Japan-Philippines Friendship Contemporary Music Festival Part 1

Pianist Ayumi Hirahara

Featuring:

Ayumi Hirahara, piano

Hiroshi Shibayama, oboe

String Quartet I

     Takashi Hamano, violin

     Naoru Komiya, violin

     Go Tomono, viola

     Ken’ichi Nishiyama, cello

PPO Wind Quartet

     Rosemarie Poblete, flute

     Ariel Sta. Ana, clarinet

     Jose Jerry Samonte, bassoon

     Ernani Pascual, horn

PPO String Quartet

     Dino Decena, violin

     Joanna Ruth Livioco, violin

     Joy Allan de la Cruz, viola

     Herrick Ortiz, cello

Programme:

Yasushi Akutagawa La Dance: Suite for Piano

Francisco Santiago Nocturne in E flat minor

Maki Ishii North-Silver-Night, Op. 93 Winter

Francisco Buencamino Maligayang Bati

Hal Goodman Woodwind Boogie

Astor Piazzolla Violetango

Toru Takemitsu Entre-Temps for Oboe and String Quartet

Tadashi Kubo String Quartet Elegy

Manuel Maramba String Quartet

Chamber music that included two pieces having their world premiere performances was what the first night of the Japan-Philippines Friendship Contemporary Music Festival held at the Philam Life Auditorium had in store. Japanese and Filipino musicians from the Philippine Philharmonic Orchestra shared the stage as they played contemporary music from composers from their respective countries (with a couple of exemptions).

First up that evening was Japanese pianist Ayumi Hirahara. She played Yasushi Akutagawa’s La Dance: Suite for Piano, Francisco Santiago’s Nocturne in E flat minor, Maki Ishii’s North-Silver-Night, Op. 93 Winter and Francisco Buencamino’s Maligayang Bati. These pieces, with the exception of Ishii’s composition, were very Western in character and in line with the compositions from the Romantic era. It made me wonder if I was indeed at a concert that would showcase contemporary compositions.

Oboist Hiroshi Shibayama

After Hirahara’s solo piano part and before the interval, composers Tadashi Kubo, Manuel Maramba, Masashi Ishida and Herminigildo Ranera took to the stage to briefly discuss their works which had yet to be premiered. I appreciated this section since it gave me an idea and much needed background information regarding the pieces that would have their world premiere.

The PPO wind quartet composed of flutist Rosemarie Poblete, clarinetist Ariel Sta. Ana, bassoonist Jose Jerry Samonte, and horn player Ernani Pascual got the second half going by playing Hal Goodman’s Woodwind Boogie and Astor Piazzolla’s Violetango. I found the music selection for this section truly odd since they were not written by either Japanese or Filipino composers.

Violinist Naoru Komiya, violist Go Tomono, composers Tadashi Kubo and
Masashi Ishida, violinist Takashi Hamano and cellist Ken'ichi Nishiyama

Then the String Quartet 1, composed of violinists Takashi Hamano and Naoru Komiya, violist Go Tomono, and cellist Ken’ichi Nishiyama joined by oboist Hiroshi Shibayama played Toru Takemitsu’s Entre-Temps for Oboe and String Quartet. It was only during this time when I felt that the concert finally ventured into contemporary music territory. Piercing harmonics, atmospheric oboe passages weaving dissonant textures characterize this Eastern sounding piece which some might have found grating and unpleasant sounding.

Finally, the concert ended with the two world premiere performances, Tadashi Kubo’s String Quartet Elegy and Manuel Maramba’s String Quartet. Kubo’s work was performed by the String Quartet 1 and it was again very Eastern in flavor. The structure of this piece was very interesting as the first part featured long sustained notes which greatly contrasted to the pizzicato from all the instruments towards the end. The PPO String Quartet, composed of violinists Dino Decena and Joanna Ruth Livioco, violist Joy Allan de la Cruz, and cellist Herrick Ortiz played Maramba’s new work for the String Quartet. Maramba’s work was about the year 2013 coming out from the remains of 2012. I admit that it was difficult to connect that concept with the music that I was able to hear during the performance. But I think that it was very easy to connect with their encore which was Nicanor Abelardo’s Nasaan Ka Irog performed by both string quartets along with oboist Hiroshi Shibayama.

