Pianist Lorenzo Medel takes on adventurous program in recital

May 23, 2015, 7:30 PM

Brother Rafael Donato Center for the Performing Arts

La Salle Greenhills

Featuring:

Lorenzo Medel, piano

Jeline Oliva, violin

Programme:

Domenico Scarlatti

     Sonata in E, K.380, L.23 Cortège

Ludwig van Beethoven

     Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 Moonlight

Frédéric Chopin

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

     Étude in G flat major, Op. 10 No. 5 Black Keys

     Étude in A minor, Op. 25 No. 11 Winter Wind

Claude Debussy

     Préludes Book 2 No. 12 Feux d'artifice (Fireworks), L 123

Nikolai Myaskovsky

     Piano Sonata in F sharp minor, Op. 13 No. 2

Tomaso Vitali

     Chaconne in G minor

Antonio Vivaldi

     Allegro non molto from Concerto No. 2 in G minor, Op. 8, RV 315, L’estate (Summer)

     Allegro non molto from Concerto No. 4 in F minor, Op. 8, RV 297, L’inverno (Winter)

Jules Massenet

     Meditation from Thaïs

Manuel de Falla arr. by Fritz Kreisler

     Danse espagnole

After finishing his sophomore year at the Eastman School of Music in New York, pianist Lorenzo Medel returns to the country for a one night recital billed as billed as A Classical Piano Adventure with Lorenzo Medel happening on May 23, 2015, 7:30 PM at the Brother Rafael Donato Center for the Performing Arts in La Salle Greenhills.

For this evening, Lorenzo’s pieces include the Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 more popularly known as the Moonlight Sonata by Ludwig van Beethoven, a trio of Études (Étude in C minor, Op. 10 No. 12 Revolutionary, Étude in G flat major, Op. 10 No. 5 Black Keys, and Étude in A minor, Op. 25 No. 11 Winter Wind) by Frédéric Chopin, Préludes Book 2 No. 12 Feux d'artifice (Fireworks), L 123 by Claude Debussy and the rarely performed Piano Sonata in F sharp minor, Op. 13 No. 2 by Nikolai Myaskovsky.

The concert will also include the special participation of young violinist Jeline Oliva who will join Enzo in performing Tomaso Vitali’s Chaconne in G minor, a couple of movements (the Allegro non molto from No. 2 in G minor, Op. 8, RV 315, L’estate/Summer and Concerto No. 4 in F minor, Op. 8, RV 297, L’inverno/Winter) from Antonio Vivaldi’s Le Quattro Stagioni/The Four Seasons, Jules Massenet’s Meditation from Thaïs, and Manuel de Falla’s Danse espagnole as arranged by Fritz Kreisler.

Lorenzo was born in Manila in 1995 and began his piano studies in 2006 at age 10 under Prof. Mauricia Borromeo of the University of the Philippines, College of Music. He is currently into his Bachelor of Music, Major in Piano Performance at the Eastman School of Music where he will be an incoming junior this September 2015.

In the seven years Lorenzo was with Prof. Borromeo (2006-2013), he had clearly established his piano skills nationally, winning the top prizes of our country’s more prestigious piano competitions, like the NAMCYA (National Music Competitions for Young Artists), PTGP (Piano Teacher’s Guild of the Philippines), UP College of Music and the National Steinway Piano Competition. He had twelve public solo recitals by age sixteen, three of which were full concertos with assistance from the Manila Symphony Orchestra. The recitals received excellent reviews both from Manila’s press and local piano aficionados.

For tickets and inquiries:

(0917) 891-7979, 716-1854, enzopiano@yahoo.com

Pianist Lorenzo Medel presents night of classical piano recital

May 24, 2014, 7:30 PM

Brother Rafael Donato Center for the Performing Arts

La Salle Greenhills

Featuring:

Lorenzo Medel, piano

Jourdann Petalver, piano

Programme:

Franz Joseph Haydn Sonata in C minor, Hob. XVI:20

Johann Sebastian Bach transcribed by Ferruccio Busoni Chaconne in D minor, BWV 1004

Igor Stravinsky Firebird

Felix Mendelssohn Piano Concerto No. 1 in G minor, Op. 25

Expectations are high for piano prodigy Lorenzo Medel in his upcoming solo piano recital this May 24, 2014, 7:30 PM at the Brother Rafael Donato Center for Performing Arts in La Salle Greenhills. This recital will be his first since completing his first year of studies at the Eastman School of Music in New York under the Russian pedagogue Professor Natalya Antonova.

In this concert, Lorenzo will be performing Franz Joseph Haydn’s Sonata in C minor, Hob. XVI:20, Ferruccio Busoni’s transcription of Johann Sebastian Bach’s Chaconne in D minor, BWV 1004, Igor Stravinsky’s Firebird and Felix Mendelssohn’s Piano Concerto No. 1 in G minor, Op. 25 with Jourdann Petalver assisting him.

