The amazing Aries Caces / Soprano Saporsantos, pianist Hila to perform
July 12, 2006 | 12:00am
For the "MCC Arts Festival 2006", Aries Caces, who trained in Vienna for 12 years under top piano mentors including Paul Badura-Skoda, gave a concert last week, with three Mozart compositions marking the composers 250th birth anniversary. Utmost refinement, polish and delicacy of touch characterized the interpretation of Rondo in D Major, Fantasy in D Minor with its exquisitely sad opening theme, and Sonata in D Major with its discipline and command of technical resources Mozart introduced way ahead of his time.
The mastery of style its purity and eloquence predominated, with spirited, sparkling nuances surfacing throughout. The fantasias Mozart himself played in the palaces of Viennas royalty always garnered tremendous applause; so did the Fantasia Caces rendered at F. Santiago Hall.
Many Liszt works are transcriptions and arrangements, e.g., the six Paganini Grandes Etudes of varying degrees of pianistic challenge which were played that evening.
A musicologist once observed: "It was the diabolical fiddler, Nicolo Paganini, who showed Liszt, already aspiring to be the virtuoso of virtuosos, that technique itself could be sorcery. In this unsavory Italian, he found exactly the elements he was to use in becoming the most phenomenal pianist of the century absolute command of his instrument, a battery of outlandish technical tricks, a dash of diablerie, and an elaborately built-up professional personality."
Caces may not exactly conform to the image of Liszt as an Adonis, or as a pianist of equal caliber, but he remarkably passed the most rigid test of digital skill and dexterity the Etudes offered. Unfazed, he executed nimble, clear, precise runs and massive, powerful chords that never missed a beat in No. 1 in G Minor "Preludio" with its swift double runs, No. 2 in E Flat Major "Andante Capriccioso" with chords and runs predominating, No. 3 in G Sharp Minor "La Campanella" with its dizzying "jumps", No. 4 in E Major "Arpeggio" with its staccatos, and No. 5 in E Major "La chasse" the most familiar of the six etudes.
As a child, I used to listen to a Paderewski recording of La Campanella, and as far as I can surmise, Caces version showed no slackening of pace. Theme and Variations, the final etude, was doubtless fiendishly demanding, and here Caces was amazing. Sensational.
Thunderous applause and a standing ovation ensued. The encore, Soiree de vienne, Alfred Gruenfields concert paraphrase of Johann Strauss Waltz Themes (no wonder they sounded familiar) closed the program while the audience rapturously clamored for more encores.
Soprano Katrina Lozano Saporsantos, a NAMCYA prize winner in 2002, was accepted in the Masters Program in voice at the Manhattan School of Music in New York, one of the top ten schools of music in the US. Incidentally, the school is where outstanding Jiovanney Emmanuel Cruz furthered his studies.
Before she leaves, Katrina will give a voice concert at the F. Santiago Hall on July 23 with internationally acclaimed pianist Raul Sunico as assisting artist.
Katrina has been a soloist for the PPO, the MSO, the SMO under notable conductors Castille, Barbieri, Quirit, Toledo, J. Navarro and J. Velasco. She has had engagements at the Bamboo Organ, San Agustin and Pundaquit festivals.
Few know that Katrinas grandfather was the marvelous impresario Alfred Lozano who presented to Manila audiences Metropolitan Opera stars Helen Traubel, Lucine Amara and Jan Peerce, the Berlin Philharmonic Orchestra under Herbert Von Karajan, Yehudi Menuhin, Marian Anderson, the greatest contralto America has produced, pianist Rudolf Serkin, Cecile Licads mentor at Curtis, among other celebrated artists.
Katrinas powerful voice has tremendous potential. In due time, she should be joining opera houses abroad.
Pianist Hiyas A. Hila will give a solo recital at the Philamlife Theater on Aug. 11 at 8 p.m. under the auspices of the UP Aloha Sigma Fraternity Alumni Association. Hiyas will interpret Beethovens 32 Variations in C Minor, second movement; Schuberts Sonata in A Minor, second movement, andante con grosso; Debussys Images, Book 1.
Mozarts Overture to the Magic Flute will be rendered by the Manila Symphony Orchestra under Arturo T. Molina; Mozarts Concerto in A Major will have Hiyas as soloist with both compositions marking the composers 250th birth anniversary.
A sophomore in the Doctors degree program at Minnesota U. School of Music under Leeds and Levintritt winner Lydia Artymiw, Hiyas won in its concerto competitions last year, playing the above Mozart concerto. She won first prize in the graduate division 83rd Annual Club of Minnesota, and second prize in the Elinor Bell Competition also in Minnesota.