Conductors Herminigildo Ranera and Tatsuya Shimono

The new works that were performed at this concert really did sound contemporary and they might not be in tune with most listeners’ tastes. I would be very surprised if any among that audience went out of the concert humming the themes, if any were discernible at all, from these pieces. It remains to be seen if these works will be performed again in the future.

Japan-Philippines Friendship Contemporary Music Festival Part 2

Oscar Yatco leads the Philippine Philharmonic Orchestra in homecoming concert

March 6, 2013, 8:00 PM

Tanghalang Aurelio Tolentino (CCP Little Theater)

CCP Complex

Pasay, Metro Manila

Featuring:

Philippine Philharmonic Orchestra

Oscar Yatco, conductor

Programme:

Giuseppe Verdi Overture from I Vespri Siciliani

Richard Wagner Overture from Tannhäuser

Pyotr Ilyich Tchaikovsky Symphony No. 6 in B minor, Op. 74 Pathétique

The Philippine Philharmonic Orchestra is currently celebrating its 40^th anniversary this 2013 but I have to admit that I have yet to feel something special commemorating this event. Right after their Happy 40^th PPO! concert, things went back to normal so fast. And now, with three concerts scheduled this March, it seemed that the PPO is now cranking things up once again and making everyone remember that they are celebrating their 40^th anniversary.

Conductor Oscar Yatco

First up is a homecoming concert entitled Nostalgic Symphony happening on March 6, 2013, 8:00 PM at the Cultural Center of the Philippines’ Tanghalang Aurelio Tolentino (CCP Little Theater). This concert featuring PPO Conductor Laureate Maestro Oscar will also commemorate the bicentennial of composers Giuseppe Verdi and Richard Wagner.

The programme for this evening consists of Giuseppe Verdi’s Overture from I Vespri Siciliani, Richard Wagner’s Oveture from Tannhäuser and Pyotr Ilyich Tchaikovsky’s Symphony No. 6 in B minor, Op. 74 Pathétique. The performance of the Tchaikovsky symphony will consist of the first and third movements only.

The Philippine Philharmonic Orchestra

I last saw Oscar Yatco lead the PPO when the orchestra had their season concert back in January 2010. Yatco was a major figure in the development of the both the Manila Symphony Orchestra back in 1964 and also the PPO when it was still newly established back in 1980. So this upcoming concert is truly a homecoming for this major figure in the history of Philippine orchestras.

Ticket price:

P750

-50% student discount

-20% senior citizen discount

For inquiries:

CCP Box Office 832-3704

TicketWorld 891-9999

Chinese cellist Guo Qiele joins MCO Foundation’s 2013 Chamber Music Festival

March 6, 2013, 7:00 PM

Ayala Museum

Makati Avenue corner De La Rosa Street

Greenbelt Park, Makati

Featuring:

Gina Medina, violin

Guo Qiele, cello

Mary Anne Espina, piano

Programme:

Antonín Dvořák Piano Trio No. 3 in F minor, Op. 65

Astor Piazzolla The Four Seasons of Buenos Aires

The MCO Foundation and the Ayala Museum present another night of chamber music as Chinese cellist Guo Qiele joins violinist Gina Medina and pianist Mary Anne Espina in Turning Point: A Chamber Music Evening this March 6, 2013, 7:00 PM at the Ayala Museum.

Cellist Guo Qiele

The trio of Medina, Qiele and Espina is set to perform Antonín Dvořák’s Piano Trio No. 3 in F minor, Op. 65 and Astor Piazzolla’s The Four Seasons of Buenos Aires in this concert. The Dvorak piano trio is a serious work that is characterized with a tragic, conflicted and stormy music reminiscent of Brahms’ works. The Piazzolla piece on the other hand depicts the four seasons for a porteño (resient of Buenos Aires) through tango music which Piazzolla is very famous for.