Lorenzo was born in Manila in 1995 and began his piano studies in 2006 at age 10 under Prof. Mauricia Borromeo of the University of the Philippines, College of Music.  He is currently into his Bachelor of Music, Major in Piano Performance at the Eastman School, University of Rochester in New York and will be an incoming sophomore on September 2014. He has won top prizes in various piano competitions here in the Philippines like the National Music Competitions for Young Artists (NAMCYA) and he became the country’s representative at the first Steinway Youth Piano Competition regional finals held in Singapore back in 2012.

For tickets and other inquiries:

0917-891-7979 or 716-1854, enzopiano@yahoo.com

Lorenzo Medel Solo Piano Recital 2013

Pianist Lorenzo Medel

Featuring:

Lorenzo Medel, piano

Manila Symphony Orchestra

Arturo Molina, conductor

Programme:

Johann Sebastian Bach Prelude and Fugue No. 23 in B major, BWV 892

Ludwig van Beethoven Piano Sonata No. 23 in F minor, Op. 57 Appassionata

Nicanor Abelardo First Nocturne

Frédéric Chopin Étude in A minor, Op. 25, No. 11 Winterwind

Franz Liszt Grandes études de Paganini No. 6 in A minor Theme and Variations

Claude Debussy Préludes Book 2 No. 12 Feux d'artifice, L 123

Béla Bartók Two Romanian Folk Dances, Op. 8a

Sergei Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18

I can still remember the time when I asked young pianist Lorenzo Medel when he would play a piano concerto by Sergei Rachmaninoff which could be either the Rach 2 or 3. And he responded by saying that he wanted to but that he had to increase his hand span first. I guess that right after that, his hands have gotten bigger (he has also gotten a lot taller too) since I learned soon after that he would be playing the very popular Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 with the Manila Symphony Orchestra.

Fast forward some months later, that time finally came as Lorenzo “Enzo” Medel mounted his third solo piano recital at the Philam Life Auditorium. It had been about a year and a half since I saw him perform the Liszt Piano concerto at the same venue.

Enzo with the Manila Symphony Orchestra

Enzo, dressed in a sheer and glossy, black barong, began the night by playing Johann Sebastian Bach’s Prelude and Fugue No. 23 in B major, BWV 892 from the Well-Tempered Clavier Book II. I’ve always been honest that Bach’s music doesn’t get through me and that it’s really challenge for me since a lot of pianists start their performances with a Bach piece. I am just glad that the next piece, Ludwig van Beethoven’s Piano Sonata No. 23 in F minor, Op. 57 also known as the “Appassionata”, is a very familiar one. This section of the program got my brain right on track with Enzo performing this comfortably despite the tempestuous and violent nature of the piece which has been on his repertoire for quite some time now. Enzo then slowed things down with Nicanor Abelardo’s First Nocturne which was the calm before the storm considering the pieces the immediately followed.

Enzo then played virtuosic pieces one after the other: Frédéric Chopin’s Étude in A minor, Op. 25, No. 11 also known as the “Winterwind”, Franz Liszt’s Grandes études de Paganini No. 6 in A minor “Theme and Variations”, Claude Debussy’s Préludes Book 2 No. 12 “Feux d'artifice”, L 123 and Béla Bartók Two Romanian Folk Dances, Op. 8a. It seemed to me that these demanding pieces were just another walk in the park for Enzo. For people who were there just for the Rach 2 and thought that they had to sit out an hour of solo piano pieces before hearing the concerto, they were treated to a display of Enzo’s technical brilliance that only served to heighten the anticipation for the most awaited piece of the night.

For Enzo’s performance of Sergei Rachmaninoff’s Piano Concerto No. 2 in C minor, Op. 18, he was accompanied by the Manila Symphony Orchestra under the baton of Arturo Molina. During this time, he has donned his signature blue barong. At the start of the piece, I immediately thought about the time when he mentioned increasing his hand span since I didn’t hear any arpeggiated chords at the opening. And it’s not only his wider hand span that I noticed but also his maturity as a pianist. When he played the Liszt concerto back in June 2011, he still seemed like a kid playing in a sandbox which was a concert grand piano. And during the Rach 2, he has grown a lot (literally and figuratively) and started to exhibit some dashes of sensitivity, finesse and depth.

I admit that the programme prepared for this evening was quite heavy with pieces designed to impress that they almost overwhelmed me. I really wanted another change of pace and Enzo somehow heard my plea when he played his encore, Chopin’s Étude in E minor, Op. 10, No. 3 Tristesse. Enzo did show a huge improvement during this concert but he is still far from being a complete pianist. Yes, he can pound those keys and do extremely fast and difficult passages with his eyes closed and probably not miss a beat, but he still has a long way to go in effectively communicating and playing more than just the notes in the music sheet. At 17 years old, he is still very young and I’ve always believed that maturity in music can only be achieved through time and life experiences. Speaking of experiences, Enzo will add more experience that can improve his performances as he prepares to fly over to the US for a series of auditions in music institutions there. I wish him all the best and may he get his desired results.

