Victor Goldberg Piano Recital

One thing that makes me very nervous when it comes to recitals and concerts is knowing about them barely a week, or worse, just a few days prior to the actual date of the performances themselves. I don't know how I manage to keep my sanity whenever I try to find the time and money to watch such a concert. I do like to know at least two weeks in advance so that I could really iron out everything and be prepared in all aspects.

So I was at my wit's end when I read about the upcoming recital of Russian-Israeli pianist Victor Goldberg at the Philam Life Auditorium barely a week before he performed. And it wasn't easy trying to find information about this performance since promotion was a bit lacking. And the few information that I was able to read ie. his credentials and blurbs about his performances just made me want to watch him the more.

But nonetheless, my resourcefulness kicked in and I was able to make ends meet and I ended up watching him. Unfortunately, most people that I've informed about his performance weren't able to make it since it was really too short a notice. And I guess that this was also the case since the regulars who I usually see watching piano performances weren't present at the concert as well which is quite a shame.

The first time I heard about him at a newspaper column stated that he would perform pieces by Tchaikovsky and Stravinsky. Somehow, this wasn't really the programme that he had in mind for his performance a the Philamlife Auditorium. But that didn't mean that what he played were light weight pieces.

A recital consisting of three sonatas by Mozart, Scriabin and Scarlatti and a Brahms piece is something that could intimidate the usual pianist but Goldberg was master of them all when he performed these pieces.

Again, I say that I am not really a fan of Wolfgang Amadeus Mozart's work. Sure I listen to them but I do not really jump for joy whenever I see his works being a part of a concert programme. But I was glad nonetheless that Goldberg started with Mozart's Sonata No. 9 in D Major, K. 311. Yes, he played it the way a Mozart piece was to be played, light, clear and playful and this somehow made me appreciate more the next piece which was very much different from Mozart.

This next piece was Alexander Scriabin's Sonata No. 5 in F Sharp Major, Op. 53. It was absolutely sublime and unmistakenly romantic which is what I really like. After this piece was played, I tried to enumerate my pianists friends who weren't present and felt pity on them for not being able to see this performance.

Unfortunately, Goldberg had to go back in time to an era of music that I am not really a huge fan of to start the second half of the program. The recital resumed with Domenico Scarlatti's Sonata in E Major, K. 380 and thankfully it wasn't that long since I was already looking forward to the Brahms that would end the night's programme.

I really like Johannes Brahms works but some aren't still familiar for me. And the Variations and Fugue on a Theme by Handel, Op. 24 is one such unfamiliar piece. Again, Handel's era do not excite me but I was really curious to see how Brahms did his variations based on the theme. And I was really surprised by the sheer talent of Brahms on how he was able to make these variations. The original theme doesn't appeal to me at all but the variations especially the brooding ones I appreciated. And some were technically different and I wondered if I'd ever reach the skill level for me to be able to play that piece. But I guess that that would just remain a dream.

Despite the less than ideal number of people present, they applauded vigorously after the performance and hoped for multiple encores. And Goldberg did three encores with Sergei Rachmaninoff's Musical Moment in E Minor being the first and there's no denying that I absolutely adore Rachmaninoff's music so I was very pleased to have this as his first encore.

And the second encore delighted me more as well since it was Frederic Chopin's Polonaise, Op. 40 which is also known as the Military Polonaise. So I was really happy after this. And then he played a Piotr Tchaikovsky piece which was the October - Autumn Song from The Seasons piece. Thankfully, this soft piece was a change of pace from all the fast, frantic and dizzying pieces that were performed earlier.

After the recital, Goldberg was at the lobby and he gladly signed CD's which he had on sale that night. This has been one of the most impressive solo piano recitals that I've seen this year and it's just a shame that not a lot of people were able to see it. The promotion leading towards this event was limited and the little I saw was too near the performance that it wasn't able to build a certain level of anticipation and excitement.

