PPO in top form at 'fateful' concert

Jerome Rose and Grzegorz Nowak

The Philippine Philharmonic Orchestra reached a major turning point under music director/principal conductor Grzegorz Nowak after a stellar performance at its opening concert of the new year.

Performing Brahms' Piano Concerto No. 1 in D minor, Op. 15 with American pianist Jerome Rose as the featured soloist, the PPO overcame a sluggish start. But as the concerto progressed, the orchestra started to build momentum as if coaxed by the veteran Rose who tackled the war-horse piano concerto without breaking a sweat. Rose gave a restrained rendition, very calm and composed, and not resorting to distracting theatrics. And as he hit the keys signaling the start of the rondo, it's as if he has gained second wind and carried the orchestra with him.

Grzegorz Nowak and the Philippine Philharmonic Orchestra

What cemented the PPO's return to top form was the stirring performance of Pyotr Ilyich Tchaikovsky's Symphony No. 4 in F minor, Op. 36. Right from the ominous fate motif that opened the piece, the PPO navigated the symphony with aplomb, showcasing the various themes with clarity, making the recurrence of the fate motif more compelling.

The pizzicato of the scherzo was a delight. And the rousing finale showed the PPO meeting the challenge posed by Nowak unlike in previous concerts when the orchestra felt like on the brink of bursting at the seams when pushed to the limits.

There was hardly anything to fault at the PPO's latest outing save for the acoustics of the Samsung Performing Arts Theater. The balance of the orchestra's sound varies wildly depending on one's seat. As much as one nitpicks the acoustics of the Cultural Center of the Philippines' Main Theater, one immediately longs to return to it once let down by how the Samsung Performing Arts Theater sounds.

Pianist Jerome Rose joins PPO in concert

A monumental and fateful night of music is in store at the Philippine Philharmonic Orchestra's opening salvo for 2024 happening this January 12, 2024, 7:30 PM at the Samsung Performing Arts Theater in Circuit Makati.

In this concert billed as Fate, the PPO and principal conductor Grzegorz Nowak welcome American Jerome Rose, who is the night's featured pianist for Johannes Brahms' epic Piano Concerto No. 1 in D minor, Op. 15. Also to be performed this evening is Pyotr Ilyich Tchaikovsky's Symphony No. 4 in F minor, Op. 36 which is usually dubbed as Fatum or Fate, hence the title of the concert.

Reprinted below is the press release for the upcoming concert.

ONE FATEFUL NIGHT WITH PPO

The Philippine Philharmonic Orchestra (PPO) ushers the new year with an enticing evening spotlighting the brilliance of master composers Johannes Brahms and Peter Ilich Tchaikovsky for its “Fate” concert on January 12, 2024, at the Samsung Performing Arts Theater in Circuit Makati.

In the fifth installment of its 39th concert season, dubbed Switch, the PPO will perform Brahms’s Piano Concerto no. 1, op. 15, D minor and Tchaikovsky’s Symphony no. 4, op.36, F minor, under the baton of PPO music director Maestro Grzegorz Nowak.

Known as Fatum (Fate), the featured Tchaikovsky’s masterpiece is a striking piece that reflects the emotional struggles of the composer. The symphony has a recurrent, distinctive motif and examines issues of fate. The orchestration and lyrical richness used by Tchaikovsky adds to the symphony's enduring appeal.

Jerome Rose 

For its fifth concert, pianist Jerome Rose will perform Brahm's masterpiece with a melancholic melody floating atop a gently rocking accompaniment that resembles river water. The piece documents Brahms's challenging years involving the influential composer and pianist Robert Schumann and his spouse, Clara.

One of the most renowned pianists in America and known as "the Last Romantic of his generation,” Rose began his international career in his 20s.

A gold medalist in the International Busoni Competition, the pianist has a long career spotlighted with his critical recordings on Medici Classics includes the Liszt Concerti with the Budapest Philharmonic, Liszt’s Transcendental Etudes, the Complete Schumann Sonatas, “Davidsbundlertanze,” and “Kreisleriana,” the Last Three Beethoven Sonatas, and the Complete Ballades and Fantasy of Chopin.

