Love Becomes Classic

Featuring:

Laure Favre-Kahn, piano

Programme:

Robert Schumann Papillons, Op. 2 Butterflies

Frédéric Chopin

     Impromptu No. 1 in A flat major, Op. 29 

     Impromptu No. 2 in F sharp major, Op. 36

     Impromptu in C sharp minor, Op. posth. 66 Fantaisie Impromptu

     Etude in C minor, Op. 10 No. 12 Revolutionary

Franz Liszt Consolation No. 3 in D flat major, S. 172
Frédéric Chopin

     Prelude No. 15 in D flat major, Op. 28 Raindrop

     Prelude No. 18 in F minor, Op. 28

     Prelude No. 4 in E minor, Op. 28

     Prelude No. 24 in D minor, Op. 28

     Waltz in A minor, Op. posth.

     Waltz in D flat major, Op. 64 No. 1 Minute Waltz

     Waltz in C sharp minor, Op. 64 No. 2

     Waltz in F major, Op. 34 No. 3

I find it hard to believe that I haven’t been to a solo piano concert for months! And the last one that I’ve watched was still way back in October if I’m not mistaken. There had been some other solo piano concerts since then but for one reason or another, I failed to watch any of them. So it was such a delight for me when I received a text message from ROS Music Center informing me of an upcoming concert by French pianist Laure Favre-Kahn.

This concert for the benefit of the Chameleon Association Inc. was organized under FrancoPhil by the Alliance Française de Manille, the Embassy of France to the Philippines and ROS Music Center. So before the performance started, Mr. Ricardo Andrada, President of Chameleon Association Philippines and Ms. Laurence Ligier, Founder and Director of Chameleon Association France delivered opening remarks informing the audience how the association helps neglected and sexually abused girls get back on their feet. They also shared to the audience how Laure Favre-Kahn travels and performs all over the world creating awareness and gathering support for the girls supported by Chameleon.

Then the moment the people have been waiting for came as Favre-Kahn, wearing a flowing black gown, started the concert with Papillons, Op. 2 Butterflies by Robert Schumann. It’s a piece that I’m not totally familiar with and it also doesn't help that I’ve never read Flegeljahre, a novel by Jean Paul Richter which was the inspiration for this piece. So I admit that it was hard for me to form a first impression of Favre-Kahn since she opened the concert with a piece I’ve never had a clear grasp of.

And right after that, she went on to play music by Frédéric Chopin whose works I am very familiar with. She first played Impromptu No. 1 in A flat major, Op. 29 which wasn’t included at the original programme lineup. Then two more impromptus followed: Impromptu No. 2 in F sharp major, Op. 36 and the popular Fantaisie Impromptu in C sharp minor, Op. posth. 66. The equally popular Etude in C minor, Op. 10 No. 12 also known as the Revolutionary followed.

Favre-Kahn then took a break from Chopin and played Franz Liszt's Consolation No. 3 in D flat major, S. 172. This piece wasn’t also included in the original programme lineup. I find it interesting that even her choice of which Liszt piece to play was in keeping with the mood she had already set with her earlier pieces. And by checking the rest of the pieces that she had prepared to perform, I realized then that the rest of the evening would not be so intense.

Then it was back to Chopin with a set of Four Preludes from Op. 28: Prelude No. 15 in D flat major also known as Raindrop, Prelude No. 18 in F minor, Prelude No. 4 in E minor, and Prelude No. 24 in D minor. She ended the concert with yet more Chopin through a set of Four Waltzes: Waltz in A minor, Op. posth., Waltz in D flat major, Op. 64 No. 1 Minute Waltz, Waltz in C sharp minor, Op. 64 No. 2, Waltz in F major, Op. 34 No. 3. As an encore, she performed the Prelude from Prelude and Nocturne for the Left Hand, Op. 9 by Alexander Scriabin.

I admit that I was not too excited about her programme when I first saw it since it wasn’t as diverse as I hoped it would be. I love Chopin and but I wished that she could’ve played something more different. But considering how the days before the concert were marked by intolerable heat, the concert programme somehow managed to cool things down a bit. And I couldn’t have asked for anything else so it worked out well in the end.

Favre-Kahn performed generally well and there were some times when I found her interpretation quite interesting. There were a handful of pieces that I could play and it was indeed interesting how different hers was compared to mine and I would’ve loved to have the opportunity to ask her why she played a certain piece, like the Waltz in C sharp minor for example, that way. Her Prelude No. 4 which I've learned to appreciate just recently left me enchanted. And I was glad nonetheless for her choice of an encore piece since I haven’t heard this Scriabin piece before and it was just sublime.

