Without my eye glasses, I missed the step leading to the bridge that spanned the whole length of the fishpond. I lost my balance with such impact that I walked in uncontrollable haste and without direction until I fell into the shallow fishpond, surprising the gold fish with my company.
Soon two husky household helpers were fishing me out like a fish from the fishpond. I was drenched to the skin. Elena Colomé and Menchu Padilla rushed to me, having been informed by a guest of my amusing accident. (Amusing news, as well as bad news, travels fast.)
Host Tito Yuchengco kept saying “I’m sorry”, though he had no fault at all, and asking me how he could help. Cocoy Laurel, looking distressed, repeatedly expressed grave concern. The chorus of sympathetic and compassionate voices almost led me wishing to fall into the fishpond again. Besides, the good Lord was guiding me throughout. Had I walked just an inch farther, my head would have hit the solid wall or the concrete pavement below, with dire consequences, either way.
All the good Samaritans escorted me to my car, and I thanked them for their most kind and solicitous attention. With the leather jacket and towel Tito lent me, I felt warm (though soaking wet) during the short ride home.
Next morning, Donna Elena, Menchu and Chloe R. Periquet — bless them! — called to ask how I was. Their affection and anxiety led me again to think: I should fall into a fishpond more often.
And now for the concert. Organized by Elena Colomé, and held in the residence of Tito and Marit Yuchengco, it consisted of works by her late husband Delfin Colomé, Spain’s former ambassador who was, besides, a highly gifted and imaginative composer, dynamic conductor, pianist and cultural writer. During his brief introduction, Tito Yuchengco explained that the Baldwin piano — its tones strong and sonorous — was a family heirloom which belonged to his mother Paz, and earlier, to his grandmother, further, the piano was celebrating its hundredth year.
With considerable zest and spirit, Nena Villanueva played three of “The Seven Datus” — these drawn from Malay culture — each datu distinct from the other. Forthwith, Raul Sunico interpreted two other datus, Datu Mandirigma (the warrior) and Datu Zula (the intriguer). His power was such, listeners feared some piano strings would snap.
Nena was assisting artist for “Lullaby for Daniel” (Delfin’s first grandchild) sung by mezzo-soprano Clarissa Ocampo, she of the marvelously powerful voice, and for “From Something Uncertain”, this inspired by five poems but sung nonstop. Finally, pianist Nena and cellist Renato Lucas rendered “Prelude for Andre” (Delfin’s second grandchild). Tessie Luz served as emcee.
The avant-garde music was minimalist and predominantly atonal with tonalities occasionally introduced. The polytonal music was also characterized by abrupt changes of tempo, and clusters of notes alternating with single ones. In the piano-cello chamber music, Nena’s discordant chords were answered by Renato’s strong sharp thrusts to convey the child’s (Andre’s) petulance, with long silences in-between.
These devices made the compositions fascinating and arresting. One listened to them with a tinge of regret: Had Don Delfin lived longer, he would have been conducting major orchestras in Europe and America with his remarkable creativity further admired by the rest of the world. Many of his pieces, in fact, have already been performed in Europe.
Before concert’s end, Chloe Periquet explained that Don Delfin always concluded his private recitals (which I reviewed) with traditional Spanish music “so it would not die.” Consequently, Chloe expertly clicked her castanets to a Spanish dance played by Raul. After the program proper, in response to insistent clamor, icon Cocoy Laurel electrified the audience with a Spanish song whose lyrics were by Don Delfin.
In the select audience were Spanish Ambassador Luis and Soledad Arias, former Ambassador Juan and Pilina Rocha, Celia and Lorna Laurel, Jimmy Laya, Nes Jardin, pianist Ingrid Santamaria, Fr. Pedro Galende, PPO resident conductor Agripino Diestro and Clarissa’s mother. The international cocktail fare included Russian caviar, Swedish lechon, Spanish wine and paella, French cheese, and Filipino suha.