At the art song recital in the Filipinas Heritage Library last Friday, the printed program included Beverly Sills’ usual definition of the art song as “a poem set to music.” Further, “the art song strives to be the perfect combination of music and literature based on four elements: poet, composer, singer and accompaniment.”
Many of the art songs tenor Randy Gilongo and pianist Peter Porticos interpreted were familiar ones: Schubert’s An die Musik and Erlking, Schumann’s Widmung (Dedication), Grieg’s Ein Traum (A Dream), Fauré's Apres un Reve (After a Dream), Tchaikovsky’s None but the Lonely Heart, Abelardo’s Bituing Marikit and the encore Magbalik ka Hirang, and Peña’s Iyo Kailan Man, the three songs being a re-definition of the kundiman and regarded as art songs although longer than the standard.
The other selections were Duparc’s Chanson Triste (Sad Song) and Phydile, Rachmaninoff’s In the Silence of the Night and Lilacs, and Tchaikovsky’s Reconciliation.
Diverse emotions were expressed — love yearning, disappointment, ecstasy, fear, etc. Gilongo’s voice was firm, focused, forceful while reflecting the various feelings and sustaining the melodic lines.
Although the English translation of the songs were shown on the screen, nuances and subtleties of the original French, German and Russian versions were lost and not understood; thus the songs were not totally appreciated.
Moreover, based on Sills’ further definition that “the accompaniment may reinforce the emotional states of the poem, represent external details in the setting, assist in building to climaxes, and provide preludes, interludes or postludes” — the brilliant pianist Porticos inevitably proved more eloquent than Gilongo, with the preludes, interludes and postludes conveying more turbulence, more passion, more drama, as expressed by Porticos to the fullest measure, particularly in Erlking. Often, he would be reaching a tremendous climax long after Gilongo had ceased to sing, the tenor having to contend with his limited score.
While most of the songs were on love — unrequited, rebuffed or fulfilled — Lilacs and Spring Waters glorified nature, its beauty, its wonders and the joy it brings.
At the start and throughout the program singer and pianist alternately explained the songs to the audience, the latter often revealing wit and humor.
The recital, engaging and compelling, and fittingly described as “(Art) Songs: A Retrospective”, was under the auspices of the MCO with Baltazar Endriga as chairman of the board and Armando S. Baltazar as founding member, trustee and consultant.
In MCO's next presentation on Feb. 10 at 6:30 p.m. in the same venue, the formidable soprano Camille Lopez Molina will sing Songs of Love, with Najib Ismail as assisting artist.
The Jan. 26-29 Guitar Festival in which individuals and groups competed, was climaxed with a guitar recital by Spanish flamenco guitarists Dani de Moron and the more senior Rafael Rodriguez. Both have earned distinctions in Spain and beyond; Rodriguez was awarded the Giraldillo for being the best guitar player in the world’s most important flamenco festival. The printed program noted further that Rodriguez is one of the most experienced and versatile guitarists of the flamenco scene, a claim later borne out by his performance.
De Moron interpreted Inmigracion, Cambio de Sentido, Moron OF and Barsix C. The rendition of these was lush and robust, the guitarist conveying intense vitality and spirit, his nimble fingers consistently striking the whole body of strings. As he played, one imagined flamenco dancers turning rapidly and executing thunderous taconeos and zapateados that called to mind horses’ hooves. De Moron dazzled the audience with the mastery of his instrument.
Rodriguez’s more varied program consisted of Rondecana, Riotinto, A mi Mare and Buletango He deserved even more superlatives as he captured the intricacies and complexities of each selection with mind-boggling virtuosity.
In the end, he and De Moron appeared together, playing alternately at first, then finally as a duo. In response to the clamor, they gave two encores.
The guitar being synonymous with Spain, Rodriguez and De Moron proved the supremacy of Spanish guitarists.
The affable Ambassador Jorge Demecq gave prefatory remarks; he and Jose Ma. Fons, who heads the cultural department of Instituto Cervantes, welcomed guests at the entrance to the CCP Little Theater. The recital was jointly presented by the CCP, the Spanish Embassy and the IC.