The Amici Trio (the French amici means friends), consisting of baritone Joseleo Logdat, pianist Tomoyo Kobayashi and violinist Kazuki Yamamoto, both Japanese, gave a compelling concert at the Sta. Isabel College auditorium in honor of distinguished cellist Vicente “Tiking“ Lopez on his 10th death anniversary.
Tiking’s grandson Martin Lopez had valid reasons for organizing the concert. Tiking in his lifetime made nostalgic visits to Japan; Logdat is a scholar at the Elizabeth U. in Japan; Martin himself stayed in Japan for years where he learned to speak fluent Japanese; the instrumentalists are Japanese — all these fortifying Phl-Japanese friendship.
I missed F. Santiago’s Ave Maria as performed by the Trio. In Teleman’s 12 Fantastie in B Minor and Kreisler ‘s Praeludium and Allegro, Yamamoto demonstrated impressive dexterity and an inherent talent to express diverse emotions eloquently. His bowing was firm and assured, his left fingers nimble, his tones sparkling.
In Chopin’s Etude 10-12, otherwise known as the Revolutionary Etude, Kobayashi proved beyond measure left-hand agility while also conveying the merits of the piece, e.g., the melodious lines of the labyrinthine passages so typical of Chopin, the pianist rendering these with a refinement of touch, subtle nuances and restraint. The Etude has been described as “a bravura study of the very highest order for the left hand.†Kobayashi was rather wanting in power in the chords which demanded tremendous strength, while remarkably fulfilling the requirements for the left hand.
Scriabin’s Prelude and Nocturne again exhibited refinement and delicacy of style which evoked deep emotions and poetic reverie.
Logdat enthralled with his vibrancy, spirit, and vigorous stage movement, singing an aria from Mozart’s Don Giovanni, Finchan del Vino, and another, Vien Leonora from Donizetti’s La Favorita. In the Trio’s interpretation of Lara’s Granada, the baritone so stirred listeners that after the encores from the other two, some members of the audience chanted: “We want Leo!â€
Logdat will attain greater heights if his volume increases and acquires greater power, and if his timber becomes fuller and rounder. In other words, if he becomes another Andrew Fernando.
The Trio rendered Tosti’s La Serenata, Brahms’ Gestilte Sehnsucht (Longing Eased) and Geistliches Wiegenlied (Sacred Lullaby), Oborozukiyo — this, arranged by Kobayashi, had Oriental strains — and the aforementioned Granada, with each member conveying distinctive qualities. Logdat sang for an encore a medley of native songs.
The busiest member of the Trio, the pianist, played solo pieces, performed as a member of the Trio, and assisted both singer and violinist.
After the fervidly applauded medley, the audience headed by eminent lawyer Diane Franco witnessed the turn-over of Tiking Lopez’s music scores to Sta. Isabel College president Sr. Josie B. Omag.
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This announcement comes from the CCP. Featuring more than 100 artists and 15 bands from the Phil, USA, Europe and Asia, the 2nd CCP International Jazz Festival will offer jazz music in all its styles, from the big band, swing, blues, fusion to experimental. The Festival will be held from Sept. 17-22 at various venues of the CCP. The Festival will also hold workshops and lectures on the various jazz genres.
Performing are the Dutch quartet, Buzz Bros Band, drummer Harald Huyssen, Low-Cal, Johnny Alegre, Humanfolk, Indonesian guitarist Wayan Balawan, Italian accordionist, pianist and guitarist Fabio Turchetti, Japanese guitarist Shun Kikuta, Malaysian acoustic guitar player Roger Wang, Royal Hartigan and Blood Drum Spirit, Bob Aves, Sitti, UP Jazz Ensemble, Emi Munji and his orchestra, UST Jazz Band, New Musicians Guild and Anything Goes, A.M.P. Big Band, jazz band Akasha, chamber jazz trio MAJAM, jazz vocalist Charito, Indonesian group Bandung Blues Project, Brown Fix, Brass Munkeys, Argentine-born guitarist Neris Gonzalez, Filipina jazz singer and recording artist Sandra Lim Viray.
CCP President Raul Sunico said the Festival recognizes the jazz genre as a major style of musical creativity through improvisation and the distinct theories in its harmonic, scalar, and rhythmic components that are both appealing and inviting to the listener.
“The global attraction of jazz has reached a wide spectrum of enthusiasts including Asia where its own brand of Eastern and ethnic music seems to fuse well with its style. Through the Festival, CCP hopes to bring the Philippines into the mainstream of global jazz activity and make it a legitimate and recognized venue for International Jazz Festivals.â€
Another objective would be to create a harmonious relationship among the country’s jazz figures and groups.
“With the establishment of so many ensembles, it is imperative for the CCP to provide a prestigious venue for our talents to perform and be discovered, to play and to listen, to seek a camaraderie with which to collaborate with other groups, and to help propagate this wonderful musical genre for everyone to enjoy,†Sunico said.