String quartet stirs dialogue, friendship in the old Malabon sacristy

Without fanfare, a rare and enriching music experience took place in the old sacristy of San Bartolome parish church in Malabon City. A handful of Malabon residents, and music lovers determined to make the commute to this corner of Metro Manila, devoted an afternoon listening to Dvorak’s String Quartet last June 25, right in the calm and seclusion of this time-honored sacristy at the back of the church which was built in 1599.

There, one relished the intimacy and stirring music created by the violins and cello, performing as one, The American, Antonin Dvorak’s String Quartet No. 12 in F major, Op 96. “Solidality,” Fr. Paul Woo, director of the Cultural Heritage of the diocese of Kalookan, described, at the start of the program, the seamless collaboration of the four musicians, connecting it to the spirit of dialogue and communality that has guided the Church. (The San Bartolome parish falls under the diocese of Kalookan.) Indeed the three violins and the cello produced such seamless harmony that drew the small audience into pause and introspective silence. 

Musician Franz Ramirez, who produces this chamber music concert quarterly series, told TheDiarist.ph: “This is precisely what chamber music demands. A string quartet functions through constant negotiation. Each musician speaks, listens, yields, interrupts, supports, and responds. No voice dominates permanently. The performance succeeds only because communication is continuous and mutual.”

The string quartet was composed of violinists Shiho Takashima, Cedie Nunez, Joven Aquisap and cellist Glenn Aquias, performing the program Allegro Ma Non Troppo, Lento, Molte Vivace, and the finale, Vivace Ma Non Troppo.

Ramirez added about The American, “It’s challenging and one of the favorites of string quartets to play. Dvorak was so inspired as a Czech immigrant in the US, that was why he composed and named it The American.”

‘Human perspective on diversity leads to division, conflicts…God’s perspective on diversity leads to unity…’

The string quartet put across the vivacity and freneticism of an era in America as well as its underlying harmony. These artists belong to the Manila Philharmonic Orchestra, the Philippine Philharmonic Orchestra, the UST Symphony Orchestra, and the Orchestra of the Filipino Youth.

Ramirez, who’s been producing chamber music concerts, stressed something about this type of gathering that’s beginning to draw a following: “An equally interesting interpretation is to think of chamber music as music for friends. Historically, string quartets were often performed in homes among close acquaintances rather than for large public audiences. Friendship is built on trust, attentive listening, and honest exchange—the same qualities required of quartet playing. Every phrase feels like a conversation among friends who know when to speak, when to remain silent, and how to make space for one another.

“This perspective allows us to hear the American Quartet not only as a masterpiece of chamber music, but also as a timeless reflection on friendship, team work and the human art of communication.”

The audience was treated to a very lively encore that almost made the quiet audience humming—Kalesa, the timeless Filipino folk song. It was a happy note to the afternoon.

Fr. Jeronimo Ma. J. Cruz of the Kalookan parish church gave an insightful closing remarks: “Human perspective on diversity leads to division, conflicts…God’s perspective on diversity leads to unity…”