In addition, he also did the Schubert Posthumous Sonatas and Wanderer Fantasie; a Liszt album featuring the B minor Sonata, Don Juan Fantasy, and Mephisto Waltz; and a Brahms Recording of Sonata No. 3, and the Variations and Fugue on a Theme by Handel. Medici has also issued the re-release of Mr. Rose’s Prix du Disque recording of Liszt’s “Years of Pilgrimage.”

In 2015 a Liszt 40th Anniversary Collection was released in a 3 CD box set featuring some works not previously issued on CD. In 2017 the complete Chopin Sonatas, originally released on Sony, were re-issued on Medici Classics. In 2017 Medici also re-issued a CD recording of the “Moonlight,” “Pathétique,” and “Appassionata” Sonatas of Beethoven.

The country’s leading orchestra, the PPO has premiered Filipino compositions and has featured works by foreign composers not yet performed in the Philippines.

Grzegorz Nowak and the Philippine Philharmonic Orchestra

Continuing its goal to promote music appreciation, PPO is set to hold outreach concerts in Iloilo on January 19 and in Capiz on January 21.

For ticket inquiries, group discounts, and subscriptions contact the CCP Box Office at 0931 033 0880 or email at salesandpromotions@culturalcenter.gov.ph. You can purchase tickets at TicketWorld (09175506997 / 09999545922) at https://premier.ticketworld.com.ph.

Visit the CCP website (www.culturalcenter.gov.ph) or follow the official social media accounts on Facebook, X, Instagram, and TikTok for the latest updates.

Clarinetist Herald Sison, pianist Dingdong Fiel reunite in recital at Manila Pianos

Clarinetist Herald Sison and pianist Dingdong Fiel teams up once again for Manila Pianos Artist Series' The Romantic Clarinet happening on January 29, 2023, 6:00 PM at the Manila Pianos Showroom located at the Paseo de Magallanes, Makati.

The two first paired up back in 2022 in Manila Pianos Artist Series' Beginnings which was shown online. For their return engagement, the two will perform Johannes Brahms' Clarinet Sonata in E-flat Major, Op. 120 No 2 and Carl Maria von Weber's Grand Duo Concertant, Opus 48, J204.

Tickets are priced at P800. Discounted tickets at P500 are available for seniors, PWDs, students, and teachers. Reservations can be made via GCash payment to 0917-4158876 under the name of Richard S. After paying, send confirmation, along with payer's name and number of tickets to the same number. Reserved tickets can be claimed at the gate on the day of the performance.

Manila Pianos presents pianist Brian Berino in online solo recital

Manila Pianos Artist Series presents pianist Brian Berino in a solo recital on March 19, 7:30 PM.

Aptly titled Sonatas, this online recital sees Berino perform a handful of keyboard/piano sonatas throughout the centuries including Domenico Scarlatti's Keyboard Sonata in F minor, K. 466, Antonio Soler's Keyboard Sonata in D flat Major, R. 88, Franz Joseph Haydn's Piano Sonata in E flat Major, Hob. XVI/52, L. 62., Alexander Scriabin's Piano Sonata No. 4 in F sharp major, Op. 30, and Johannes Brahms' Piano Sonata No. 3 in F minor, Op. 5.

Berino is studying with Prof. Jovianney Emmanuel Cruz and is enrolled at UP Diliman's College of Music under Prof. Geraldine Marie Gonzales. He competed and won at the National Music Competitions for Young Artists (NAMCYA) and at the Barum Music International Competition last year.

Violinist Diomedes Saraza Jr., cellist Kim Yeonjin, conductor Darrell Ang team up in MSO concert

The Manila Symphony Orchestra's upcoming concert will see concertmaster Diomedes Saraza, Jr., Korean cellist Kim Yeonjin, and Grammy nominated conductor Darrell Ang team up at the Meralco Theater on November 16, 2019, 4:00 PM.

Billed as Pas de Deux, the concert will feature Johannes Brahms' Double Concerto in A minor, Op. 102 with Saraza, Jr. and Kim as the double soloists and also Pyotr Ilyich Tchaikovsky's ballet suite from Swan Lake, Op. 20.