Violinist Gina Medina

There is no doubt that local music enthusiasts will be looking forward to seeing cellist Guo Qiele in this concert. Just 16 years old, Guo Qiele was named as one of the "Ten Talented Young Artists of China" when he was just 14 years old. He is currently under the tutelage of another sensational cellist Qin Li Wei in Singapore. The two other musicians, Gina Medina and Mary Anne Espina, almost need no introduction. Gina Medina, current concertmaster of the Manila Symphony Orchestra, has been featured as a soloist and a chamber music performer for years now. Mary Anne Espina, also a frequent collaborator of Medina, is one of the most sought after and dependable collaborating artists today. She was recently part of the orchestra during The Phantom of the Opera’s sold out run last year.

Pianist Mary Anne Espina

The MCO Foundation is a 28-year old non-stock, non-profit organization dedicated to the promotion of classical arts. This concert is made possible through the support of Ayala Museum together with Lyric Piano and Organ, BusinessWorld, HighLife, HerWord and DZFE FM 98.7.

Ticket prices:

P1000 Center

P600 Side

For inquiries:

MCOF 750-0768, (0920) 954-0053

Allan 782-7164, (0918) 347-3027

Ticketworld 891-9999

Daragang Magayon

Ea Torrado and Victor Maguad

Bicol was once again put on the spotlight as yet another legend, this time that of the famed Mayon Volcano, was retold through dance and music via E-Dance Theater’s Daragang Magayon: An Istorya ni Mayon that was held at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater).

Directed and choreographed by E-Dance Theater’s artistic director Gerald Mercado, Daragang Magayon told the tragic love story of Magayon and Ulap which legend says gave rise to the Mayon Volcano upon their death. Dancers Ea Torrado and Victor Maguad portrayed Magayon and Ulap respectively. The ill-fated lovers met their demise when rejected suitor, Pagtuga (Francis Cascaño) and his tribe, abducted Magayon’s father Makusog (Marcus Tolentino) to make sure that the union between her and Ulap would never take place. The ensuing battle during the climax ended up with an arrow killing the lovers and giving rise to the Mayon Volcano.

While the main story focused on the two lovers, other aspects of Bicolano folklore were also touched upon. The Moon Goddess Haliya (Mayumi Toribio) acted as one of the narrators reciting the poetry composed by Virgilio Almario, National Artist for Literature. The Gods Gugurang (Ronnie Lazaro) and Asuang (Pontri Bernardo) figured also in this show via film clips that were projected on screen. These other elements of Bicolano folklore were integrated with the tale of Ulap and Magayon by dramaturg Abdon Balde, Jr. enabling the production to have a multi-layered story.

As someone who has limited knowledge in contemporary dance, it was a challenging task trying to figure the choreography out. The movement is very much unlike the classical ballet where everything has to be upright and turned out. Thankfully, I had the wonderful music, composed by Dr. Ramon Santos that made things a bit easier to grasp. The music he composed for this production which was a departure from his avant-garde style featured a rondalla ensemble, a piano and percussion along with a chorus. What made the music radical instead was the modern approach he employed with the rondalla which is normally associated with folk tunes. The music was richly textured, contrapuntal and dissonant at times and it somehow made the dancing more palatable for someone like me who hasn’t grasped this contemporary style fully.

Some of the highlights in this production were the use of video clips and animation alongside the dancing. Gugurang and Asuang appeared only in the video and their make up and costume made these two gods look menacing and truly otherworldly. I just wish that the transition between the dancing and the clips flowed more smoothly seamless which could’ve made the narrative a lot clearer. This technique was used to great effect with Ballet David Campos’ production of Sleeping Beauty and Giselle last year. The matinee performance of Daragang Magayon also had its share of technical gaffes. At one point in the performance, only the music was heard and nothing was happening on stage which made me wonder if we were supposed to be watching a video clip at that time.

Overall, Daragang Magayon was a worthy effort in retelling the legend of the Mayon Volcano through dance. And I have to admit that it was the excellent music that was the main highlight for me. Contemporary dance performances normally leave me scratching my head in bafflement but because of the music, I appreciated the movements a lot more than I expected. It was on the technical side that the production fumbled a bit and I just hope that they were able to sort that one out during the Gala performance that they had later.

Daragang Magayon: An Istorya ni Mayon was also presented by the Provincial Government of Albay headed by Governor Joey Salceda, Bicol University in cooperation with Goodwill Bookstore and Ballet Manila.