Cecile’s fury over the word theory could be implacable, but being a refined and cultured person, she has overlooked the error.
Incredible enough, Reynaldo Reyes, who had briefly tutored Marina, said in extemporaneous remarks that she had taught him how to play Liszt’s Campanella, and that his taped recording of the piece led to a scholarship at the Paris Conservatory where he eventually won the premier prix in the Long-Thibaud international competition, and to another scholarship at Peabody.
After his talk, Reynaldo proceeded to interpret La Campanella which, he earlier confessed, he had not played in years! His brilliant rendition did not suffer in comparison to Paderewski’s own (of which I have a record). Incidentally, Paderewski, pianist, gave concerts even at 78.
Jonathan Coo infused new, fresh and exquisite meanings into Reflets dans l’eau – that is, to impressionism, to Debussy’s harmonies and form. Coo’s touch produced liquid notes of the utmost delicacy, widely-ranging tonal colors, with the rhythmic pattern enhancing these. Coo’s interpretation was one of the finest I had heard.
In similarly exquisite fashion, Najib Ismail played Chopin’s Nocturne in Eb and Etude in Ab (Aeolian Harp), although, to be sure, Chopin’s style is entirely different from Debussy’s. ’Tis said that Chopin’s nocturnes express his yearning for romance, his searching for love (from a certain Countess). Appropriately, Ismail turned the Nocturne into a fluid, limpid mood piece totally capturing and conveying its ambiance. The Etude was likewise a remarkable gem with its glowing, gossamery lyricism.
Rachmaninoff’s Suite for Two Pianos – Romance and Tarantelle – had Raul Sunico demonstrating his phenomenal memory, playing both without scores, as also his masterful, exciting technical skill, authority and tremendous power. Mary Anne Espina was highly competent and expressive on the other piano.
Familiarity with Rachmaninoff’s Concerto No. 2 in C Minor may dull the senses of both players and listeners. Such was not the case with the performance of Ingrid S. Santamaria (solo part) and Reynaldo Reyes (orchestral part), although they had given 240 "Romantic Journey" concert tours consisting of the same romantic programs. That night they played only the Allegro Moderato movement, Ingrid showing undiminished vitality, vibrancy and a refreshing spontaneity while recreating the splendor and spiritual force of Rachmaninoff’s music. Reynaldo’s gratifying orchestral role matched Ingrid’s nuances and strong emotional surges.
E. Lecuona’s Malagueña had the outstanding Peter Portico and Julie Anne Hallazgo as interpreters. They – Peter particularly – infused the piece with dramatic vigor and Spain’s typically tantalizing colors and pounding rhythms.
Allan dela Cruz, a lawyer by profession and a former student of Marina, conveyed brio, authority and impressive technique in Liszt’s bravura piece, Hungarian Rhapsody No. 12.
Marsha Nicolas and Helen Reyes were spirited and sharply focused in the native selections charmingly arranged by A. Espino: Katakataka, Ahay, tuburan and Pandangguhan. Carlos Perion opened the program fittingly with Schumann’s Widmung (Dedication). Handel Francisco played Polonaise in Ab; Gary Garcia, Ballad No. 1 in G Minor; Mary Ann Choco essayed Scherzo No. 1 in B Minor, all three pieces by Chopin.
Marina’s son Butch delivered a movingly heartfelt "Thank You" at concert’s end.