Fukumura, PPO raise Brahms 2nd Symphony up a notch in latest concert

Yoshikazu Fukumura and the Philippine Philharmonic Orchestra

An evening of comfortable viewing was what the Philippine Philharmonic Orchestra's most recent concert delivered despite principal conductor and music director Yoshikazu Fukumura having to resort to plan B and stepping in to lead the orchestra himself due to unforeseen circumstances with the previously announced guest conductor/pianist who is unable to perform in the country

The program for that night, made up of German Romanticism with Carl Maria von Weber’s Overture to Der Freischütz, Op. 77, J. 277 and Johannes Brahms' Symphony No. 2 in D major, Op. 73 sandwiching the Viennese Classical of Wolfgang Amadeus Mozart’s Symphony No. 39 in E flat major, K. 543 is drastically different from the initial lineup. While these changes lessened the excitement for me, Fukumura more than made up for it by managing to raise the level of the PPO on this night.

When the updated program was released, I wondered why he chose to do the Brahms second symphony again and not another one that he is yet to conduct with the PPO. I suspect that he went back to this, as well as the Weber overture, since they are comfortable and do not really pose a challenge to him considering the circumstances that led him to conduct at this concert. So the resulting performance was pure pleasure to the ears. His first ever collaboration with the PPO was conducting this particular Brahms symphony while he was still a guest conductor and it earned him a very good impression on me. May I add that this Brahms 2 was an improvement over the previous one, with the chemistry between Fukumura and the orchestra more evident. The PPO thankfully have redeemed themselves from the uncomfortable experience I've had during the last time I saw them.

Lastly, I cannot recall the last time that I applauded a horn player so enthusiastically. This makes me hopeful that she gets to do the solo in the next concert that has one of the most exquisite horn solos in the repertoire.

RAd’s Playlist | Brahms: 4 Sypmhonies

Since a performance of Johannes Brahms Symphony No. 2 in D major Op. 73 is on the horizon, it is time once again to put on for numerous spins the hefty Brahms Symphonies collection by the legendary conductor Claudio Abbado leading the Berlin Philharmonic Orchestra.

Aside from Brahms' four symphonies namely Symphony No. 1 in C minor, Op. 68, Symphony No. 2 in D major, Op. 73, Symphony No. 3 in F major, Op. 90, and Symphony No. 4 in E minor Op. 98, the set also includes a bunch of his other orchestral works like the Academic Overture, Op. 80, Tragic Overture Op. 81, and Variations on a Theme by Joseph Haydn, Op. 56a. And if that's not enough, there are also a few works for choir and orchestra like Gesang der Parsen, Op. 89, Schickaslied Op. 54, Nänie, Op. 82, and Alto Rhapsody, Op.53.

To say that this set packs a mean is an understatement and proves that there is a lot more to Brahms than just a bearded man playing a lullaby on the piano.

There have been countless releases of Brahms symphony cycles out there like that of the Berlin Philharmonic with former music director Simon Rattle but it is this one by Abbado that defined and formed the sound of Brahms and the Berlin Philharmonic for me.

Fukumura conducts Mozart and Brahms symphonies for PPO’s February concert

Conductor Yoshikazu Fukumura

Major changes have come to the Philippine Philharmonic Orchestra’s next concert happening on February 8, 2019 at the Cultural Center of the Philippines (Tanghalang Nicanor Abelardo) as Music Director/Principal Conductor now takes over conducting duties with a music lineup consisting of works by Carl Maria von Weber, Wofgang Amadeus Mozart, and Johannes Brahms.

When the 36th concert season was initially announced, the February concert originally featured Hungarian pianist and conductor Tamás Vásáry through the auspices of the Embassy of Hungary in the Philippines in what is geared to be a major music event for the year. But due to unforeseen circumstances, Vásáry is unable to perform in the country. That concert’s lineup would’ve included Frédéric Chopin’s Andante spianato et grande polonaise brillante in E-flat major, Op. 22, Wolfgang Amadeus Mozart’s Symphony No. 39 in E flat major, K. 543, and Zoltán Kodály’s Variations on a Hungarian Folksong, "The Peacock".

