A concert of winners
MANILA, Philippines - The first of 10 concerts lined up for the 2011 MMCO Concert Season was presented at the newly renovated BDO Francisco Santiago Hall in HV dela Costa, Makati a few weeks ago.
Critics and musical aficionados described it a veritable “concert of winners,” with the MMCO conducted by its founding music director Chino Toledo, the participation of two prized choirs — the Novo Concertante Manila and the Neo Nocturne; the versatile baritone Lionel Guico, and the “Pianist of Pianists” Cristine Coyiuto.
The MMCO opened the concert in a celebratory mood with the Czech composer Anton Dvorak’s Carnival Overture. op.92.
The MMCO brought us to a carnival scene where a lonely wanderer joined in the revelry and did a brisk dance as violins and instruments in “Fortissimo” set him up whirling with the gay laughter of bohemian revelers. We were brought to a peaceful scene of nature with this pastoral theme describing two lovers straying to this peaceful place, which is shattered by the recapitulation of Slavic dances as the merrymakers danced to their heart’s delight. This overture was Dvorak’s farewell to Prague as he ventured to the New World (US) where he wrote his famous New World Symphony.
The Novo Concertante and Neo Nocturne choirs joined the MMCO in an exciting interpretation of National Artist for Music Lucio San Pedro’s Sa Dalampasigan.
After still another orchestral interlude, the beautiful voice of baritone Lionel Guico breathlessly holding notes for a long time, wafted over the hall reaching even the rafters. The chorus came in “Stemimstauch,” voices answering each other, then another enchanting baritone solo of Guico ending brilliantly with the whole ensemble in perfect harmony. This “Stemimstauch” method was in imitation of the “endless romance between land and sea, sand and water” as the composer saw the gigantic waves getting gentler as it kisses the shore, the composer expressing hopes to be like the vast ocean’s love for the seashore. The resonant voices of the members of the Novo Concertante and Neo Nocturne choirs, Lionel Guico, and the MMCO joined in an enchanting rendition of Maestro San Pedro’s Sa Dalampasigan.
The talented members of the MMCO proved a winner when they performed Rodriguez’s Hot Buttered Rumba, transporting us to dancing the rumba in Cuba. Perhaps overcome by the tipsy effect of the “buttered” drink, the “rhythmic wobbles” and uproarious orchestral glissandos before regaining its former rumba rhythm roaring to a brilliant end. Audience and orchestra were in perfect rapport, smiling gleefully and dancing (silently) on their seats, observing the dynamics and the sexy ritardandos.
The grand finale of the evening was the stunning rendition of Camille Saint-Saëns’s Piano Concerto no. 4 in C minor op. 44 where we witnessed the incomparable performance of Cristine Coyiuto. Elegance and superb craftsmanship characterize this formidable work of two continuous movement sections: first, the “Allegro moderato-Andante,” and second, “Allegro vivace-Andante-Allegro” in cyclic style with themes rhythmically varying in different movements.
We enjoyed Cristine’s and the MMCO’s lively dialogue of a “gently mischievous chromatic subject” developed freely and contrapuntally in the manner of a cadenza (“Allegro Moderato”) and were intrigued in the “Andante” with Cristine’s smooth arpeggios against the mysterious sounds of the MMCO with the chorale theme varied with delicate ornaments. It was, however, in the last movement that the audience sat in breathless amazement.
After Cristine played delicate octaves starting the playful “Scherzo” with its theme derived from the chromatic first movement, she led the orchestra to a brief theme in fast and popular style leading to the “Andante” with the rich orchestral sound of the chorale theme, suddenly interrupted by Cristine’s double octaves trills, a trumpet fanfare, an orchestral fugato, a rondo-like chorale theme, and Cristine’s faultless virtuosi, leading the orchestra to a brilliant ending. Orchestra and pianist had perfect rapport. After the standing ovation, Cristine performed Ravel’s “A la maniere d’ Emmanuel Chabier” (who influenced Ravel’s musical development. But this work doesn’t have a slight hint of imitation).
Truly a concert of winners, thanks to the talented artists, the Institute for Orchestral Development in the Philippines, BDO, Lyric, Steinway and Sons, Prudential Guarantee, The Philippine Star, Ray Sison, and Chingay Lagdameo for uplifting us to heavenly heights.