1st National Orchestra Festival 2010

Those who have stumbled upon this blog and have read some entries (thank you very much) would easily guess that I am into classical music big time. And one of the most exciting classical music concerts for me to watch are orchestra performances. If I had the time and money I would watch them all but although it's a lot easier for me and for most people to find the time, it's usually the money for tickets that is the problem.

So when it was announced that there would be the 1st National Orchestra Festival 2010 at the CCP which boasts of 7 orchestras (Philippine Philharmonic Orchestra [PPO], Manila Symphony Orchestra [MSO] , FILharmoniKA, Uinversity of Sto. Tomas Symphony Orchestra [USTSO], University of the Philippines Orchestra, Predis Chamber Orchestra and Angono Chamber Orchestra [AnChOr] performing from September 21-25, it was indeed a dream come true for me and probably every other lover of orchestral music out there. And an added feature for this festival is the formation of the Festival Orchestra which is made up of members from the various orchestras participating. And I've read somewhere that this Festival Orchestra will be massive with other 100 members.

So, an overdose of orchestral music is very much welcome and I would be extremely disappointed if ever I fail to catch this event tagged as "Magnitude 7 on the Orchestra Scale". I've seen all of these orchestras perform live before and I do make it a point to support their every performance as I believe that culture and the arts is very important in nourishing the soul.

A friend of mine and also an avid supporter of cultural events, Arvin Ello, is giving away free tickets for this festival. Of course I would want to win the tickets since that would mean savings on my part but I also want you, the humble reader to have a chance to experience the joy of watching an orchestra perform live.

He has simple rules and not only will I state my answers here, but I will suggest possible answers for you in case you're still on the fence about this festival.

Why should I win?

Well, I am an avid supporter of classical music performances and anything to make things easier for me to watch them is a definite plus.

Why should you win?

If you are still hesitant about watching shows like this because you think that it's elitist and quite expensive, then problem is solved if you win tickets.

Why would I like to watch?

I could go on and on about my reasons for wanting to watch. But one of the main reasons why I like to watch something like this is because not only it entertains me, but it also gives me inspiration and motivation to face the harsh reality of life. Somehow, after watching a performance, I do get additional strength to face whatever problems I may have had at the time.

Why would you like to watch?

I don't know about your reasons but even plain curiosity or if you had watching a classical concert on your to do list before you die is good enough reason to watch! Different people have different reasons for watching and that's what makes it more exciting since you will also get the chance to see the people in the audience hanging out at the lobby during intermission or after the concert. And who knows, you might even see some celebrities in attendance.

Who would I invite?

I've been very active in promoting cultural events to a group of recreational musicians. They don't embark on a career in music but they pursue it as a hobby. And it has been my pleasure bringing them to concerts and letting them experience how awesome the feeling is after seeing a great performance. I would gladly invite any of them who is available to watch.

Who would you invite?

Again, this has many answers! It could be your special someone, your spouse, your parent, your child, your friend. Or if you are new to events like these, bring someone who is also new since it's less intimidating to explore new things when you have a companion with you sharing the same experience.

Which set do I prefer?

If I have my own way, I'd watch all performances! But the opening concert which is part of Set A is a big one so I guess that would be my choice if left to only one decision.

Which set do you prefer?

Look at your schedule for that week and let that guide you on your decision. But if you can make it on a Tuesday night, then go for the opening concert as well. If you can only manage on a weekend, then go for the closing concert.

See, in my desire to promote this event to a lot of people I even helped my possible competition for this contest. Yes, I do want to snag free tickets as well.

Here is the schedule and the programme of the festival:

September 21

Philippine Philharmonic Orchestra
Olivier Ochanine, conductor

Overture to "Colas Breugnon" by Dmitri Kabalevsky
The Swan of Tuonela by Jean Sibelius
Symphony No. 40 in G minor by W.A. Mozart


Festival Orchestra
Olivier Ochanine, Conductor

Symphony No. 5 in E minor, Op. 64 by P. Tchaikovsky

September 22

PREDIS Chamber Orchestra
Jeffrey Solares, conductor
Micah Pecson, violin
Jeline Oliva, violin

