Ross Salvosa conducts piano teachers workshop, masterclass

Canada based pianist and pedagogue Dr. Ross Salvosa will hold a piano teachers workshop and a piano masterclass this January 30-31, 2020 at the Cultural Center of the Philippines.

Mounted by the CCP Artist Training Division, the workshop and masterclass, collectively billed as Path of Least Resistance, will focus on developing strong musical and technical foundation from early beginner to advanced level.

The piano teachers workshop happens on January 30, 2020 from 9:00 AM up to 6:00 PM is split into three modules namely Path of Least Resistance at 9:00 AM – 11:00 AM, Creating vs. Regurgitating at 1:00 PM – 3:00 PM, and Road to Parnassus at 1:00 PM – 3:00 PM.

The piano masterclass, which is open to pianists, will take place at the following day on January 31, 2020 from 9:00 AM up to 6:00 PM. Both the piano teachers workshop and the piano masterclass will take place at the CCP Tanghalang Aurelio Tolentino (CCP Little Theater).

Ross Salvosa is one of the most sought-after teachers in the Pacific Northwest. He is a seasoned adjudicator and has served in the juries of national and international piano competitions including the Seattle International Piano Festival and Competition and the National Music Competitions for Young Artists. He is renowned for developing prodigious talents from early formative ages to professional artists. He frequently gives masterclasses in Canada, USA, Chile, Argentina, Brazil, Costa Rica and the Philippines. He is the director of the Concord Institute of Performing Arts in Vancouver-BC and also an artist-faculty at the Chopin Academy of Music in Issaquah-Washington. He is a senior advisor to the board of the Vancouver Clef Music Society and has served as artistic director of the Music Without Borders Society.

He received his Doctor of Musical Arts degree from the University of British Columbia and was recipient of the Mildred Johnson scholarship award under the guidance of Corey Hamm, Sara Buechner, Mark Anderson, Kenneth Broadway and Ralph Markham. He earned is Master of Music and Bachelor of Music degrees from the Conservatory of Music at Lynn University on a full scholarship under the tutelage of Roberta Rust. He also studied with Philip Evans, Maria Rosa Oubiña, Frida Conn, Reynaldo Reyes, Emilio del Rosario, Mauricia Borromeo, Perla Suaco, Ruby Salvosa, Abelardo Galang and Artemio Panganiban.

For more information and reservations, contact the CCP Artist Training Division at ccp.artist.trainng@gmail.com or call 8832-11125 loc. 1605.

Getting to know Leonardo da Vinci through film, theater, and cuisine

Five centuries have passed since Leonardo da Vinci's death but his works still remain among the most treasured in all of art history and his legacy continues to live on up to the present. From the Mona Lisa, The Last Supper, to The Da Vinci code and even the Teenage Mutant Ninja Turtles, Leonardo da Vinci's contribution to the world of fine arts and pop culture cannot be denied. In commemoration of the 500th Anniversary of Da Vinci's death, the Philippine-Italian Association, the Embassy of Italy, and the Italian Chamber of Commerce in the Philippines along with partner institutions namely the Cultural Center of the Philippines present Leonardo in Manila a series of artistic and cultural events ranging from theater, film, and cuisine, celebrating da Vinci's universal genius this November 13-21, 2019.

Eugeniu Rotaru
Deputy Head of Mission, Embassy of Italy

Headlining Leonardo in Manila is Being Leonardo, An Impossible Interview which can be seen in either a short film, a feature length film, or as a live theater production. For these events, Italian director and actor Masimilliano Finazzer Flory will be flying in to Manila to present the films which he starred in and directed, to conduct workshops and talks, and lastly, to perform on stage.

Massimiliano Finazzer Flory

Being Leonardo da Vinci, An impossible Interview, the Play

Portraying Leonardi da Vinci's life on stage, Being Leonardo da Vinci An Impossible Interview's one night performance happens on November 21, 2019, 7:00 PM at the Cultural Center of the Philippines' Tanghalang Aurelio Tolentino (CCP Little Theater).

The two man play written, directed and starring Massimiliano Finazzer Flory as Leonardo da Vinci will also feature Filipino actor, director and writer Carlito Casaje as the journalist/interviewer.

