Reggie Jose: A unique master

Early this month, the late eminent pianist, conductor and assisting artist (accompanist) Regalado (“Reggie”) Jose was honored with a concert by his former UP College of Music students - many of them winners in national competitions - to mark his 85th birth anniversary. Jose’s widow, Remedios Trota, says 62 of his 82 years on earth were spent in the service of music. Herewith are excerpts of a piece I wrote on him.

When Reggie played Beethoven’s G Major Concerto with the Peabody Symphony Orchestra at Peabody’s second exhibition concert, he received eight curtain calls. In his first year at the Conservatory, he won the $500 Paul Thomas Prize for “outstanding pianistic talent and achievement”. In his second and final year, during which he obtained his Master’s Degree, he received another cash prize, and $1,000 for a TV talent program in Baltimore which had over 130 pianists competing.

On commencement day, faculty and students gave Reggie a six-minute  ovation. Awed, Prof. Balogh exclaimed that the Filipino pianist had romped off with everything except the building! Peabody director Reginald Stewart left the door open for Jose joining their prestigious faculty.

Enroute to Manila, Jose gave recitals for charity in Paris, Hong Kong and Athens, after his 53 public appearances in Peabody.

Before then, his “feats” included in 1946 playing Chopin’s ‘Polonaise in A Flat Major’ during a total blackout without his missing a note. In 1962, on very short notice as an alternate performer, he interpreted two Scalatti sonatas, a Brahms sonata, Barber’s ‘Four Excursions’, a Chopin ‘Impromptu’ and Paganini-Liszt’s ‘Campanella’ - a formidable program for a last-minute replacement.

After Peabody, he rendered at his first Manila concert Bach-Liszt’s ‘Fantasie and Fugue in G’, Brahms’ Sonata in C (four movements) Debussy’s ‘Estampes’, three Chopin Preludes, with ‘Polonaise in A Flat’ as encore. In 1947 at age 20, he played Bach-Labunsky’s ‘Prelude’, Schumann’s ‘Carnaval’, Chopin’s ‘Waltz in C Sharp Minor’ and ‘Polonaise’, Liszt’s ‘Un Suspiro’ and Shostakovich’s Concerto for Piano and Orchestra. When he repeated this program in 1957, I wrote: “Virtuosity was fully complemented by artistry.”

Jose was just as impressive as conductor. He was resident conductor of the Manila Symphony Orchestra (the country’s pioneer ensemble) from 1972-78. He enlivened the martial law regime by wielding the baton over the Metro Manila Symphony Orchestra at Luneta Park from 1972 to 1983. His programs might have been patterned after those of the Boston “Pops” Orchestra and London’s Promenade Concerts. In 1975, Jose conducted the Manila Symphony Orchestra in an all-Ravel concert. On Jose’s interpretation of Ravel’s ‘Valse’, I wrote “Jose was soon conjuring veritable images of whirling dervishes, blown hither and thither, by a cyclone. The arrested rhythms, the towering fortissimos with their sweep and verve, wholly captured the savagery of the satiric intent.”

In 1994, to high praise, Jose conducted the PPO for Mendelssohn’s ‘Hebrides Overture’ and Concerto in G Minor, Khatchaturian’s Concerto for Piano and Orchestra and three “Gayane Ballet” dances.

As assisting artist, Jose had already won the admiration of the Peabody faculty which considered him an excellent accompanist for his ability to adjust his playing quickly to the interpretations of whatever soloists he might be assisting. In Manila he accompanied the Mozartean specialist Paul Badura-Skoda (Aries Caces’ mentor) and ballerina Natalia Makarova.

Metropolitan divas Montserrat Caballé, Lucine Amara and Marie Powers were other celebrities Jose accompanied, as also violinist Eril Friedman, pupil of Jascha Heifetz.

Said Amara of Jose: “I don’t know how to explain it, but he seems to know what I’m going to do before I do it.” Powers was amazed  at Jose’s sight-seeing ability and his instinctive feel for the singer’s mood and pace. Friedman was so impressed with Jose’s accompaniment that he made plans of coming back and playing again! A critic commented: “Since the Kreutzer Sonata is about as demanding on the pianist as it is on the violinist, it must be noted that Regalado Jose matched, at times, out matched the vigour of Mr. Friedman’s interpretation.”

The music world continues to mourn Jose’s passing. For a person who had no musical forbears, he achieved heights of unique success in three areas of musical discipline. His former students must surely have been immensely inspired by their master.