I also noticed that she tried to contain her coughs in between pieces and I wondered if she was 100% well that night. It somehow gave an impression of her performance being on the verge of actually breaking down and I found that vulnerability and delicateness strangely appealing. Despite this, she was in high spirits when she met the audience after the concert and signed autographs, posed for photos and was interviewed by a television station.

Laure Favre-Kahn greets the audience after the concert

RAd with Laure Favre-Kahn

Text by RAd

Photos by Ray Sison

Manila Symphony Orchestra opens 2011 Season with Mahler celebration

June 4, 2011, 8:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

CCP Complex

Pasay, Metro Manila

Featuring:

Wilfredo Pasamba, cello

Manila Symphony Orchestra

Arturo Molina, conductor

Programme:

Franz Joseph Haydn Cello Concerto No. 2 in D Major, Hob. VIIb/2

Gustav Mahler Symphony No. 5

In cooperation with the Cultural Center of the Philippines, the Manila Symphony Orchestra opens its 2011 concert season with "The Viennese Symphonic Tradition: A Gustav Mahler Centennial Celebration". The concert features a highly challenging repertoire of Mahler's Symphony no. 5 and Franz Joseph Haydn's Cello Concerto no. 2 in D Major, with Wilfredo Pasamba as soloist and Prof. Arturo Molina as conductor.

Pasamba is considered one of the best Filipino cellists and has mentored many of the cellists active today in the Philippine music scene. Now based in the US, this concert marks Pasamba's return to the Manila Symphony Orchestra, of which he was one of the original members when it was reinstated in 2001.

The concert traces the beginnings of the symphonic tradition with Haydn, the Father of the Symphony and ends with Mahler, who is considered as one of the last great composers under the Viennese symphonic tradition.

The MSO's performance likewise pays tribute to Gustav Mahler on his 100th death anniversary. It is part of a worldwide celebration, with performances of Mahler's works by prestigious orchestras in various countries.

Cellist Wilfredo Pasamba

Ticket prices:

P1000 Orchestra Center

P800 Orchestra Side

P500 Balcony I 

P200 Balcony II

50% student discount

20% senior citizen discount

For inquiries:

MSO Secretariat 523-5712

CCP Box Office 832-3704, 832-1125 loc. 1406 & 1409

TicketWorld 891-9999

French pianist Laure Favre-Kahn to perform for a benefit concert

April 28, 2011, 8:00 PM

Philam Life Auditorium

UN Avenue, Manila

Featuring:

Laure Favre-Kahn, piano

Programme:

Robert Schumann Papillons, Op. 2 Butterflies

Frédéric Chopin

     Impromptu No. 2 in F sharp major, Op. 36

     Impromptu in C sharp minor, Op. posth. 66 Fantaisie Impromptu

     Etude in C minor, Op. 10 No. 12 Revolutionary

     Prelude No. 15 in D flat major, Op. 28 Raindrop

     Prelude No. 18 in F minor, Op. 28

     Prelude No. 4 in E minor, Op. 28

     Prelude No. 24 in D minor, Op. 28

     Waltz in A minor, Op. posth.

     Waltz in D flat major, Op. 64 No. 1 Minute Waltz

     Waltz in C sharp minor, Op. 64 No. 2

     Waltz in F major, Op. 34 No. 3

This fund-raising piano concert featuring French pianist Laure Favre-Kahn is for the benefit of Chameleon Association Inc. and organized under FrancoPhil by the Alliance Française de Manille, the Embassy of France to the Philippines and ROS Music Center.

Pianist Laure Favre-Kahn

Ticket prices:

P1500 Orchestra Center/Left

P1000 Orchestra Right

P500 Loge

50% student discount
20% senior discount

For inquiries:

Alliance Française de Manille 895-7585, 895-7441, (0917) 892-8968

Mr. Napoleon Almonte (0999) 748-0129

ROS Music Center 440-1021

Sally (0917) 507-7343, (0917) 507-7345

PPO VIII: Poom and Mahler I

Featuring:

Poom Prommachart, piano

Philippine Philharmonic Orchestra

Olivier Ochanine, conductor

Programme:

Sergei Rachmaninoff Piano Concerto No. 3 in D minor, Op. 30

Gustav Mahler Symphony No. 1 Titan

Time really flew so fast and before I knew it, it was already the last concert of the 28^th season Bold Strokes New Growth of the Philippine Philharmonic Orchestra. And it was also exactly a year ago when Olivier Ochanine made his debut with the orchestra as its principal conductor and music director. The PPO has been on a roll lately and they seemed determined to end their season on a high note.