Divertimiento in D major, K. 136 by W.A. Mozart
Concerto Grosso in A minor, RV 522 by Antonio Vivaldi
Holberg Suite, Op. 40 from "Holberg's Time" by Edvard Grieg
Romanian Dances by Bela Bartok


Manila Symphony Orchestra
Arturo Molina, conductor

Luzviminda Overture by Restie Umali
The Tempest by Peter Tchaikovsky
The Firebird Suite (Version 1919) by Igor Stravinsky

September 23

University of Santo Tomas Symphony Orchestra
Hermigildo Ranera, conductor
Najib Ismail, piano

Symphony for Brass and Percussion by Alfred Reed
Piano Concerto No. 6 in B flat major, K. 238 by W. A. Mozart
Overture to "Reinzi" by Richard Wagner


FILharmoniKA
Gerard Salonga conductor

Terry's Theme from "Limelight" by Charlie Chaplin arr. by Gerard Salonga
Night on Bald Mountain (original 1867 version) by Modest Mussorgsky
Yerma by Francisco Feliciano
Symphonic Dances from "West Side Story" by Leonard Bernstein


Herminigildo Ranera, conductor
Finlandia, Op. 26 by Jean Sibelius

Gerard Salonga, conductor
Overture to Russian and Ludmilla by Mikhail Glinka

September 24

Angono Chamber Orchestra
Agripino Diestro, conductor
Ivan Mihkail Ramos, violin
Dr. Santiago G. Yangco, flute

Overture to Messiah by George Frideric Handel
Petersburgian Baroque by Zhanna Metallidi
Concerto in A minor for Violin and Orchestra RV 356 by Antonio Vivaldi
Air, Suite No. 3 in D Major, BVW 1068 by J.S. Bach
Mga Katutubong Awitin by Lucio San Pedro
Katakataka: Theme and Variation for Flute and Orchestra by Santiago S. Suarez
Antiche Danze Ed Arie Per Liuto (III Suite) by Ottorino Resphigi
Jubilate March Heroic by Lucio San Pedro, orchestration by Agripino Diestro


University of the Philippines Symphony Orchestra
Edna Marcil Martinez, conductor

Overture to The Impresario, K. 486 by W. A. Mozart
Serenade for Strings in C major, Op. 48 by Peter Tchaikovsky
Balitaw sa Bukid by Rosendo Santos
Mindanao Sketches by Antonio Buenaventura

September 25
Festival Orchestra

Gerard Salonga, conductor
Three Dance Episodes from "On the Town" by Leonard Bernstein

Hermenigildo Ranera, conductor
Elsa's Procession to the Cathedral from "Lohengrin" by Richard Wagner

Edna Marcil Martinez, conductor
Academic Festival Overture by Johannes Brahms

Olivier Ochanine, conductor
"Fantasia on a Theme by Thomas Tallis" by Ralph Vaughan Williams
Selected Movements from Gayane Ballet Suite by Aram Khachaturian

Here are the ticket prices:

Ticket Prices for Opening and Closing Concerts (Sep 21 & 25)

Orchestra Center P1,000
Orchestra Sides P800
Balcony I P600
Balcony II P200

Ticket Prices for Daily Concerts (Sep 22-24)

Orchestra Center P700
Orchestra Sides P500
Balcony I P300
Balcony II P200

Festival Passes (access to all the concerts)

Orchestra Center P3,400
Orchestra Sides P2,600
Balcony I P1,800

20% discount Senior Citizens
50% discount Students

For tickets, please call the CCP Box Office at tel. nos. 832-1125 local 1409 and direct line 832-3704.

Tugtog at Indayog

Hoping to finally flush the Baroque contamination out of my system, I came back to the Abelardo Hall Auditorium at the UP Campus in Diliman for the final show of the Sounds of August series which was entitled Tugtog at Indayog: A Night of Jazz and Afro-Latin Music.

There's a whole bunch of musicians playing at this performance which comprises the Tugtog (Play) part of the title. The Indayog (Dance) portion was delivered by the UP Dance Company whom I've had the chance of seeing performing contemporary dances a few times already. I am already grasping the concept of contemporary dance and one thing that I like about dance performances is if there's live music accompanying it.