The updated program retains the Mozart symphony while Carl Maria von Weber’s Overture to Der Freischütz, Op. 77, J. 277 and Johannes Brahms' Symphony No. 2 in D major, Op. 73 replace the other pieces with Fukumura now leading the orchestra.

Interesting to note that this will be Fukumura’s second time to conduct Brahms second symphony with the PPO with the first happening way back in November 2012 during his first guest conducting stint with the orchestra..

I would've preferred to have Fukumura programmed the fourth instead since that remains the only symphony of Brahms that he has yet to conduct with the PPO. He was scheduled to conduct it back in March 2018 but wasn’t able to due to unforeseen circumstances. Time will tell if Fukumura will be able to complete the Brahms symphony cycle with the PPO. But for now, better enjoy what Fukumura has in store for February.

Manila Symphony Orchestra launches diverse Year of the Titans 2018-2019 concert season

Manila Symphony Orchestra conducted by Prof. Arturo Molina

The Manila Symphony Orchestra, one of Asia’s oldest orchestras, launched its 2018-2019 concert season, billed as Year of the Titans, featuring its most diverse lineup to date, both in terms of music programming and guest artists.

MSO’s “titanic” concert season opens with The Color of Music happening on June 3, 2018, 6:00 PM at the Theatre at Solaire. With the orchestra’s music director and principal conductor Prof. Arturo Molina at the helm, this concert will feature Richard Wagner’s Prelude and Liebestod from Tristan und Isolde, Modest Mussorgsky’s Pictures at an Exhibition and Antonín Dvořák’s Cello Concerto in B minor, Op. 104, B. 191 with German cellist Clauss Kangiesser as the soloist.

On July 29, 2018, 6:00 PM at the Theatre at Solaire, guitarist Noli Aurillo and Filipino band Silent Sanctuary join the MSO led by Prof. Molina in Rockestra 2018, a rock symphony concert. Two members of Silent Sanctuary, violinist Kim Ng and cellist Anjo Inacay were former members of the MSO.

The MSO and Prof. Arturo Molina along with surprise guest artists bring film music to the concert stage with Silver Screen Symphonies on September 16, 2018, 6:00 PM at the Theatre at Solaire.

Then it’s off to the Meralco Theater on November 30, 2018 with Beethoven Redux featuring German based Indonesian violinist Iskandar Widjaja and Singaporean conductor Darrell Ang. This concert offers a double dose of Ludwig van Beethoven’s Violin Concerto in D major, Op. 61, first in its original form and then followed by the redux version featuring a new solo violin part composed by Jeffrey Ching.

The season wraps up with The Titan on January 26, 2019, 8:00 PM with Prof. Arturo Molina leading the MSO with a performance of Gustav Mahler’s Symphony No. 1 in D major ‘Titan’ and Maurice Ravel’s Piano Concerto in G major with pianist Victor Asuncion as the featured soloist. The venue for this concert will be announced later.

Manila Symphony Junior Orchestra

The season launched also presented the Manila Symphony Junior Orchestra, the youth orchestra arm of the MSO formed back in 2014. Last year, the MSJO won 2^nd Prize at the 11^th Summa Cum Laude International Music Festival held at the Golden Hall of the Musikverein in Vienna, Austria. This July, the young members of the orchestra return to Vienna and hope to do better at the same competition before embarking on yet another European tour.

MSO Music Academy students

Aside from performing, members of the MSO also teach at the MSO Music Academy (also established in 2014) that now has three branches: Circuit Makati, Glorietta 5, and in Taft Avenue. Young kids and even adults can enroll there and enrich their lives with music.

Apart from the concert season, the MSO also perform regularly at the Ayala Museum via the Rush Hour Concert series. These concerts were designed as a way for people in the Makati area to spend an hour or so watching an orchestra performance comfortably at the museum rather than being stuck on the road in rush hour traffic.

Right after the season launch, I was able to do just that with East-West, a Rush Hour Concert in celebration of the 100^th Birth Anniversary of Dr. Lucrecia Kasilag, National Artist for Music. This concert featured concertmaster Gina Medina-Perez and pianist Ingrid Sala-Santamaria performing music by Kasilag alongside that of Johannes Brahms.