Getting to the Cultural Center of the Philippines was difficult for me since there were numerous events happening simultaneously resulting in terrible traffic that made me worry a bit if I would make it on time. Thankfully I did make it on time since I didn’t want to miss the first piece which was Sergei Rachmaninoff’s Piano Concerto No. 3 in D minor, Op. 30 also known as THE Rach 3. And the soloist for this piece was a young Thai pianist named Poom Prommachart.

I like to tease piano majors by asking them when they will play the Rach 3. And their responses have always amused me since it felt as if I’ve asked them to walk on a high tight rope without a safety net while juggling knives. That’s how piano majors dread the thought of ever performing this piece. Despite not being as lyrical as the composer's Second Piano concerto, or Rach 2, this piece has become popular as well because it was featured in the movie Shine and was also used by Michelle Kwan in one of her most memorable ice skating programs.

I was very much pleasantly surprised with Prommachart’s Rach 3. From the start, he displayed such control and restraint which really highlighted the contrasts in dynamics. I really liked how the subtle moments at the beginning was able to shape the piece and the payoff came during the cadenza. There was indeed elegance, subtlety in him that really highlighted the bravura passages that he executed with impeccable control. Less capable pianists would’ve pounded their way throughout the piece but Prommachart was a master in shaping the piece, making it sing and sound fully alive. He is still very young but he played with such musicality and expression that can usually be achieved only when one has experienced the full spectrum of life.

Pianist Poom Prommachart

Unfortunately, a lot of people came in late and weren’t allowed to enter the Tanghalang Nicanor Abelardo (CCP Main Theater) once the performance started. And it didn’t help at all that in the Rachmaninoff piece, there was no break at all in between the second and third movements.

The second and last piece for the evening was Gustav Mahler's Symphony No. 1 also known as Titan. Ochanine mentioned in his opening remarks and that this piece has a special meaning to him. And I did feel it during the performance of this piece. It felt like that actual moment was the realization of his childhood dreams and that he needed to savor it and preserve it in his memory and hope that it never fades. It had been a very crazy year for him as the music director and principal conductor of the PPO, and his conducting of this Mahler symphony felt like he’d go through all that craziness again just to be on that moment.

The Mahler had an interesting start with the trumpets performing off stage during the beginning of the first movement. The effect with the sound coming from somewhere “distant” and somewhat signaling the arrival or start of something was quite a nice touch and it felt like having surround speakers. But the movement that really drew me in was the third. I find it hard to understand how three unusual themes, especially the eerie first theme, found its way on a Symphony called Titan. No wonder the first audiences reacted negatively to it. As odd as this movement is, it was indeed the one that I anticipated the most. I never imagined that I’d get excited seeing the double bass deliver its solo. But for me, this piece really highlighted the brass section especially in the end. I’ve had some issues regarding the orchestra’s spotty brass from their previous performances but thankfully this time they delivered. And as per Mahler’s instructions, the horn players did stand up in the end which added more flair to an already exciting ending to the piece.

It was a great night and the only complaint that I have is that they removed the previously announced Alan Hovhaness' Symphony No. 2 Mysterious Mountain in the programme. Ochanine’s opening remarks said that the concert would be too long had they retained that symphony. But he told me afterwards that they will play it someday. Also unfortunate was that a lot of the audience members missed the first part of the concert because of the infamous Metro Manila traffic. Special thanks to Dr. Raul Sunico, President of the CCP and Dean of the University of Sto. Tomas Conservatory of Music for the generous seat upgrade and I was able to experience watching the orchestra in one of the best seats in the theater.

The Masterclass

The morning after the concert, Prommachart conducted a masterclass at the University of Sto. Tomas and I was very fortunate to be there. I learned a lot from him especially about shaping the piece, creating areas of interest and making the piece more alive instead of just being noise. He was very warm, at times funny and animated that he made the students loosen up since they tended to become stiff due to nervousness. It was a morning well spent and it definitely made me want to do better than the ill-prepared Chopin piece that I played for him when things were wrapping up.

RAd with Poom Prommachart

I do hope that Prommachart returns soon for another performance since I want to see him play more. The Rach 3 performance and the masterclass weren't enough in my opinion.  And someone did suggest during the intermission at the concert that he return after a decade. But a decade is too long and it better be a lot sooner than that.

