Herrero's guitar feat/Aitken, Coyiutos perform in unique flute concert

The concert of Spanish guitarist Oscar Herrero, under the sponsorship of the Spanish Embassy headed by Ambassador Luis Arias and the Instituto Cervantes headed by Director Jose R. Rodriguez, and held in St. Benilde’s School of Design and Arts, was nothing less than a feat, a tour de force.

Spain has always been regarded as the home of the guitar, and in Herrero’s masterful manipulation of it, one indeed thought so. Each of us has ten fingers but Herrero seemed to have 15, ten in his right hand. His fingers were incredibly nimble and agile. Delicate plucking of the strings alternated with vigorous strumming, his control of dynamics producing widely diverse volumes ranging from the most lustrous reverberations to the faintest whispers.

The concert was a homage to Albeniz, the great composer who marks the centenary of his death this year, and whose works — identifiably Spanish in content and style — have been interpreted endlessly by pianists, guitarists and orchestras through the last century.

Herrero’s own compositions enriched the program. The third number El Vito (arranged by him), was highly familiar, as were the three works following intermission: Tornasol (Granaina) Asturias (Herrero-Albeniz) and Cadiz by Albeniz. The most fascinating and rivetting (for this reviewer) was Tornasol with its abrupt pauses, arresting staccatos and fervid strumming of the strings. Actually, all these characterized the numbers in varying degrees, the infinite variations creating vibrant, zestful and intense ardor, yet each piece distinct from the other.

De Falla’s Cancion del Fuego Fatuo, as the title implied, crackled with fire. Herrero’s own infectious works —  Carnaval (Tanguillo), Rumbuli (Rumba-Buleria) and Ambar de Primavera (Tangos), — were irresistible enticements for the listeners to dance.

The full house gave the guitarist overwhelming applause after each number. However, he hardly smiled as he acknowledged the clamor, perhaps preferring to let his fantastic renditions speak for themselves.

Behind the orderly concert, which had attracted droves of music-loving students, was Instituto Cervantes deputy Jose Mari Fons.

IC Director Rodriguez, in his brief remarks, introduced Herrero as Spain’s greatest flamenco guitarist whose awards are “of the highest caliber in the world of flamenco”. The awesome performance fully justified the awards.

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The Philippine Flute Society and the BDO will present Robert Aitken, Canada’s leading flutist, eminent pianist Cristine Coyiuto and her brilliant flutist-daughter Caitlin in an Oct. 29 concert, 8 p.m. at F. Santiago Hall. Enrique Barcelo, PPO’s German-trained principal flutist, Francisco Candelaria, David Johnson, founder of The Clarion Chamber Ensemble, Paris Conservatory scholar Antonio Maigue, Marie Poblete, Raymundo Sison and Santiago Yangco will also participate. Ringo Chan, Aitken’s former student, will conduct the 30-member Philippine Flute Society Orchestra.

Aitken will render Georges Hue’s Fantasie for Flute and Piano with Cristine, Doppler’s Andante et Rondo for Two Flutes and Piano with Cristine and Caitlin, and Prokofiev’s Sonata in D Major with Cristine. The Flute Orchestra will play J. S. Bach’s Brandenburg Concerto in G Major, Aitken will interpret his own composition Plainsong, and play Mozart’s Andante in C Major with the Flute Orchestra which will end the program with Franz Doppler’s Fantasie Pastoral Hongroise.

Aitken is globally known for his superb performance of traditional flute repertoire and as conductor and flutist of new music. He has wielded musical and teaching influence of international proportions; his scholarly interpretations of new works span almost 50 years. Winner in various international competitions, he received the Lifetime Achievement Award. Classical Music magazine has described him as “Canada’s Musician Extraordinaire”.