Oscar Yatco: Mighty mite/ Music goes to the dogs

In my book of portraits Above the Throng (published 1981), I described violinist-conductor Oscar C. Yatco as “the mighty mite of music”. He is still that in my view, but he has grown even mightier. He exemplified his stature in last week’s CCP “Transymphonic Gala” wherein he conducted three daunting selections: Wagner’s Tannhauser Overture, Richard Strauss’ tone poem Don Juan and Stravinsky’s Firebird Suite, each work challenging in its own fashion.

The opera Tannhauser combines history and myth, its leitmotif “woven into a continuous thread of narrative melody”, as academicians describe it, “the orchestra used as a means of dramatic expression.” It is music drama expressing both sensual and spiritual love. Indeed, as the program notes indicate, the music juxtaposes the religious and the voluptuous. Yatco drew from the ensemble the diverse colors depicting each distinctively, while distilling its dramatic essence.

To demonstrate what Yatco was interpreting in Strauss’ Don Juan, let me quote an analysis of it. “Don Juan is a whirlwind under control, and never did Strauss compose more heroic music. The themes and rich contrapuntal harmony are not only beautiful in themselves, but admirably perform their function of carrying forward the story and examining the state of Don Juan’s soul.

“The frantic quality of the hero’s search is given ironic emphasis by the sense of impending catastrophe that hovers over the music from the very beginning. In a few strides, Strauss has succeeded in creating an opera without words, clearly adapting for solo orchestra Wagner’s concept of a continuously unfolding music drama. Don Juan has immediate impact as drama, whether or not the listener knows the Lenau poem on which it is based.”

How the verve, vitality and encompassing sweep of the orchestra under Yatco’s vigorous thrusts delineated the above!

There are few works one can think of that can compare with the highly descriptive quality of Stravinsky’s Firebird Suite. Through Yatco’s eloquent and keenly perceptive interpretation of the composer’s brilliant orchestration, the audience derived both an aural and visual experience. It saw the Firebird vividly wing its way through the thick forest, its fateful meeting with Prince Ivan, the dreaded Katschei and his monsters whirling about, the captive maidens daintily playing in the garden, Katschei and his demons ending in disarray, Prince Ivan and the captive Princess marching to the grand, majestic wedding music woven by Yatco’s baton, the intense towering climax leading to thunderous applause.

Before intermission, the formidable concert pianist Aima Labra Makk played Chopin’s Concerto No. 2 in F Minor. It is generally accepted that Chopin had scant talent for orchestration, his forte being in composing solo pieces for the piano, his uniquely distinctive style, thus garnering his reputation as “poet of the piano”. Tonal clarity and richly diverse hues characterized Makk’s rendition; the larghetto was a long, sustained pianissimo line which was subtly, finely, exquisitely graded. The concerto conveyed fire and brio combined with sensitivity; technical skill of the highest standards was consistently evident.

The orchestra asserted itself particularly in the last movement (allegro vivace), with the mighty Yatco sharing the spotlight with Makk. It was indeed a “transymphonic gala — the world in concert.”

Dog Day Afternoon

On Sept. 27 at 2:30 p.m., “Dog Day Afternoon” will be held at the residence of Kumiko Kuroda, wife of the ADB president, at No. 6 Caimito Place, South Forbes, Makati. The musicale will raise funds for Philippine K9 Search and Rescue Foundation which takes charge of trainers and dogs used in the search and rescue of victims of volcanic eruptions, landslides, floods, etc.

Jennifer Uy, accompanied by pianist Sheryl de Dios, will sing Je Veu Vivre from Gounod’s “Romeo and Juliet” and Si, Mi Chiamano Mimi from Puccini’s “Boheme”. Camille Lopez will sing, accompanied by pianist Hyun Joo Lee, F. Santiago’s Kundiman, Sandoval’s Jurame, Habanera from Bizet’s “Carmen”, and a duet from “Norma” with Jennifer. Kumiko Kuroda will play on the recorder accompanied by guitarist Dong de Dios, and Brahms’ Hungarian Dance No. 2 and No. 5 accompanied by Sheryl de Dios.