Text by RAd

Photos by Poom Prommachart

All-Chestra featuring Joseph Esmilla

Featuring:

Joseph Esmilla, violin

Manila Symphony Orchestra

Arturo Molina, conductor

Programme:

Antonio Vivaldi Le Quattro Stagioni (The Four Seasons)

                      Concerto No. 1 in E major, Op. 8, RV 269, La primavera (Spring)

                      Concerto No. 2 in G minor, Op. 8, RV 315, L'estate (Summer)

                      Concerto No. 3 in F major, Op. 8, RV 293, L'autunno (Autumn)

                      Concerto No. 4 in F minor, Op. 8, RV 297, L'inverno (Winter)

Antonín Dvořák Serenade for Strings in E Major, Op. 22

The 4^th Season of Filfest Cultural Foundation dubbed as All-Chestra started with the highly successful and critically acclaimed concert of pianist/tenor, Carlos Ibay with the Manila Symphony Orchestra under the baton of Arturo Molina. Unfortunately, I wasn’t able to see that performance so I knew that I had to make up for it by watching the second concert which featured violinist Joseph Esmilla.

There was a heightened sense of excitement at the lobby of the Insular Life Auditorium moments before the concert started. This was due to an excellent audience turnout and the enthusiasm that they radiated somehow led me to believe that the rest of the evening would be truly awesome.

Unfortunately, whatever positive energy there was outside wasn’t able to manifest itself during the performance inside the auditorium. Even before the musicians entered the stage, I was already taken aback when the setup meant for a smaller ensemble suggested that the concert would open with Antonio Vivaldi’s Four Seasons which was actually listed as the second piece of the night according to the programme. Those who know me would attest that changes with the programme that are announced before the show starts do rattle me since I usually do make it a point to study the pieces to be performed beforehand. And I didn’t hear any announcement regarding the switch when Filfest Executive Director Martin Lopez delivered his opening remarks.

Normally, I would get settled in once the performance is underway. But I never felt that since Esmilla and the rest of the orchestra seemed very off. There were numerous slips from the usually solid Esmilla and it was difficult for me to believe if this was indeed the same violinist who did a sublime performance of Korngold Violin Concerto some months back.

The first two movements “Spring” and “Summer” felt uneven and unpolished not befitting of Esmilla and the MSO’s stature and caliber. And it was only during “Autumn” when it seemed that they were finally settling down and it was when “Winter” was being performed that they seemed to be completely at ease. But by then, the piece which comprised the first half of the concert was already over. It was indeed uncomfortable for me to see them this off. And while they were inexplicably off, the audience on the other hand was definitely on that night to the point that they’ve applauded the end of every movement. The only time that they didn’t was in between the second and third movements of Summer. And it felt like the applause, despite the audience’s noble intentions, only made it more difficult for the orchestra to get into the zone.

Joseph Esmilla and the Manila Symphony Orchestra

Joseph Esmilla did manage to show his prowess when he performed Fritz Kreisler’s Recitative and Scherzo-Caprice for solo violin, Op. 6 during the encore. And then in an unusual turn of events, the orchestra returned for another pass of the third movement of “Summer”. It was rather confusing since I wasn’t sure if this was another encore or if they opted to have another go with it since they didn’t nail it the first time around.

After a brief intermission, the concert resumed with the performance of Antonín Dvořák’s Serenade for Strings in E minor, Op. 22 which was supposed to be the first piece. This piece has parts in which the strings divide into numerous sections and that meant that more players were needed. So the rest of the strings section of the Manila Symphony Orchestra joined those who performed earlier. The divisons into sections by the strings resulted in such a rich and textured sound but still retained the lightness which is the overall character of the piece. If there was a raging storm during the Four Seasons, then it’s all light, pleasant and a cheerful, sunny day in this Serenade.

Thankfully, the orchestra performed better this time. There were some fine moments during the Tempo di Valse of the second movement which reminded me of a Chopin composition. And I felt just the right intensity during the Finale. But it was still uneven; with the principals standing out from the rest especially those further back the stands. The MSO have a strong and solid string section and unfortunately, they weren’t able to display this strength during this night.

It was indeed a very strange evening. The concert was a success in terms of audience turnout but it wasn’t so based on the performance that I was able to see that night. Despite this setback, I remain hopeful that Joseph Esmilla and the Manila Symphony Orchestra under the direction of Arturo Molina will soon give a performance that will show what they really are capable of.

Joseph Esmilla with RAd and the Pinoy Violinists

Text by RAd

Photos by Yuuko-san