Dressed in period costumes, complete with make-up recreating, Finazzer Flory portrays da Vinci as he answers questions about his childhood, his civil and military activities, and how to become a "good painter" (bono pittore), and about the relationship between Painting and Science, Painting and Sculpture, Painting and Music. The play will also touch upon da Vinci's comments on The Last Supper and the figures of the apostles, replies to his enemies' attacks, prophesies man's flying, and finally offers maxims and aphorisms to live by in our times.

Being Leonardo da Vinci, Masterclass and Film screening

On November 20, 2:00 PM, at the Cultural Center of the Philippines' Tanghalang Manuel Conde (CCP Dream Theater), Finazzer Flory will conduct a masterclass to be followed by the screening of the short film version of Being Leonardo, An Impossible Interview.

Assisted by Lito Casaje, the masterclass will cover how cinematic techniques have absorbed Leonardo's teaching, by conjugating photography, editing and screenplay together with history and pictorial theories, in order to raise Nature and Environment to the role of protagonist. Today this philosophy is supported by the school of thought known as Deep Ecology.

Being Leonardo da Vinci, An Impossible Interview at Cine Europa 22

The full length film Leonardo da Vinci An Impossible Interview will be screened as part of the final leg of Cine Europa 22 on November 19, 2019, 7:30 PM at the Cinematheque Center Manila, Film Development Council of the Philippines.

Prior to the screening at 5:00 PM, a presentation and discussion of the film by Finazzer Flory is also scheduled.

The film follows two journalists, from New York and Milan unaware of each other, are looking for a scoop about the 500th anniversary of Leonardo da Vinci’s death. They see works of art and they pass thorough the places of the Genius between landscapes and mysterious encounters. In Florence for the first time during a show in costume between friars, tourists and flag-wavers unexpected traces are found. In Milan, a document to find out who Leonardo Man was through a scientific examination was discovered. Then they come to his final resting place in Clos Lucé and there they meet Leonardo face to face. The interview is granted. The words of the Genius are authentic, in Renaissance language. At the end Leonardo escapes through the undergrounds, returning to Vigevano and unveiling to the most important figures of his time where he reveals…

Silvana Diaz
VP Culture, Philippine-Italian Association

The other events of Leonardo in Manila cover cuisine and the culinary arts.

Cook off with Leonardo

The culinary events of Leonardo in Manila already began with a series of lectures by Italian chef Salvatorre Arria, consultant in Italian regional cuisine, at St. Scholastica's College, Lyceum of the Philippine University, and National University. The lecture served to contextualize Leonardo da Vinci in cuisine, his recipes, the historical context and the ingredients available in Italy at that time.

The participating schools (St. Scho, LPU, and NU) will then use what they've learned in the lectures and whip up three dishes at the Cook Off with Leonardo on November 14, 2019, 9:00 AM at the Lyceum of the Philippines University Culinary Institute. 

The Last Supper

Rivaling the Mona Lisa as one of da Vinci's most popular works is The Last Supper. The release of Dan Brown's novel thriller The Da Vinci Code and also the subsequent movie adaptation starring Tom Hanks only raised the work's popularity even further. The conspiracy theories raised about the painting in the novel/movie may be spotty and questionable, but on November 13, 2019, 7:00 PM, a more credible discussion to The Last Supper by James Freney of the Philippine-Italian Association will take place before a hearty  dinner at the Caruso Ristorante Italiano.

The lecture will focus on the story of the Last Supper, its relevance, its messages in the context of the Reinaissance period and with the emergence of Humanism. The Leonardo themed menu to be served at the dinner will be specially concocted by restaurant director Emilio Mina.

Leonardo Wine & Cuisine

While most of the world knew da Vinci as both an artist and a man of science, it is a rarely known fact that he was very much into food as well.

A presentation on Leonardo on how he was in the kitchen and in the cellar will be conducted by chef Salvatore Arria and sommelier Luca Galli before a special dinner on November 20, 2019, 7:00 PM at the Ponte Rialto Ristorante Italiano at the Venice Grand Canal Mall.

Alessandro Milani
General Manager Philippine-Italian Association

Here is the schedule of events for Leonardo in Manila.