Kasilag’s music hasn’t been performed as often as Brahms in here and maybe that’s why Gina Medina-Perez’s rendition of the outer movements of Kasilag’s Violin Concerto, LK 241 sounded exotic to me. This was truly an odd realization considering how the opening piece, Brahms’ Hungarian Dance No. 5 WoO1 was very likely exotic music from a German’s perspective. I guess that Kasilag’s use of fourth intervals instead of the usual third with the chords lent more to the exotic feel of this piece. I also remembered that it’s been almost a decade since Gina Medina-Perez performed this concerto at the Cultural Center of the Philippines. This only shows how rarely indeed are Kasilag’s works heard on stage.

Pianist Ingrid Sala Santamaria

Despite the inclusion of traditional Philippine percussion instruments, the first movement of Kasilag’s Divertissement for Piano and Orchestra sounded less exotic to me. Legendary pianist Ingrid Sala Santamaria’s piano parts were mostly single voiced played in octaves and it had an effect on me as if the piano was among the traditional percussion instruments.

Continuing the juxtaposition of pieces by the unlikely paired composers, Santamaria continued with the latter half of Brahms’ Piano Concerto No. 2 in B flat major, Op. 83. I was able to savor the solo cello in the third movement but I wish that I was able to see her perform this in its entirety last October.

Remarkable to note that she is the only local pianist I could think of right now who has done a significant number of high profile concerts over the past several months. This only made me wonder which pianists from the millennial generation could follow in her footsteps and have a long career.

The final Kasilag piece for the night was the extremely accessible Philippine Scenes. This three movement piece (Mountainside, Lullabye, Festival) was very much Filipino in spirit that I had a major turnaround with Brahms’ Hungarian Dance No. 6, WoO1 that closed out the concert was now the one that felt foreign and exotic to me.

The agony of travelling out of Makati has prevented me from catching most of the MSO’s past Rush Hour Concerts (or any other concert at the Ayala Museum) but I was extremely glad to catch this one since it gave me a generous dose of Kasilag’s music. Recordings of her music are rare and not that easy to purchase and live performances of it are even rarer. This only made me anticipate upcoming tributes to her in celebration of her birth centennial anniversary.

And it goes without saying that I also eagerly await seeing the Manila Symphony Orchestra on stage once again after missing their previous season entirely. See you at the concerts!

Unusual music pairing in UST Symphony Orchestra’s Brahms Meets Disney

The UST Symphony Orchestra, under the baton of Daniel Bartolome tried to hit two birds with one stone and appeal to a wide variety of audiences at their opening concert of the season with Brahms Meets Disney. held at the Cultural Center of the Philippines. Probably the most unusual music pairing that I’ve ever seen at an orchestra performance, this concert featured the music of Johannes Brahms along with music from Walt Disney feature films throughout the decades.

As the USTSO’s first concert for this academic calendar, this was my first opportunity to see new blood replacing those who have already graduated. Not surprisingly, the upper strings outnumbered the lower strings and the violins drowned the cellos and basses earlier on with the opening piece of Brahms’ Academic Festival Overture, Op. 80.

The big test for the orchestra though was accompanying Malaysian pianist Ng Chong Lim with Brahms’ Piano Concerto No. 1 in D minor, Op. 15. While Lim was up to the task and handled the grand scale of the concerto with command and relative ease (and giving me another opportunity to hear the Fazioli grand piano so soon after the last time I did), the orchestra struggled especially the numerous upper strings that were prone to go wild at times. At the end, I felt more relieved that the orchestra was able to get through and survive the entire concerto. And major props for Lim for keeping his ground even if the orchestra was not up to par.

RAd and Ng Chong Lim

Finally, with the Brahms part out of the way, the orchestra and everyone else were more relaxed with the Disney Suite arranged by Jedrick Itugot. The featured soloists in the suite were faculty members Ronan Ferrer, Eugene delos Santos, Elisanta Cortes, Thea Perez, Nenen Espina, and students Demi Fresco, Faye Transfiguracion, John Saga, and Ryan Tamondong. Backing them up were the combined forces of the UST Vocal Performance Department, Coro Tomasino and Liturgikon. The songs performed were from a wide range of Walt Disney animated feature films like Snow White, Cinderella, Sleeping Beauty, Little Mermaid, Aladdin, Beauty and the Beast, Mulan, and Moana. Having Santa Fe, a song from the live action film and later on adapted as a stage musical Newsies, was an odd inclusion and I think that this was probably a nod for Ronan Ferrer (who sang it) and Daniel Bartolome as the two were the vocal coach and music director respectively at the musical’s recent staging.

