Pianist Emily Yap Chua

The name Emily Yap Chua is new, at least to me. The announcement of her recital appeared in the Entertainment Page which is generally reserved for items of more popular appeal, e.g., pop and rock performances. But the item on Chua drew my attention because it announced a recital of French music; further, the pianist’s credentials — studies and performances abroad — seemed impressive. I thus hied myself to the CCP Little Theater last Sunday.

The recital opened with Ravel’s Valses Nobles et Sentimentales. Sharp and objective in the composer’s characteristic fashion, they hewed closely to the rhythm of Viennese waltzes but whose melodies and harmonizations were innovative, original and avant-garde, particularly for Ravel’s time. Playing in a graceful, effortless manner, Chua instantly conveyed tonal beauty and clarity, as well as solid technique. Further, it was authoritative, that is, cognizant of Ravel’s style.

It was equally so in the ensuing compositions of Debussy under the heading Estampes: Pagodas, very Oriental in mode and mood, La Soiree dans Grenade (An Evening in Granada), very Spanish in its suggestion of a  Moorish background, in its Spanish serenade, and in what De Falla described as “images mirrored by the moonlight upon the limpid waters of the large cisterns adjoining the Alhambra”. Finally, Jardins sous la Pluie (Gardens in the Rain) was descriptive of gardens drenched by pouring rain. The pianist delineated Debussy’s sensuous, dream-like, subtle impressionism in scenes not as ordinary people see them but as painters (like Monet and Renoir) imagine them.

The high point for me was Cecile Chaminade’s Arlequine (Harlequin), La Lisonjera (The Flatterer) and Air de ballet, their exquisite and opulent melodies accompanied by similarly exquisite and rich harmonies. The pieces were interpreted in as remarkably romantic a mood as possible, the recurring swift runs clear and ineffably limpid, the contrasting rhythms vivid and vibrant, the melodic lines and phrases spirited and movingly expressive.

Chopin’s Berceuse (Lullaby) and Barcarolle were again stylistically correct and instantly recognizable as the composer’s handiwork, the former calling to mind Debussy, the latter’s diverse moods structurally unified and building up to a climax.

The fragile, almost frail-looking Chua turned the finale, Debussy’s L’isle joyeuse, into an exciting, virtuosic piece, its onrush of chords and runs covering the entire keyboard executed with fire and vibrancy. It was a fitting, nearly breath-taking conclusion, creating a powerful impact, and driving most of the listeners to give Chua a standing ovation. She responded with a brief, relatively unknown Chopin Etude.

The mini-recital lasted for exactly an hour. In sum, Chaminade’s three compositions and Debussy’s L’isle joyeuse left almost nothing to be desired. The rest of the works, however, seemed rather wanting in luster, sparkle and dynamism. They appeared to be renditions of a placid temperament. At any rate, the over-all impression Chua gave was of an exceedingly talented young pianist readying herself for greater acclaim in the year 2008 and beyond.

Parol exhibit at CCP lobby

After the afternoon’s mini-recital, many in the audience went to the theater lobby to view the parol exhibit of the Bauan (Batangas) high school students. Everyone should see it. Done with entirely native materials, the lanterns demonstrate ingenuity, originality, inventiveness and great imagination. They look vastly different from the usual lanterns you see.

The exhibit proves what Filipinos can do with the right incentive and inspiration. There is such a surfeit of foreign goods everywhere we go. We should patronize our own!

What our products usually lack is quality control. After the first batch of excellent exports the quality of the second batch is not sustained, and the succeeding exports successively and increasingly deteriorate.

Whatever department is in charge of our exports should immediately exercise strict and rigorous supervision over our manufactured items.