November 13, 2019
The Last Supper
Caruso Ristorante Italiano, Bel-Air, Makati

November 14, 2019

Cook Off with Leonardo
Culinary Institute Lyceum of the Philippine University, Manila

November 19, 2019

Being Leonardo da Vinci, Cine Europa 22 Screening
Cinematheque Center Manila, FDCP

November 20, 2019

Being Leonardo da Vinci, Masterclass and Short Film Screening
Cultural Center of the Philippines, Tanghalang Manuel Conde (CCP Dream Theater)

Leonardo, Wine & Cuisine
Ponte Rialto Ristorante Italiano, Venice Grand Canal Mall, Upper McKinley, Taguig

November 21, 2019

Being Leonardo da Vinci, An Impossible Interview, the Play

Cultural Center of the Philippines, Tanghalang Nicanor Abelardo (CCP Little Theater)

Leonardo in Manila is presented by the Philippine-Italian Association, Embassy of Italy, and the Italian Chamber of Commerce in the Philippines, Inc. in cooperation with the Cultural Center of the Philippines and supported by OMAN AIR, Rustan's, Hotel Jen Manila, and East West Bank.

Break of Reality proves that cellos do rock

Break of Reality performing at Glorietta

American alt-classical chamber ensemble Break of Reality showed the Philippines that cellos do rock during their recent visit to the country.

Cellists Patrick Laird, Laura Metcalf, and Andrew Janss, along with percussionist Ivan Trevino headlined performances and conducted workshops in Zambales and Manila. Catching them on tour gave me an insight on how to be a musician in this age of social media but most importantly, it gave me a chance to finally see and hear up close and personal a carbon fiber cello.

The group’s hour long performance at the Glorietta Activity Center was met by a highly receptive audience that included a great number of school kids. The crowd roared upon hearing the starting notes of the Game of Thrones main titles. Even the not so familiar music like that from Villa-Lobos, Radiohead, a Break of Reality original, and including an improvised piece were warmly received.

A broken left foot by Patrick didn’t stop him from rocking it out especially with Ivan finally having a go with the drum set. And for some reason, the crowd goes wild whenever the cellists go for the high notes. The opening act in this concert was the urban folk band Humanfolk. The performance was also a part of the ongoing Philippine International Jazz Festival.

As much as I enjoyed the Glorietta performance, it was the workshop at the University of Sto. Tomas held days earlier that I appreciated more. The workshop was a combination of a masterclass, performance, and an open forum. And it was during the open forum where I learned a lot.

The group gave practical tips on how to make one’s presence felt online. Ivan said that one doesn't need top of the line equipment for one can start recording and uploading videos. A mobile phone that can take videos and a decent, relatively inexpensive microphone are enough to start the ball rolling. But Patrick stressed that content is still the key.

Laura, who has performed with the likes of Adele and John Legend, and also a member of other ensembles aside from Break of Reality, was cited as an example of a versatile musician. And Patrick said that being versatile increases a musician’s usefulness.

Ivan also recalled the quartet’s earliest days playing for almost nothing at cafés, using these gigs as a learning experience, until they got featured at the papers that eventually started to snowball to where they are right now.

Performing during the workshop/masterclass at UST

Another interesting topic discussed was how to do improvisation as an individual and as a group. Andrew said that one has to get comfortable with a simple idea (as simple as a single note, a drone) and then going one step further from there. As a group, one has to know which role he/she needs to play and do something different like play high while the other play low or do a contrasting counter melody. Ivan said that voicing rhythms out and then doing variations afterwards is a good exercise for percussionists.

Ultimately, it was the carbon fiber cellos that all three cellists brought with them that really caught my interest. The dark gray cellos have a very muscular sound that was highlighted by the pieces that they performed. Patrick told me that it’s ideal for touring since they could just have these instruments beneath the plane. An extra seat is typically bought for the fragile wooden cellos and that brings up the touring cost. The carbon fiber ones aren’t affected by extreme temperature changes so the cellists aren’t too worried about having to make emergency trips to a luthier while on tour.

The Philippine stop of Break of Reality is part of their Asian tour in line with the American Music Abroad program by the U.S. Department of State’s Bureau of Educational and Cultural Affairs in partnership with American Voices. The performances and workshops were presented by the U.S. Embassy in the Philippines, Casa San Miguel, Glorietta, Philippine International Jazz Festival, University of the Philippines, and University of Sto. Tomas.