While I have my misgivings with the Brahms piano concerto (my most anticipated part), I knew the importance of the Disney Suite (I was not initially really keen on it, I admit) as it marked the return of Nenen Espina to the stage after suffering from a major health scare earlier this year. She exuded joy in all of her solos and it was truly a treat to witness this important moment for her after being aware of everything that she has gone through this year.

Overall, this concert was a brave risk for the USTSO especially with the Brahms piano concerto. A few concerts are still lined up for the orchestra this season and it’s up to them to make sure that they would show marked improvement in their upcoming performances.

Clarion Chamber Ensemble serves “All Main Courses” in concert

In “Carrying the Banner for Chamber Music in the Philippines”, the Clarion Chamber Ensemble serves All Main Courses for their 15^th concert season this March 16, 2017, 8:00 PM at the Cultural Center of the Philippines’ Tanghalang Aurelio Tolentino (CCP Little Theater).

The evening will feature hearty servings of chamber music that includes Wolfgang Amadeus Mozart’s Quintet in E flat major for Piano and Winds, K.452, Bohuslav Martinů’s Trio in F major for Flute, Cello and Piano, H.300, and Johannes Brahms’ Piano Quartet in G minor, Op. 25.

This music will be dished out by Clarion Chamber Ensemble members namely cellist clarinetist Ariel Sta. Ana, Gerry Graham Ariza Gonzales, flutist David Jerome Johnson, pianist Hyun Joo “Julia” Lee, French horn player Jay-Ar Mesa, oboist Reynato Resurreccion, and bassoonist Noel Singcuenco. Guest artists joining them onstage are violinist Sara Maria Ariza Gonzales, pianist Seung Yun “Cecilia” Lee, and violist Maria Corazon Reyes.

All Main Courses is a joint production of Clarion Chamber Ensemble and the Cultural Center of the Philippines, and is co-presented by 98.7 DZFE The Masters Touch. Steinway Boutique,Manila is the official piano sponsor.

All Main Courses

March 16, 2017, 8:00 PM | Tanghalang Aurelio Tolentino (CCP Little Theater)

Featuring:

Clarion Chamber Ensemble

     Ariel Sta. Ana, clarinet

     Gerry Graham Ariza Gonzales, cello

     David Jerome Johnson, flute

     Hyun Joo “Julia” Lee, piano

     Jay-Ar Mesa, French horn

     Reynato Resurreccion, oboe

     Noel Singcuenco, bassoon

Sara Maria Ariza Gonzales, violin

Seung Yun “Cecilia” Lee, piano

Maria Corazon Reyes, viola

Program:

Wolfgang Amadeus Mozart

     Quintet in E flat major for Piano and Winds, K.452

Bohuslav Martinů

     Trio in F major for Flute, Cello and Piano, H.300

Johannes Brahms

     Piano Quartet in G minor, Op. 25

Ticket prices:

P700 | P500

50% discount for students

20% discount for senior citizens, PWD, government and military personnel

For inquiries:

Clarion Chamber Ensemble 890-8840

CCP Box Office 832-3704

TicketWorld 891-9999

Violinist Ryu Goto, conductor Yoshikazu Fukumura fire up Philippine Philharmonic Orchestra’s 34th season opener

A season opening concert heralding the start of Yoshikazu Fukumura’s stint as the Philippine Philharmonic Orchestra’s music director and principal conductor would’ve been enough of an audience draw. Yet the inclusion of violinist Ryu Goto as the evening’s guest soloist not only heightened the excitement, it also ensured that this concert would be a lock among the best in year ending lists.