A John Quimson fellow of the Asian Culural Council, Hiyas received the Centennial Piano Fellowship (2005) awarded to an incoming student who excels in live auditions for admission. She is a teaching assistant at the School of Music.
Hiyas earned her bachelors and master of music degrees from the S.F. Conservatory in California under Mack McCray. She was a Sergei Barsukov and GlaxoSmithkline scholar all through her study at the conservatory, and was consistently in the deans list.
In Manila, she was a perennial NAMCYA winner, garnering first prize in the 1995 competitions sponsored by the Piano Teachers Guild, which prize led to her debut with the MSO.
The mastery of style its purity and eloquence predominated, with spirited, sparkling nuances surfacing throughout. The fantasias Mozart himself played in the palaces of Viennas royalty always garnered tremendous applause; so did the Fantasia Caces rendered at F. Santiago Hall.
Many Liszt works are transcriptions and arrangements, e.g., the six Paganini Grandes Etudes of varying degrees of pianistic challenge which were played that evening.
A musicologist once observed: "It was the diabolical fiddler, Nicolo Paganini, who showed Liszt, already aspiring to be the virtuoso of virtuosos, that technique itself could be sorcery. In this unsavory Italian, he found exactly the elements he was to use in becoming the most phenomenal pianist of the century absolute command of his instrument, a battery of outlandish technical tricks, a dash of diablerie, and an elaborately built-up professional personality."
Caces may not exactly conform to the image of Liszt as an Adonis, or as a pianist of equal caliber, but he remarkably passed the most rigid test of digital skill and dexterity the Etudes offered. Unfazed, he executed nimble, clear, precise runs and massive, powerful chords that never missed a beat in No. 1 in G Minor "Preludio" with its swift double runs, No. 2 in E Flat Major "Andante Capriccioso" with chords and runs predominating, No. 3 in G Sharp Minor "La Campanella" with its dizzying "jumps", No. 4 in E Major "Arpeggio" with its staccatos, and No. 5 in E Major "La chasse" the most familiar of the six etudes.
As a child, I used to listen to a Paderewski recording of La Campanella, and as far as I can surmise, Caces version showed no slackening of pace. Theme and Variations, the final etude, was doubtless fiendishly demanding, and here Caces was amazing. Sensational.
Thunderous applause and a standing ovation ensued. The encore, Soiree de vienne, Alfred Gruenfields concert paraphrase of Johann Strauss Waltz Themes (no wonder they sounded familiar) closed the program while the audience rapturously clamored for more encores.
Before she leaves, Katrina will give a voice concert at the F. Santiago Hall on July 23 with internationally acclaimed pianist Raul Sunico as assisting artist.
Katrina has been a soloist for the PPO, the MSO, the SMO under notable conductors Castille, Barbieri, Quirit, Toledo, J. Navarro and J. Velasco. She has had engagements at the Bamboo Organ, San Agustin and Pundaquit festivals.
Few know that Katrinas grandfather was the marvelous impresario Alfred Lozano who presented to Manila audiences Metropolitan Opera stars Helen Traubel, Lucine Amara and Jan Peerce, the Berlin Philharmonic Orchestra under Herbert Von Karajan, Yehudi Menuhin, Marian Anderson, the greatest contralto America has produced, pianist Rudolf Serkin, Cecile Licads mentor at Curtis, among other celebrated artists.
Katrinas powerful voice has tremendous potential. In due time, she should be joining opera houses abroad.
Mozarts Overture to the Magic Flute will be rendered by the Manila Symphony Orchestra under Arturo T. Molina; Mozarts Concerto in A Major will have Hiyas as soloist with both compositions marking the composers 250th birth anniversary.
A sophomore in the Doctors degree program at Minnesota U. School of Music under Leeds and Levintritt winner Lydia Artymiw, Hiyas won in its concerto competitions last year, playing the above Mozart concerto. She won first prize in the graduate division 83rd Annual Club of Minnesota, and second prize in the Elinor Bell Competition also in Minnesota.
A John Quimson fellow of the Asian Culural Council, Hiyas received the Centennial Piano Fellowship (2005) awarded to an incoming student who excels in live auditions for admission. She is a teaching assistant at the School of Music.
Hiyas earned her bachelors and master of music degrees from the S.F. Conservatory in California under Mack McCray. She was a Sergei Barsukov and GlaxoSmithkline scholar all through her study at the conservatory, and was consistently in the deans list.
In Manila, she was a perennial NAMCYA winner, garnering first prize in the 1995 competitions sponsored by the Piano Teachers Guild, which prize led to her debut with the MSO.
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