Award winning composer Jesse Lucas celebrates 20 years with free film/tv music scoring masterclass

In celebration of Jesse Lucas' 20 years in the industry, Jesse Lucas Music and Artist Playground present a masterclass by the award winning composer on the art of writing music for film and television happening this January 29, 2017 at 1701 Little Rooms Upstairs, Landsdale Tower at 86 Mother Ignacia St., in Quezon City.

Only a maximum of 20 masterclass participants will get to learn from two decades’ worth of experience in scoring for film and television (he has also composed music for theater and ballet) and will touch upon topics such as having the mindset for composing music, the creative process from pre-production to post-production, guidelines in composing for various genres, the differences between scoring for film versus television, dealing with directors and tight deadlines, and applying cultural sensibilities to musical choices.

Jesse’s most recent works include the television series Magpahanggang Wakas and the recent film box office hit The Unfaithful Wife. He recently won an Aliw Award for Best Musical Director for his work in the play Happiness is a Pearl. Other awards he has received throughout the years include the Filipino Academy of Movie Arts and Sciendes (FAMAS) Hall of Fame (2010) after bagging five Best Music Score FAMAS awards for 9 Mornings (2003), Filipinas (2004), Mano Po 3 (2005), A Love Story (2008), and Kasal, Kasali, Kasalo (2007); Gawad Urian Best Music Score for Babae sa Breakwater (2004); Young Critics Circle Awards for Best Sound and Aural Orchestration for Phone Sex (2000), Sugatang Puso (2001), Minsan May Isang Puso (2002), and Anghel sa Lupa (2004); Star Awards for Best Music Score for Filipinas (2004); Metro Manila Film Festival (MMFF) Award for Best Original Song for Babae (1997); MMFF Best Music Score for Luksong Tinik (1999); and Gawad Tanglaw for Batanes (2008). On the international front, Jesse won the Best Music at the 2005 Screamfest International Film Festival in Los Angeles, California USA for Sigaw (2005).

Participants for the masterclass are required to have basic knowledge of Musical Instrument Digital Interface (MIDI)/Digital audio workstation (DAW)/virtual instruments, music theory and harmony, and music arrangement and orchestration (MIDI/live instruments). Interested parties can register at The Music of Jesse Lucas facebook page or can contact Kim at (0975) 919-3179. The masterclass will be FREE of charge.

MCO Foundation Great Performances Series 2013: Albert Tiu and Marcel Luxen

Pianist Albert Tiu and clarinetist Marcel Luxen

Featuring:

Albert Tiu, piano

Marcel Luxen, clarinet

Programme:

Robert Schumann Fantasiestücke, Op. 73 for Clarinet and Piano

Johannes Brahms Sonata for Clarinet and Piano No. 1 in F minor, Op. 120

Carl Maria von Weber Grand Duo Concertant in E flat major, Op. 48

Johannes Brahms Sonata for Clarinet and Piano No. 2 in E flat major, Op. 120

The MCO Foundation opened its Great Performances Series 2013 with an intimate night of chamber music featuring pianist Albert Tiu and Belgian clarinetist Marcel Luxen at the Ayala Museum. It’s not very often that a foreign clarinetist gets to play in here so I made sure to see this performance. I am very interested to hear clarinet performances since I do own a clarinet although I play it badly. Fortunately, the Luxen played the clarinet magnificently that night.

The duo started with Robert Schumann’s Fantasiestücke, Op. 73 for Clarinet and Piano. The uncooperative weather almost made me arrive late but I managed to make it just in the nick of time, and this short, lyrical three-movement piece helped me settle into the night quickly. I found the piece very uplifting giving no hint whatsoever to the upcoming madness that would plague Schumann later in his life. The piano part in this piece was relegated more to a supporting role unlike the Gran Duo Concertant in E flat major, Op. 48 by Carl Maria von Weber which started the second half of the concert. In this piece, the pianist was equal in spotlight and virtuosity giving Albert Tiu moments to shine. Both halves of the concert concluded with the clarinet sonatas by Johannes Brahms. The Sonata for Clarinet and Piano No. 1 in F minor, Op. 120 ended the first half while No. 2 in E flat major, Op. 120 rounded up the concert entirely. Both of these sonatas were among Brahms’ latter works after he came out of retirement. These two pieces are very somber in nature, autumnal and very introspective which is very fitting for an intimate night of chamber music. I’ve always associated the clarinet as a very jolly sounding music instrument and I am glad that I was able to hear a different and more serious side to it courtesy of Marcel Luxen and Albert Tiu.