One thing that I didn't like was the trip going to the UP Campus since the weather was horrible once again and what was supposed to be a 20 minute trip ended up in a over an hour. So this show had a major task to eliminate the bad vibes I was feeling upon my arrival at the campus. Remarkably, this was the most attended event of the Sounds of August series and if I heard it right, some students were required to watch this.

The first number of the night was called Binalig sa EDSA by Ria Villena-Osorio. I've never heard this music before but it was clear that this was the jazz portion of the show. I felt that the trumpet was not yet in his zone at this time. Maybe he had a hard time coming to the venue as well and didn't have enough time to warm up. And as expected, several members of the UP Dance Company were there to provide the dancing. The next was the Toote Suite and if memory serves me right, a different group of dancers performed here and they had a more classical line as opposed to the contemporary leanings of the previous group. To end the first jazzy half, the musicians performed Caravan by Duke Ellington. I know a jazz standard entitled Caravan but I don't think that this was the one that was played.

The second half of the programme was when the Afro-Latin music made itself heard. First performed was Astor Piazolla's Bordel: 1900 and History of Tango: Nightclub 1960. Another set of dancers were on hand for this number and they had quite a different take on the tango. I really like tango music and I found this unusual interpretation of the dance very interesting.

Then came the Latin Jazz: Philadelphia Mambo by Sara Tavares. I'm not sure if this was the one where the musicians each had their moment. If this was the case, then this was the time when I lamented my absolute lack of piano improv skills. After this, a couple of vocalists joined the performers as they did WOrld Fusion: Bom Feeling by The Buena Vista Social Club. I felt that the vocals were a bit weak and quite unsure. Well, if they were singing in Portuguese which I think was the case, then I understand since I find the language difficult as well.

The last bunch of numbers performed were Danzon-Mambo, If Dreams Could Dance by Steve Erqulaga and Comparsa: Conga Carnival by Miguel "Anga" Diaz. By this time, I felt that no one was really taking this show that seriously. Sure mistakes were made by the dancers yet it was obvious that they were having fun and it somehow added to the appeal of the whole show.

Overall, the show was really all about having fun but I felt that some had too much fun. The overwhelming majority of the audience was made up of people from the UP College of Music and they were too comfortable that it made someone like me felt a bit out of place. I guess that this means that I am really getting old.

Dichter Liebe Poet of Love

Once again, I find myself at the Abelardo Hall Auditorium at the UP Campus in Diliman for another show in line with the Sounds of August series. But it felt really odd to see the campus almost deserted since it was a holiday. But nonetheless, a number people still came to see the performance entitled Dichter Liebe: Poet of Love which is in celebration of Robert Schumann's bi-centennial year.

I was still somehow poisoned by the Baroque Overdose that I've had the week before, so I need to have the proper antidote which is Romantic music. And although I'm not that into Schumann in regards to Romantic music, I still gladly took it just to have a change of pace.

But compared to the performance a week before which went too long for me, this one was too short and went by so fast. Only three pieces were played and although they weren't short pieces, it was indeed a short programme. I know that Schumann had more works than what was played and I didn't know why they couldn't have included another piece to add more meat to the programme.

First to perform was clarinetist Hernan Manalastas accompanied by Prof. Augusto Espino on the piano and they played Fantasiestucke, Op. 73. I am not really familiar with the clarinet repertoire despite owning the instrument. I just tried to see if my breathing could match that of the clarinetist and it didn't as expected. It's usually the same result whenever I see a clarinet performance, I only get frustrated on how badly I play that instrument.

The next number in the programme was Frauenliebe und leben (A Woman's Love and Life) by soprano Prof. Gabriela Francisco accompanied by pianist Prof. Pia Margarita Balasico. I forgot to mention that I was surprised to see quite a handful of kids and teens in attendance and it was they whom I took note of while watching this particular piece. I could barely grasp the meaning of the songs since they were in German after all and only got clues by how the music sounded and by looking at her facial expressions. I could only wonder if the young ones in attendance were able to appreciate this number at all. By the end of this number, the woman had indeed lived and loved and had gone through all what life brought to the table.