Having watched Fukumura’s four previous guest conducting stints with the PPO, I am already familiar not only with his animated and entertaining conducting style but also by how he is able to bring out a unified and balanced sound from the orchestra. And at the opening night, the orchestra’s sound was raised a notch further with the addition of the new wooden floor panels that covered the drab, black weathered main theater floor. As the orchestra performed the opening piece, Hector Berlioz’ Roman Carnival Overture, Op. 9, the lower strings was heard more distinctly, the changes in tempo came off as more precise, and the texture and colors, more vivid. I’ve had my regular seat for the past four seasons and the marked improvement with how the sound was projected from the stage to my seat made by these wooden floor panels was very discernible.

These panels also made for striking visuals. The fully lit stage looked brighter and the warm colored wood contrasted nicely with the black garments of the orchestra members. With this, I think that the next concerts could do away with the flowers lining up the front the stage.

On to Ryu Goto and his highly anticipated performance of Pyotr Ilyich Tchaikovsky’s immensely popular Violin Concerto in D major, Op. 35. During the first two movements, Ryu stood out as the orchestra played in a noticeably scaled down manner as if it was just a chamber orchestra. These movements also went on a tad slower pace than what I am usually accustomed to. Apart from some momentary distractions when I expected the orchestra to be less subdued and a bit faster, I was completely mesmerized by Ryu and his superb articulation which never wavered even up until the end of the brisk third movement. The enthusiastic audience response prompted two encores from him. First was a free flowing, unaccompanied Meditation from Thaïs by Jules Massenet which was followed by an excerpt of the first movement Obsession from Eugene Ysaÿe’s Violin Sonata No. 2 in A minor, Op. 27 "Jacques Thibaud".

The real test of the evening for me on how Fukumura would lead the orchestra was the performance of Johannes Brahms' Symphony No. 1 in C minor, Op. 68. Right off the bat, my attention was caught by how crisp the lower pitched instruments sounded particularly the contrabassoon. Never in my concert viewing experience have I heard this instrument sounding more pronounced hearing each note played clearly and it is very likely due to the new wooden floors. But these floors have possibly made the spotty moments of the horns more obvious. While the Tchaikovsky’s earlier movements went a tad too slow for me, the last movement of the Brahms went too fast. The excitement of the choral theme of the fourth movement probably got Fukumura all excited as he sped throughout the remainder of the piece. I was unable to savor fully the texture of the fugue during the second pass of the choral theme. The clarity of the strings especially the cellos and basses that was brought about by the wooden floors could’ve made for such a divine moment but it all went by like a blur. This fiery pace carried on and there was almost no time to breathe once the final brass choral theme blared triumphantly. Despite the sped up tempo, the excitement was palpable and the audience started to applaud even before the last note ended. There was more Brahms as the audience was treated to the crowd pleasing Hungarian Dance No. 5 for the orchestra’s encore.

Overall, the PPO's 2016-2017 season opening night concert was an exhilarating affair with Ryu Goto’s Tchaikovsky bringing in the crowds and Yoshikazu Fukumura making sure that they stayed until the very end of the Brahms.

PPO, Rachelle Gerodias, Byeong-In Park, Madz, et al in enthralling Brahms Requiem

Featuring:

Rachelle Gerodias, soprano

Byeong-In Park, baritone

Philippine Madrigal Singers, et al

     Mark Anthony Carpio, choir master

Philippine Madrigal Singers Alumni

UE Chorale

     Anna Piquero, choir master

UP Choral Class

Philippine Philharmonic Orchestra

Olivier Ochanine, conductor

Programme:

Herminigildo Ranera

     Philippine Symphonic Folksongs

Johannes Brahms

     Ein Deutsches Requiem, Op. 45

As his stint as outgoing principal conductor/music director of the Philippine Philharmonic Orchestra nears its end, Olivier Ochanine drew another ace from his sleeve with the Philippine premiere performance of Johannes Brahms’ Ein Deutsches Requiem, Op. 45. With a choir of at least a hundred members and soloists Rachelle Gerodies (soprano) and Byeong-In Park (baritone) joining the orchestra, the Brahms performance proved to be a feast not just for the ears but for the eyes as well.