Marcel Luxen, RAd and Albert Tiu

The Masterclass

The following day, Albert Tiu and Marcel Luxen both conducted masterclasses at the Amorsolo Room of the Ayala Museum. I’ve seen Albert Tiu perform numerous times before buta this was just the first time I’ve seen him conduct a masterclass. It was very interesting how he gave particular attention to harmonies and cadences in the pieces played by the participants. Knowing cadences, their character and their place in the music can aid a pianist in giving the  piece a more distinct shape and defined arc. I reckoned that some of the participants felt some pressure to brush up on their music theory after the masterclass. During the second session, I tried listening to Marcel Luxen as he instructed the participants but it was difficult for me to hear what he was saying. I only soaked in the sound coming from the clarinets (his and those of the participants) which were a lot better than the sound that would normally come out from mine. It made me accept once again that I am just resigned to listen to the clarinet and not play it.

Afterwards, I had the pleasure of joining Albert and Marcel, along with the MCO Foundation, for dinner. I was a bit hesitant at first to ask them questions but I managed to throw in a few after a bottle of beer. It led to a very fascinating discussion with topics ranging from PSY’s Gangnam Style, Luxen’s dislike of Pierre Boulez’ music, Rachmaninoff’s Piano Concerto No. 2, Nodame Cantabile and how classical music can survive and contemporary music can break through in this era with the internet being a major factor in our daily lives. Luxen summed it up by saying that he doesn’t know if there will be a new orchestral work that will take the music world by storm just like the old days. The future of music is still one great unknown and we'll only see it as it happens.

I thought that watching the concert by Albert Tiu and Marcel Luxen would just be enough but I’ve had the opportunity to hang out with them and know more about their thoughts and opinions regarding various topics in and out of music. Thanks to MCO Foundation for the opportunity. Do watch out for the next Great Performances Series 2013 this July 27, 2013 at the Ayala Museum featuring pianist Claudia Yang.

Text by RAd

Photos by Ruth Medel

Emilio Peroni Piano Recital

Pianist Emilio Peroni

Featuring:

Emilio Peroni, piano

Prorgamme:

Carlos Guastavino Bailecito

Alberto Williams Poema de la noche, Op. 84

Julián Aguirre Gato

Alberto Ginastera

     Danza de la moza donosa

     Malambo

Carlos Di Sarli

     Milonguero viejo

     Bahía Blanca

Ariel Ramírez La tristecita

Astor Piazzolla

     Verano porteño

     Adiós nonino

Rosita Melo Desde el alma

Horacio Salgán Aquellos años camperos

Mariano Mores Taquito militar

Carlos Gardel El día que me quieras

Gerardo Rodríguez La cumparsita

It was a night of Argentinean rhythms, passion and flair as pianist Emilio Peroni performed pieces from his home country during a solo piano concert at the Cultural Center of the Philippines’ Tanghalang Aurelio Tolentino (CCP Little Theater). Presenting a programme that was made up of the traditional, virtuosic classical pieces as well as popular folk music, Peroni dazzled the audience who normally don’t get to hear works coming from Argentina.

The classical part were made up of pieces like Carlos Guastavino’s Bailecito, Alberto Williams’ Poema de la noche op. 84, Julián Aguirre’s Gato and Alberto Ginastera’s Danza de la moza donosa and Malambo. Aside from Ginastera, I had no idea who the other composers were. All I knew was that all of them were from Argentina. And I was amazed to hear that this kind of piano music actually exists in Argentina. It made me wonder why the piano works of Argentinean and other Latin American composers aren’t part of the usual concert repertoire of most pianists.

The second half of the programme was made up of popular folk music from Argentina  including, of course, the tango. The pieces were Carlos Di Sarli’s Milonguero viejo and Bahía Blanca, Ariel Ramírez’ La tristecita, Astor Piazzolla’s Verano porteño and Adiós nonino, Rosita Melo’s Desde el alma, Horacio Salgán’s Aquellos años camperos, Mariano Mores’ Taquito militar, and Carlos Gardel’s El día que me quieras. The last piece in the programme, Gerardo Rodríguez’ La cumparsita is probably the most popular tango piece. But Rodríguez is from Uruguay, thus making this piece the only one in the entire concert not by an Argentinean composer.