The second half of the programme composed only of one piece and it was Andante und Variationen Op. 46 (for 2 pianos, 2 cello and french horn). For this piece, Prof. Balasico and Prof. Espino return to play the 2 pianos along with cellists Gerry Graham Gonzalez, Giuseppe Diestro and french horn player, Mahler Villanueva.

I've never heard this piece played before and I couldn't really react to it. Although I'm drawn to Romantic music, it is such a broad category with so many composers and works under it. Unfortunately, Schumann's body of work isn't something that gets through me compared to other Romantic composers. So as much as I wasn't able to fully appreciate this performance at all.

I did find it alarming that despite not liking Baroque music, I responded to it more than this night of Schumann's music. But they I concluded much later that the Baroque still contaminated my body and that I needed another change of pace to flush it out completely.

Baroque Overdose

When I saw the title of this show which is part of the Sounds of August series that was held at the Abelardo Hall Auditorium at the UP Campus in Diliman, I somehow braced myself for something that might test my limits. I am not the biggest fan of Baroque music and I didn't know how much of it I could take. So I wasn't sure if I could survive an overdose of this kind of music but there were a couple of things that caught my interest so I decided to check this out. Unfortunately, things didn't start well for me since the weather was really bad going to the venue.

So it's up to this Baroque music to brighten up my mood which was quite a monumental task. The night started with a Sonata for Oboe and Basso Continuo by J.B. Roilette performed by Franz Ramirez on the oboe with Alejandro Consolacion on the Basso Continuo. If memory serves me correctly, the Basso consisted of an organ and a cellist for this number. This was quite a short sonata which is normal for music in this era.

But despite this short sonata, the whole show was quite long since following this number was tenor, Sheen Leem Sanchez singing Athalia by George Frideric Handel, Domine Deus by Antonio Vivaldi and Strike the Viol by Henry Purcell. And after this, it was soprano Sherla Najera's turn with Let the Bright Seraphim Come unto Him and Rejoice Greatly, Oh Daughter of Zion by Handel. Before the show started, it was announced that there would be changes in the programme order but I wasn't able to take note what they were since I wouldn't even notice since I wasn't really familiar with all these Baroque pieces.

I think that I've had my Baroque endurance limit tested when this was over but there was still the second half of the programme. Clark Louise Crisostomo on the trumpet performed Te Deum by Charpentier and again, it was all over before I knew it. Next was baritone Jonaf del Fiero with Ich Habe Genug by Johann Sebastian Bach. And then came next one of the reasons why I came to watch: counter tenor Mark Anthony Carpio. He sang a bunch of Vivaldi's works namely Nissi Dominus, Gloria Patri, Et in Secula Seculuria and Amen. I haven't seen nor heard a counter tenor sing live before (only in videos) and this one I really had to see.

Finally, the last piece of the night was Handel's Organ Concerto in F Major, HWV 292, Op. 4 No. 4 featuring organist Alejandro Consolacion who was quite busy accompanying the other performers throughout the evening. And for this number, he had with him the Festival Chamber Ensemble and also the four vocalists who performed earlier. It was quite interesting to note that the baritone sang the bass part and the counter tenor doing the alto during this concerto.

It was indeed a long performance and despite some of the pieces being short it was still a long night for me. It was too much Baroque for me that the Romantic side of me was already rebelling. But I was glad to be able to watch since it was still a learning experience for me musically.

A Voice to the World

I always find pleasure watching performances at the Far Eastern University's auditorium despite its less than ideal acoustics. The director of the President's Committee on Culture, Martin Lopez, is an excellent host and I've also become friends with some of the students who serve as ushers during these events. So when it was announced that there will be another show in line with the 20th Anniversary Celebration of the PCC, I immediately checked if I was free on that date. Fortunately, my schedule permitted me to watch the group performing on that date: The Synergy Show Choir.