Lastly and on a lighter note, Enzo has considerably improved his walk entering the stage and the way he bows to the audience is rather peculiar and yet amusing.

Lorenzo Medel Solo Piano Recital

Lorenzo Medel and the Manila Symphony Orchestra

Featuring:

Lorenzo Medel, piano

Manila Symphony Orchestra

Jeffrey Solares, conductor

Programme:

Johann Sebastian Bach Keyboard Concerto No. 5 in F minor, BWV1056

Ludwig van Beethoven Rondo in G major, Op. 51, No. 2

Frédéric Chopin Scherzo No. 3 in C sharp minor, Op. 39

Claude Debussy Reflets dans l'eau from Images 1

Sergei Prokofiev Sonata No. 3 in A minor, Op. 28

Franz Liszt Piano Concerto No. 1 in E flat major, S.124

The last piano concerto accompanied by an orchestra that I saw was way back in April. No wonder that I’ve been itching to go back to my comfort zone although I’ve been having the ride of my life with all these events for the past month or so. Thankfully, I was able to satisfy my piano concerto craving when Lorenzo Medel, a 15 year old piano phenomenon, had his solo recital at the Philam Life auditorium. Postponement due to bad weather and still a wet and rainy evening on the rescheduled date didn’t hinder people from arriving in droves for this free concert that also featured the Manila Symphony Orchestra conducted by Jeffrey Solares.

The concert programme was a nice mix of keyboard/piano music from different eras which meant that I had to listen to some pieces that don’t normally appeal to me. The concert started with Johann Sebastian Bach’s Keyboard Concerto No. 5 in F minor, BWV1056, in which Lorenzo was accompanied by a small number of string players from the MSO. Baroque keyboard music is something that I find difficult to appreciate and during this performance, I found myself wondering instead on how the piece would sound if Lorenzo played on a harpsichord instead. The Classical era was represented by Rondo in G major, Op. 51, No. 2 by Ludwig van Beethoven. Unfortunately, this is another piece by Beethoven that I never learned to appreciate since I prefer his longer pieces like his sonatas. And I confess that I just wished to have this piece done and over with so that the concert would just move on to the next pieces.

Then Lorenzo’s concert arrived at the Romantic era which is my favorite and he played Frédéric Chopin’s Scherzo No. 3 in C sharp minor, Op. 39. This scherzo has now overtaken the No. 2 in B flat minor as my favorite among the four scherzi that Chopin composed. He played this extremely well and was able to handle with relative ease the difficult octave passages that have been the bane of many pianists who attempted to play this piece. But my favorite part of this piece is the delicate, cascading notes that require much finesse and my fickleness regarding this part makes me difficult to be extremely satisfied by anyone playing this. He then played Claude Debussy’s Reflets dans l'eau from Images 1 which is one Impressionistic piece typical of the composer. Again, Lorenzo was able to play this piece comfortably but he has yet to achieve the subtle nuances that make a piece like this mesmerizing. But I need to be reminded that he is still just 15 years old and that artistic maturity comes with age and experience. It would be very interesting to hear him play these two pieces after some years and see how far he’d gone.

But I do believe that the next piece, Sergei Prokofiev's Sonata No. 3 in A minor, Op. 28 really suited him well. The Prokofiev piece was played with such attack, flair, energy, excitement and with reckless abandon that he seemed to blast off the piano bench at certain moments. It surprised no one that he was met with equally bombastic applause from the audience when he finished this piece which ended the first half of the concert.

Franz Liszt's Piano Concerto No. 1 in E flat Major, S.124 was the sole piece of the second half. This piece is very flamboyant and cheerful devoid of any of the heavy drama of most concerti from the Romantic era. I think that it also suited Lorenzo’s style very well. He nailed this virtuosic piece full of fireworks which is characteristic of Liszt’s compositions. I was glad that the Manila Symphony Orchestra, conducted by Jeffrey Solares, was able to match the piano without drowning each other especially during the thunderous bravura passages. But I felt that during the finale with the descending octaves, he had an urge to surge and I got a bit worried that he might outpace the orchestra. But the MSO really manage to keep up with his pace. And it was exciting to hear the people already applauding even if the last note of the concerto was still being played.

Pianist Lorenzo Medel

The cheers coming from an enthusiastic audience who gave Lorenzo a standing ovation went on for quite some time. Lorenzo responded the call for an encore by playing Nocturne in G major by Rodolfo Cornejo which was indeed a nice change of pace after that explosive concerto. Lorenzo is indeed a phenomenon and is still very young so he still has a long piano career ahead of him. He has nowhere to go but up and it would be very nice to see him continue to develop artistically and add more pieces to his concert repertoire. Lastly, it would also be very nice of him to polish his walk whenever he enters and exits the stage.