Argentinean Ambassador Joaquin Otero and Emilio Peroni

It was during the second half of the concert when things really got interesting. I noticed that many of these pieces have a very strong, syncopated bass line played by the left hand. And the passages played by the right hand are freer and more flowing, yet still anchored by the left hand’s passages. The pieces are also mostly in the minor keys, very assertive and aggressive at times. But the secondary themes tend to be more subdued and in major tonalities opening things up a bit, offering a respite from all the tension before eventually coming back to the primary themes. This pattern was really evident in Piazzolla’s sublime Adiós nonino. And I really have to say that Peroni’s El día que me quieras by Gardel was just exquisite. Peroni’s encores for the evening were Alfonsina y el Mar by Ariel Ramírez and El Choclo by Ángel Villoldo which is a popular Argentine song.

The Masterclass

Emilio Peroni conducting a masterclass

After the concert composed mainly of works by Argentine composers, it was refreshing to see Peroni tackle other composers like Beethoven, Haydn and Liszt when he conducted a masterclass the morning after the concert. He was very technical and very thorough with his students. I was amazed on how meticulous he was. His attention to detail was superb that he even noticed a single slur or a very short rest that was either omitted or added by the student. He also offered lots of tips that one can use in playing like knowing how one feels when playing certain harmonies. Different harmonies evoke different feelings and that should be reflected on how one plays. Too bad that the masterclass was held so early in the morning that I got in late and missed the first two students take part.

Overall, I was very pleased with Emilio Peroni’s piano recital in here. The repertoire that he chose to play broadened my music horizons. Peroni dispelled the notion that Europe has the monopoly for great classical/piano music. I do hope that the Embassy of the Argentine Republic brings him comes back again and I wish that Peroni performs a concerto by an Argentinean composer the next time.

Emilio Peroni’s concert and masterclass was presented by the Embassy of the Argentine Republic and the Cultural Center of the Philippines. The concert was an invitation only affair that was attended by various members of the diplomatic community, some concert regulars, and quite a few piano teachers and students.

Act of Congress' Philippine Tour

Act of Congress' Chris Griffin, Tim Carroll Jr., Bethany Borg and Adam Wright

Whenever cultural institutions or embassies bring over musicians here for either a concert or a masterclass, I always make it a point to check them out. These kinds of events are an opportunity for me to expand my musical horizons and learn a thing or two even if the guest musicians play different instruments than mine. This time around, it was the turn of the Embassy of the United States of America to bring forth American music here as they flew in Act of Congress, a country/bluegrass band coming from Birmingham, Alabama.

Act of Congress is composed of Adam Wright (mandolin), Chris Griffin (guitar), Tim Carroll Jr. (bass) and Bethany Borg (violin). The group’s current violinist, Connie Skellie, couldn’t join the tour due to her duties as a mother. So Bethany Borg, the group’s other violinist, came on board and joined Adam, Chris and Tim as they embarked on a four nation tour as part of the America Music Abroad program of the US Department of State’s Bureau of Educational and Cultural Affairs. After Thailand, he Philippines was the band’s second stop before they headed over to Palau and Timor Leste.

The Welcome Reception

The Philippines is known as a very hospitable country so the local hosts made sure that the Act of Congress was received warmly during the Welcome Reception held at the Silangan Hall of the Cultural Center of the Philippines. Guests included several officials of the US Embassy including Alan Holst, the Cultural Affairs Officer whom I last saw at the screening of the film Safety Last during the 6^th International Silent Film Festival. I couldn’t contain my surprise upon seeing Louie Talan of Razorback/Garlic at the venue. Then I looked around and realized that there were a considerable number of local musicians who were present at the affair like Bayang Barrios, Sammy Asuncion and the rest of the Kalayo Band, and Diwa de Leon among others.

The Welcome Reception featured a short set by Act of Congress and that was when I and the rest of the guests got our first taste of the band’s organic, acoustic sound. The band also got a taste of how the Christmas season starts early in here as they gave in to a request and included an instrumental rendition of Carol of the Bells for their last song. They also got a sampler of some local talent when Bayang Barrios and Kalayo performed that night as well.

