but they found their groove by the second movement. It was odd that I started thinking about the Beethoven piece which was to be played later on even while the Haydn was still being played.

I couldn’t help it since as I’ve said earlier that Haydn doesn’t do much for me. But it’s totally different for Ludwig van Beethoven. I admire Beethoven and his works especially his symphonies and piano sonatas and piano concertos. So it was with great anticipation that I awaited for Wong to finally play Beethoven’s Piano Concerto No. 3 in C minor, Op. 37.

Again, I felt that the orchestra had some tentative moments in the beginning especially during the opening passage of the wind section. The long orchestral exposition was almost too unbearable as I anxiously waited for the piano part to begin. And Wong entered with a statement of authority which is in stark contrast to the cheerful Haydn piece. Gone was the playfulness of the Haydn and what was present was the seriousness, drama and maturity of Beethoven especially in this C minor key.

And with the command and authority of the first movement, Wong showed delicate touch with the accompanying arpeggio while the flute and bassoon played their solos during the second movement. This has always been my favorite part of the concerto and it made me absolutely relax and I knew that I had to savor that moment since it was all too brief.

So by the time of the Rondo in the third movement, Wong had the audience at the palm of his hand. I was almost hypnotized when he attacked the coda and in another odd moment, I thought about the earlier Haydn piece. How totally different the moods of the two pieces and how Wong was able to convey those two concertos magnificently. The audience showered Wong with thunderous applause that resonated around the theater that can make one think that the balcony sections were filled with people as well.

Wong then treated the audience with a recap of the finale of the Haydn piece for an encore. He was back to his cheerful self again. And it felt as if he was trying to put the audience back at ease after the drama of the Beethoven. But that wasn’t enough. For the second encore, he did a very interesting Chopin Nocturne in C sharp minor, Op. posth. He started slower than usual, then played at the usual tempo, and then went faster than usual. It was the same for the dynamics with some passages played loud and turbulently. Overall, it was an interesting display of light and shade in that usually melancholic piece. I still can’t get over that Chopin.

Pianist See Siang Wong

After the performance, cocktails were served at the second floor hallway courtesy of Dusit Thani Hotel. I was able to have a brief chat with See Siang Wong and I told him how I felt about the Chopin encore. He told me that those deviations in tempo and dynamics were spontaneous and unplanned. Also among the crowd was Maestro Jae-Joon Lee who was with a group of very enthusiastic and very appreciative Koreans.

PPO Signature Series Concert V

The fifth concert of the 27th Season of the Philippine Philharmonic Orchestra held at the Cultural Center of the Philippines was the first concert of the year for me. Included in the programme lead by conductor Oscar Yatco were Paul Hindemith’s Symphonic Metamorphosis of Themes by Carl Maria von Weber; Frédéric Chopin’s Piano Concerto No. 1 in E minor, Op. 11 and Johannes Brahms’ Symphony No. 1 in C minor, Op. 68. The featured pianist for the Chopin piece was Albert Tiu.

As I settled into my seat about 10 minutes prior to the start of the concert, I heard the usual tuning of the instruments backstage. From the discordant tones stood out a clear passage played by a lone violin. It was from Brahms Symphony No. 1 in C minor, Op. 68. But I had to wait since that was the last piece of music to be played that night.

I admit that I wasn’t too familiar with the Hindemith work so I can’t really comment on how the orchestra played it. I did find the second movement quite interesting with the main theme repeated over and over as it got passed on from one group of instruments to another only to end up abruptly with a loud chord. And then what came next was a variation of that same theme but done with a jazzy feel to it by the trombones. And add to it the use of several lesser known percussion instruments like the tubular bells that added another facet to this very interesting movement. But during the end of the fourth and final movement, the brass section completely overpowered the strings and I could barely hear a sound from them despite their frantic bowing.

The next piece to be performed was the Chopin which is one of my favorite pieces of classical music. And I am glad that Albert Tiu delivered. He absolutely made the piano sing despite a few missed notes at the end of the difficult passages during the first and third movement. The second movement though was divine and the bassoon responded beautifully during the solo parts that supported the delicate and clear sounds from the famous slow section of this concerto. Again, I noticed that the brass section, particularly the horn was too loud. And unlike the bassoon solo which complimented the piano well, the horn sounded harsh which didn’t go well with the soft piano passages from this movement.

The audience responded well to the Chopin with some already applauding even when the last note was still being played. Tiu then treated the audience with an encore of a piano transcription of Le Cygne by Camille Saint-Saëns. He was later mobbed by adoring fans at the lobby during the intermission.

Pianist Albert Tiu

The Brahms started out nicely with the ascending and descending tunes of the introduction accompanied by the steady beat of the timpani setting the mood for this heavyweight work. The solo parts were remarkable especially the oboist during the second movement. I wish that I could say the same for the sweet yet haunting violin solo but as I’ve noticed earlier, the horn was too loud again for me to appreciate this wonderful tune. But the horn finally delivered at the fourth movement during the famous horn call. The flute that immediately followed echoing this call was up to the task and he also played his part well.

It seemed like it was all coming together as the final movement comes to a triumphant end but somehow it didn’t turn out as well as I would’ve expected. A flute noticeably stuttered, a horn had a very cautious entry, and in a strange turn, during the second brass chorale that usually sends a shiver down my spine, the brass section was somehow underwhelming. This was the part where the hair at the back of my neck was supposed to rise but it didn’t. I’m not sure if the orchestra ran out of gas at the end. It’s not like they crashed and burned and had it all wrong in the end but it was more like it didn’t end right. The applause at the end which should’ve been the loudest was a bit restrained compared to the audience’s enthusiastic response to the Chopin piece.

Overall, it was a satisfying performance by the orchestra. The Chopin alone was worth it. I still feel a bit overwhelmed by the brass section but it made me think if adding a few members to the string section would’ve improved their sound production. Speaking of the strings section, during the orchestral tutti at the beginning of the Chopin piece, a member from the 2nd violin section stood up and left the stage. He came back after the first movement and exchanged instruments with the Associate Concertmaster. I think that the Associate broke a string or something and had to have it fixed. Fortunately, the one who left returned during the pause between the first two movements and everything went well during the rest of the performance.