But first, the concert opened with Herminigildo Ranera’s Philippine Symphonic Folksongs. This was just the second time this piece has been performed since its debut by the Orchestra Nipponica Tokyo for the Japan-Philippines Contemporary Music Festival held in February 2013. With this short work steeped in folk idiom, the PPO took the audience on a musical journey of the Philippines’ three main islands: Luzon, Visayas, and Mindanao. Each island/movement had a distinct orchestral color with Luzon having only the winds, brass and percussion section playing, Visayas just the strings and harp, while Mindanao had the full orchestral complement.

Then it was off to the evening’s main work: the Brahms German Requiem. The combined forces of the Philippine Madrigal Singers, Alumni, et al with choir master Mark Anthony Carpio, the UE Chorale with choir master Anna Piquero, and the UP Choral Class were expected to produce a wall of sound and they did. More impressive were the deft handling of the softer passages with the entire choir sounding as if their voices were just mists hovering/floating above the ground. But it was during the fugues that the choir truly shone and that’s something coming from me who isn’t too keen on fugues. It is interesting to note the presence in the choir of a handful of countertenors who sang the alto parts which is something I don’t see very often.

For the audience members who weren’t familiar with the Brahms piece, they were let down when they realized how brief the parts of Rachelle Gerodias and Byeong-In Park were. Byeong-In was imposing and firm, quite a contrast with the delicate solo of Rachelle. Being husband and wife, I wouldn’t be surprised that some expected a duet between the two, but none was written for this Requiem. No wonder that the talk at the lobby after the concert was wishing to hear more from the two of them. Personally, I wish the Olivier conducted this with a more glacial pace but doing that would’ve added at least five more minutes to the program. And that is five minutes more that the choir had to endure standing at the risers.

I admit that during this concert, it was very difficult for me to keep my eyes from the choir and the soloists during the Requiem. If not for the Philippine Symphonic Folksongs, I would’ve probably ignored the orchestra altogether. Well, not quite since I did savor the harp parts and also the low strings passages that opened the Brahms.

It is a remarkable coincidence that the last PPO concert that featured a huge choir happened exactly five years before and that the piece back then was also a Requiem albeit the one by Giuseppe Verdi. I think that the concerts seeming to go full circle serve as a reminder for everyone that Olivier Ochanine’s term with the PPO is about to wrap up and that next month's concert will be his last.

PPO, Rachelle Gerodias, Byeong-In Park, and Madz set for Brahms Requiem Philippine premiere

March 18, 2016, 8:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

Cultural Center of the Philippines

CCP Complex

Pasay, Metro Manila

Featuring:

Rachelle Gerodias, soprano

Byeong-In Park, baritone

Philippine Madrigal Singers et al

Philippine Philharmonic Orchestra

Olivier Ochanine, conductor

Programme:

Johannes Brahms

     Ein Deutsches Requiem, Op. 45

The Philippine premiere of Johannes Brahms’ Ein Deutsches Requiem, Op. 45 headlines the penultimate concert of music director/principal conductor Olivier Ochanine with the Philippine Philharmonic Orchestra on March 18, 2016, 8:00 PM at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater).

Real life couple soprano Rachelle Gerodias and baritone Byeong-In Park will be the evening’s soloists while the Philippine Madrigal Singers lead the group of choirs performing in this magnum opus of Brahms. As the title suggests, this Requiem features German text as opposed to the Latin of a traditional Requiem Mass. And instead of being a mass for the dead, this piece centers more on comforting and consoling the living.

This upcoming performance of a large choral work comes almost exactly five years after the PPO played Giuseppe Verdi’s Requiem. Olivier Ochanine told me that it wasn’t by design that this is happening but I think that as his stint with the PPO is about to wrap up, things are going full circle albeit by coincidence.

The initially announced world debut performance of the winning piece of the PPO Composition Competition is now scheduled for the concert on April 22, 2016. The piece(s) to be performed alongside Brahms’ Ein Deutsches Requiem is to be announced.

Ticket prices:

P1500 Orchestra Center

P1200 Orchestra Side

P800 Extreme Orchestra Side

P500 Balcony I Center

P400 Balcony I Side

P300 Balcony II

For inquiries:

CCP Marketing Department 832-1125 local 1806

CCP Box Office 832-3704

TicketWorld 891-9999