After the song numbers, the local musicians had to depart since almost all had gigs later that evening. But Act of Congress remained and I was able to have a brief chat with them although I still couldn’t remember the names of the members at that time. But this was just the beginning and I was pretty sure that I would know their names by heart before their Philippine stop was over.

Tim Carroll Jr. looks on as a young student tries the bass

The Masterclass

Bethany Borg jams with Diwa de Leon

I got really psyched for the masterclass that was also held at the Silangan Hall for a special reason. A week before they arrived, I was at Radio Republic watching Bamboo perform. His guitarist, Kakoy Legaspi, also played the mandolin at the program. And when the show was over, I immediately told him about Act of Congress’ upcoming visit to the country. I informed him that one of the members plays the mandolin and that they were scheduled to have a masterclass. Kakoy was really enthusiastic about learning more about the mandolin. He said that he doesn’t know anyone else in the country who plays it also. And this was the main reason why I got excited for the masterclass despite me just merely observing that afternoon. I was very pleased that Kakoy got along well with the band and also learned a lot about various techniques in playing the mandolin.

Chris Griffin demonstrates guitar techniques as eager students look on

The masterclass didn’t turn out to be like the usual ones that I’ve attended before. It was more like a creative interaction between the local and foreign musicians. The afternoon was started with performances by the local musicians and then Act of Congress performed a short set once again. After the performances, that was when the musicians started huddling up. Some like Adam and Chris, taught, demonstrated and shared pointers to those who were gathered around them. Bethany and Tim on the other hand, had an impromptu jamming sessions with the other musicians there.

Kakoy Legaspi (left) is one of the two mandolin players present
to the delight of Adam Wright (right)

Performance at The Podium

After the masterclass, Act of Congress went to Marilao, Bulacan for a couple of days to hold another masterclass and perform their first concert here as well. So after a two day break, I was able to see them once again as they were scheduled to have a performance over at The Podium. And I expect this performance to feature a much longer set compared to what I’ve seen from them before. Unfortunately, I was already indisposed that day but that didn’t stop me from going to The Podium despite the horrible weather the night before. I am glad that I went there since I was treated to an hour long set.

The mall crowd wasn’t as thick as it normally was which was understandable considering that many got stranded the night before (including me) due to the heavy rains and that the weather only improved a bit. But there were still a good turn out especially from the shoppers who got curious when they heard the rare kind of music not normally played on Philippine radio and television.

I wanted to catch them as well later that evening when they headed over to the 70s Bistro for a jamming session with Bayang Barrios and Kalayo. But I was already feeling too tired and I wanted to have some much needed sleep. I really regret not doing so especially when I saw the videos and photos from that night.

The Concert at the Park Wash Out

I finally got some sleep but the following day, the weather didn’t cooperate. I remember telling Adam that the Welcome Reception came a day after a very heavy downpour and they were lucky that they had none of that when they arrived. Well, I spoke too soon since the weather eventually got really bad that they had to cancel their Concert at the Park performance over at Rizal Park. Many other events were cancelled that day so it was really bad that Act of Congress had to experience the unusual Philippine weather during their brief stop in here. It was disappointing not just for me, but also for Kakoy who wanted to see the band more since he wasn’t able to make the night before at The Podium and 70s Bistro.

Fortunately, during Act of Congress’ final day in here and right before they headed over to Palau, they had one final performance at the La Salle- College of St. Benilde. I wasn’t able to see it since I learned about it just the day before and it was too late for me to work my schedule around this previously unannounced performance. But Kakoy was able to watch and hang out with the band a bit before they went to the airport. And if I’m not mistaken, the band also got a copy of Bamboo’s CD No Water, No Moon signed by Bamboo and the rest of his band.

Act of Congress

While I felt bad that I wasn’t able to see the band on their last couple of days in here, I still have high hopes that this wouldn’t be the last time that I’ll hear from them. Bethany was really vocal about how great time her time was in here. And she vowed that she’ll definitely be back in the country with a solo project that sounds “sick”. And when that time comes, I also vow that I’ll have her meet more local violinists.

