Sunico concert conveys widest range of dynamics / On Santamaria, UST Singers

The celebrated international pianist Raul Sunico took his turn in the series of concerts at the Philamlife Auditorium celebrating Chopin’s bicentennial. As expected, Sunico left his own distinctive imprint on Chopin’s works.

Chopin composed 56 Mazurkas, all marked presto. The sparkling pieces evoke evanescent moods, but they are not technically demanding. Although the three Sunico chose — No. 1 in B, No. 2 in C and No. 3 in C Minor — do not present the best of Chopin, the pianist maximized their merits to the full with tonal clarity and resonance.

The high point in the program, the Sonata No. 2 in B Flat Minor, is one of Chopin’s best compositions. On listening to it for the first time, Schumann declared: “To have called this a Sonata must be reckoned a freak, if not a piece of pride, for he has simply yoked together four of his maddest children.” (The reader is left to assume whether this is a complimentary or a deprecating remark.)

The first movement quickened to a mighty crescendo; the second, a vibrant scherzo, required tremendous power. The third, the Marche Funebre, seemed entirely out of keeping with the rest of the movements. Though irrelevant, Sunico conveyed the meaning and spirit of the lugubrious march. The fourth movement, a toccata, was quieter than the previous ones; again, Sunico breathed dynamic life into it. The high level of excitement was maintained throughout.

The opening Barcarolle in F Sharp, earlier interpreted by Rudolf Golez, is not regarded as one of Chopin’s great masterpieces, although it has been described as “the perfect music for the full flood of love,” Sunico portrayed the flow of gleaming waters in the rich harmonies and slow rhythmic patterns.

The program ended with four fiercely challenging Scherzos: No.1 in B Minor, No. 2 in B Flat Minor, No. 3 in C Sharp Minor and No. 4 in E, all demanding great vigor and high speed. A less gifted pianist would have paused for some time after rendering each scherzo but Sunico played them successively in breathless pace. He interpreted the pieces with passion and intense fervor while demonstrating formidable skill and utmost sensitivity. The entire concert was characterized by the widest range of dynamics. Arms and fingers of steel produced bristling, thunderous fortissimos turning into the most sensitive, delicate pianissimos.

The fervid audience applause was rewarded with Chopin’s Etude No. 1, Op. 25, often described as the “Aeolian Harp”.

The Philamlife Auditorium has excellent acoustics; the Bosendorfer piano provided by the ROS Music Center through the gracious courtesy of flutist Raymond O. Sison, is regarded by pedagogues as excellent; Sunico, for his part, is an excellent pianist. With these three factors, what else would have been expected but an excellent concert?

*      *      *

As a corollary to the above, it is a wonder Sunico could have performed at all. He had just arrived from concertizing in Europe after which he served as juror in an International Piano Competition in Serbia. Before leaving for abroad, he was busy with administrative duties as UST Conservatory dean as also CCP v-p and artistic director!

*      *      *

The Peace Philippine Philharmonic Orchestra will hold a concert on Saturday, April 10, 7 p.m. at the Cebu SM Theater. It will feature PPP alumni headed by Hazel Magdadaro Sanchez, with the orchestra co-conducted by former faculty members Jeffrey Solares, Ariel Perez and Roberto del Rosario. Climax will be Chopin’s Concerto No. 1 in E Minor with eminent pianist Ingrid Sala Santamaria as soloist. Ingrid is founding chair of PPP which evolved from the Cebu Youth Symphony Orchestra, this having been the direct result of a music development program spearheaded by the Salvador and Pilar Sala Foundation.

*      *      *

The UST Singers, under conductor-music director Fidel Calalang, Jr., leave shortly for Korea and Europe, doubtless to garner more lusty applause and profuse praise from foreign audiences.

I have heard the vocal ensemble perform several times and I vividly remember the amazing versatility it exhibits in widely diverse songs, its discipline, precision, control and superb cohesiveness under Calalang who serves the choir not only as conductor but also as music arranger and, occasionally, as piano accompanist.

The marvellously expressive UST Singers won the enviable title “Choir of the World” after its performance in Wales some years back.