Legacy, the Manila Symphony Orchestra’s (MSO) initial concert for the New Year, was a standout. It was held in cooperation with the Henrietta Sydeco Tayengco Limjoco Foundation (HSTLF) last January 25, at Rockwell Proscenium Theater. Manila’s music lovers came in droves to watch pianists from two generations, Carmencita Sipin-Aspiras and Regina “Inna” Montesclaros.
In tight rapport, conductor Darrel Ang and pianist Inna Montescarlos
It was fresh from its centennial performance held three days earlier at Samsung Performing Arts Theater. MSO president Marianne B. Hontiveros said in her remarks that the concert marked not only the celebration of the orchestra’s centennial year, but also a reflection of what “it truly means to carry music across generations.” It was held for the benefit of musicians receiving support through the MSO Foundation ‘s Basilio Manalo Scholarship Program.
Dr. Rene Luis Limjoco welcomes the audience on behalf of the Henrietta Sydeco Tayengco Limjoco Foundation (HSTLF).
On behalf of the HSTLF, Dr. Rene Luis Limjoco welcomed the audience and spoke about the foundation’s drive to support Filipino musicians, and “encouraged the public’s interest in classical music since 2016.” This foundation has provided support for Filipino piano music students in their studies abroad and attendance in international workshops. It has sponsored master classes in piano in Manila featuring internationally known pianists, and presented concerts of outstanding Filipino pianists.
MSO executive director Jeffrey Solares pays homage to Basilio ‘Billy’ Manalo.
MSO executive director Jeffrey Solares, the concert’s emcee, informed the audience that it was the late Basilio “Billy” Manalo, his violin mentor, who revived the MSO in the ’90s. He requested the orchestra members onstage, the scholarship recipients, to stand up, to the hearty applause of the audience. Six musicians are recipients of the scholarship award.
Brahms’ Academic Festival Overture was a rousing opener. Conductor Darrell Ang led the orchestra with authoritative dispatch. Proscenium’s excellent acoustics became readily apparent. The orchestra surged through the piece’s sections, capped by the familiar Guadeamus Igitur, all done in vibrant symphonic hues. Earlier was Tin Pan Alley’s ditty, Catch A Falling Star And Put It In Your Pocket.
Pianist Carmencita Sipin-Aspiras, now in her mid-80s, as the true legacy
We believe that the inclusion of Carmencita Sipin-Aspiras in the program was more in recognition of the “mentorship, continuity, and the passing on of musical tradition,” in the words of Hontiveros, than an expectation of a fine actual performance itself. This was done to justify the title of the concert, Legacy.
This writer has watched her perform several times, both in Manila and in the US, and has given her acclaim as “the grand dame of elegant pianism.” A few years back, she suffered a serious fall and had to undergo surgery of the right arm. She is now in her mid-80s. (She was born in 1939.) Yet she was still able to play the three Brahms pieces with some sense of splendor: the two intermezzi, 1 and 2, from Op. 118, and the Rhapsody in G Minor Op 79. A memory lapse made her Chopin’s Barcarolle forgettable, however.
This writer has watched Carmencita Sipin-Aspiras perform several times, in Manila and in the US, and has given her acclaim as ‘the grand dame of elegant pianism’
Brahms Piano Concerto No.2 in B-flat Major, Op.83 served as the main attraction. This concerto differs from others of both the classical and romantic periods, as the orchestra here does not merely provide accompaniment, but is also in full partnership with the piano, all aimed at creating a lustrous symphonic effect.
In addition, it is not written in the usual three, but four movements, and requires a massive symphonic sound to be appreciated.
Inna Montescarlos playing as if there was no tomorrow
Pianist Inna Montesclaros demonstrated triumphant, engaging playing. She surged through the entire concerto with brilliant dispatch, undaunted by the thick sonorities the orchestra had woven, as she essayed her part brilliantly for the audience’s pleasure.
Her petite appearance onstage belied the power that she unleashed as she sank her fingers on the keyboard. The broad sweep and power in that cadenza-like passage in the first movement, which followed the calls made by the horns, was fantastic. It was an assurance that she would undauntedly deliver—and yes, she did! Brilliant collaboration between the piano and the orchestra was remarkable, as the tandem embarked on this expansive movement.
In the second movement, Allegro appassionato, pianist and orchestra continued to forge a tight rapport! Conductor Ang wielded his baton with solid precision, and at times would throw a glance at the pianist. The orchestra sounded full and played without let-up. Undaunted, Montesclaros played, as the saying goes, as if there was no tomorrow!
The third movement created a dreamy atmosphere. The cello, played eloquently by principal cellist Arnold Josue, produced that dreamy melody that mesmerized the listeners. He was joined later by the bassoon and oboe. Indeed, the section was quite a respite before the orchestra and piano could once more plunge into the final movement, the jubilant rondo.
In the final movement, conductor Ang and pianist Montesclaros showed sterling rapport and produced that infectious celebratory mood expressed in symphonic brilliance. The last note faded to shouts of “bravo” and thunderous applause by the audience who rose in ovation.
For encore, Montesclaros played Chopin’s Andante Spianato without the Polonaise. She sang her tones in a flowing and smooth manner to close the evening’s program.
The orchestra did an encore, too. In response to an invitation by conductor Ang, a young man, a church choir conductor named Gary, seated on the front row, went up the stage, and gave the upbeat for the orchestra to begin Johann Strauss’s Sr. Radetsky March. This piece has become iconic as the Vienna Philharmonic’s signature encore in its New Year’s concert. Conductor Ang stood on the stage apron and directed the clapping of the audience, now soft and then loud, all to the enjoyment of everyone.
Congratulations!