Dorian Leljak Solo Recital

Pianist Dorian Leljak

Featuring:

Dorian Leljak, piano

Programme:

Frédéric Chopin

     Prelude in C sharp minor, Op. 45

     Mazurka No. 3 in C sharp minor, Op. 63 

     Mazurka No. 4 in B minor, Op. 33

     Nocturne No. 1 in B major, Op. 62 

     Nocturne No. 2 in E major, Op. 62

     Barcarolle in F sharp major, Op. 60

Sergei Rachmaninoff Sonata No. 2 in B flat minor, Op. 36 (Second Version)

Serbian pianist Dorian Leljak recently had a solo piano concert at the Philam Life Auditorium presented by the Piano Teachers Guild of the Philippines and the UST Conservatory of Music. A few days before this concert, he also conducted a masterclass at the UST campus. This concert happened after a very busy week for me in which I didn’t even feel the weekend pass by. And despite being already tired, I just had to see this since it’s a solo piano concert featuring one of my favorite composers. And that composer is no other than Frédéric Chopin whose pieces comprised the first half of the programme.

The concert opened with the Prelude in C sharp minor, Op. 45 which was the last and also the longest prelude that Chopin wrote. The pieces that followed were Mazurka No. 3 in C sharp minor, Op. 63 and Mazurka No. 4 in B minor, Op. 33 which were played back to back. I’m not really familiar with these two pieces since the Mazurkas were never my favorites among Chopin’s compositions. After this, the two Nocturnes that make up Op. 62, No. 1 in B major and No. 2 in E major, were played. These pieces which were among the last that Chopin wrote are more subtle, intimate and introspective compared to his earlier and more accessible nocturnes require a lot more attention from the listener in my opinion. The first half ended with the popular Barcarolle in F sharp major, Op. 60 which has the feeling of paddling through a gently flowing river.

After the interval, the concert resumed with Sergei Rachmaninoff’s Sonata No. 2 in B flat minor, Op. 36 (Second Version). This intense piece was such a change of pace from the more subdued and sedate character of the pieces from the first half. There was more tension, agitation, drama in this demanding sonata and one has to have the technical chops to pull this one off since this piece is almost like a symphony for the piano because of its epic nature. And Dorian did exactly that, impressing the audience made up mostly of students from UST. After this piece Dorian performed two charming encores: Johann Sebastian Bach’s Sheep May Freely Graze transcribed by Egon Petri and Nun komm der Heiden Heiland transcribed by Ferruccio Busoni which made me rethink about my aversion to playing Bach.

I was so glad to see Dorian conduct the masterclass before this concert since I was able to see and hear during the performance everything that he pointed out during the class. As he played the opening Prelude, my mind went back on how he talked about the consistency in the top and bass lines for optimum clarity. Also, in the Nocturnes, I noticed how he employed the technique in continuing the note taking into consideration the decay of sound. Lastly, he ditched being nice in some parts of the Rachmaninoff sonata when it needed to be agitated and tense. If I hadn’t gone to the masterclass, I wouldn’t have noticed these minute details which greatly contributed my enjoyment of the entire performance.

The Masterclass

As I’ve mentioned at the beginning, Dorian conducted a masterclass at the UST campus days before the concert. His impressive résumé (he is just the President of the World Piano Teachers Association for crying out loud) made those who were taking part in the masterclass very nervous at first. But quite surprisingly, Dorian came out as very warm, friendly and the masterclass actually was a lot of fun. I really appreciated it when he gave some background information alongside specific instructions regarding technique. One example of that was when he shared the history and the development of the keyboard instrument to explain the concept of the decay in sound. And this was very helpful when he taught how to maintain the flow of the melody right after a long, sustained note that is subject to this decay in sound. He shared more techniques like in bringing out the colors of the piano through being consistent in the lines at the top, bass and those in between. One of the most helpful as well was playing certain lines like the bass line for example with no sound at all while playing the top line normally in order to perfect this consistency. And what made me really dig his teaching style was when he suggested to one pianist who played a Toccata piece that she listens to other Toccatas by other composers and take note of the similarities and differences. I do enjoy this method of knowing a lot regarding the piece and its composer, realizing that there’s also a story behind the notes so that when I get to play it, I eventually (and hopefully) play more than just the notes.

RAd with Dorian Leljak

I’ve learned so much from Dorian during the masterclass that I was inspired to practice really hard and to apply everything that he said to my current pieces. Also, his solo piano concert made me yearn for a return performance from him very soon and that he must play a piano concerto next time. And it makes me really giddy when I recall when he told me that I seem to be a well rounded musician.