The choir is from Salt Lake City, Utah in the USA and they are made up of around 20 performers raning from ages 17-26 years old which is in line with the PCC's celebration theme of focusing on the youth. So it was no longer a surprise that an overwhelming majority of the audience present were also young and it somehow made me feel old.

And I did feel old when I watched the group's performance. They started with a song called We Are Here to Change the World! which could be an original song meant for the group. And by this number alone, I already formed my impression of the group. They combined singing with vigorous dancing which was quite technical especially for the girls in the group. The guys in the group weren't really good dancers but they were very much capable of doing complicated lifts with the some of the girls.

And there was indeed more dancing since they also did a Heal the World Medley which is a number made up of Michael Jackson songs. They also did a Hairspray Medley and The Phantom Medley which is basically a medley of songs from various musicals. Most of the songs were upbeat which meant that there was indeed more dancing involved.

All this dancing and lifting meant that the vocals had to suffer a bit. Their music included backup vocals for the chorus parts but the soloists did sing live and passing the microphone from one soloist to the other was somehow part of the choreography. And it was nice that every member of the group had a solo vocal part. I admit that their vocals didn't impress me as much but I was able to understand that it was very difficult to belt out a tune right after doing a triple pirouette.

But all my doubts regarding the vocal chops of this group was shattered during the encore which was an a cappella performance. They first sang Lean on Me which was quite passable but when they did Paraiso, which is a local song, their vocals finally impressed me. And I also liked the one song they sang after they had their evening meal to show their gratitude to their hosts. I guess this just means that I am indeed getting old since the audience were really into the singing and dancing routine that was the main programme and I responded differently.

This feeling of getting older was magnified by the thousands during a brief forum at the end of the show. The audience were interested in finding out who's single or not among the members and asked if they have facebook accounts. Afterwards, the group was mobbed by people asking for photos and autographs.

This show may not have been for me but I still appreciated the performance. I admit that I liked the dancing a lot more than the singing. I rarely see good dancing on popular television programs and it was really a delight to see dancers with solid technique live. And seeing how the young audience reacted was also very amusing and it was like another show in itself for me.

PTGP Beethoven Concerto Competition 2010

It's the time of the year when going to concerts requires a lot more effort. For the PTGP Beethoven Competition 2010 Winner's Concert, the heavy rains resulting in flooded streets made it difficult for a lot of people to arrive at the Philamlife Theatre on time. But I did make it despite being very wet and quite haggard.

But thankfully, the foul weather didn't dampen the performance of the winners of this competition. Before the performances started, the finalists were awarded their trophies. For Category B, the winners were Kao Sugata (1st prize), Lorenzo Medel and Gabriel Allan Paguirigan (3rd prize). For Category C, the winners were Ma. Regina Montesclaros (1st prize), Maysel Joy Adap (2nd prize) and Elaine Sara Lim (3rd prize).

First to perform were the winners of the Best Performance of the Contest Piece. The winner for Category B was Gabriel Allan Paguirigan and he played Rondo in C Major Op. 51 No. 1 and he was followed immediately by Category C winner Maysel Joy Adap who then played Rondo in G Major Op. 51 No. 2. This being a Beethoven Concerto Competition meant that all the pieces played were obviously by Ludwig van Beethoven.

After the performances of the two Rondo, it was time for the 1st prize winners to perform. The winning pianists performed their respective concerto pieces accompanied by the UST Symphony Orchestra under the baton of Herminigildo Ranera. And this was actually one of the prizes for winning the competition, a performance of their concerto piece accompanied by an orchestra. They did also receive a cash prize but I wasn't able to get information on how much did each of the winners including those who placed 2nd and 3rd for each categories.

The 1st prize winner for Category B was Kao Sugata and she played Piano Concerto No. 1 in C Major Op. 15. Her Category C counterpart was Ma. Regina Montesclaros and her piece was Piano Concerto No. 4 in G Major Op. 58. They played adequately but still none of the passion that I would expect from a seasoned performer.

But I was really taken aback by the orchestra's performance especially the brass section which seemed to me to have been grossly out of tune. I know that they are a student orchestra but their performance that day didn't meet my expectations.