In regularly featuring the works of Filipino composers in concerts and recordings, we preserve our musical heritage and encourage the creation of new works
What can be more enchanting than an evening of classical music played on two pianos by homegrown virtuosi of the art?
Last Saturday (Sept. 30) was such a night, when Musika Pilipinas held “Ritmo at Romanza,” a piano duo concert featuring Rowena Arrieta and Raul Súnico and directed by Monino Duque, at the Metropolitan Theater.
It was Arrieta and Súnico’s first time to perform together again in 13 years.
Musika Pilipinas, headed by Dr Maria Alexandra Iñigo Chua, is a group of researchers conducting the Philippine Music Industry Research Project, which is conducting a comprehensive and extensive cultural mapping of the Philippine music industry, something that’s never been done before.
Among their activities for this year was the staging of this concert which showcases the works of Filipino composers of classical music.
Some of the pieces featured were ‘lost’ music that had not been heard in decades or were being performed for the first time.
These were: a two-piano arrangement of Juan Hernandez’s “Simoun Overture” (1920), which was a wonderful start to the evening; and Carmencita Arambulo’s “Poeme,” Juan Hernandez’s “Romanza Appasionata” (1919), and Antonio Regalario’s “Sayaw’ (1964), performed solo by Arrieta.
Also among the rediscovered pieces were, played solo by Súnico, Jose Estella’s “Mandolina” (late 19th century), one of the earliest Filipino concert etudes; Julio Nakpil’s “Danse Campestre Ob. IIA” (1891), a country dance in habanera rhythm characterized by charming melodies in the ‘stile brilliant’ common in 19th-century music; and Diego Perez’s “La Fuerza de Amor” (c. 1880), a mazurka de salon for solo piano with dramatic and pleasing romantic melodies.
Also performed for the first time was a two-piano arrangement of Rodolfo Cornejo’s “Kandingan,” a piece inspired by a Moro wedding dance and incorporating 20th-century musical elements.
The two legendary pianists also rendered familiar pieces.
Arrieta performed, in its public debut, Rica Arambulo’s arrangement of Fr. Manoling Francisco’s “Hindi Kita Malilimutan | Tanging Yaman | Sa ‘Yo Lamang.” (Rica is a descendant of Carmencita Arambulo.) Súnico performed Willy Cruz’s “Sana’y Maghintay ang Walang Hanggan Kapay Puso’y Sinugatan.”
Together, they also played Rachmaninoff’s “Italian Polka” (1906), a lively piece; Piazzolla’s “Libertango” (1973) in tango nuevo style; and Khachaturian’s “Gayane Suite” which incorporates one of my favorite pieces, the rousing “Sabre Dance.”
They slipped into a light mood with Strauss’ famous waltz “Blue Danube Fantasy” (1866). Well-received by the audience was their rendition of George Canseco’s “Ngayon at Kailanman” (1977) and “Ikaw” (1993).
For their encore piece, Arrieta and Súnico gave a playful rendition of APO Hiking Society’s popular hit “Ewan.” People sang the lyrics, pretty much summing up how the audience felt about the performers and the evening: “Mahal kita, mahal kita, hindi ‘to bola…”
Chua, a professor at the University of Santo Tomas Conservatory of Music and head of the UST Research Center for Culture, Arts, and the Humanities, emphasized in her opening remarks the importance of building an audience for Filipino music and celebrating Filipino composers.
In an earlier interview with me, she said: “I’m very happy that Ms. Arrieta and Dr. Súnico agreed to perform in our concert and play the rediscovered works of Filipino composers. It’s fulfilling to be able to bring this music to the awareness of audiences, particularly young people.”
Súnico and Arrieta are considered among the foremost pianists the country has produced and both have won many prestigious awards for their work.
Súnico has two undergraduate degrees, in music and mathematics (cum laude). He obtained a master’s in music from Juillard and a PhD in piano performance from New York University.
The Russian-trained Arrieta attended the Moscow Conservatory of Music, and later studied at the Manhattan School of Music.
This event is significant because, aside from bringing Arrieta and Súnico together again on the same stage after over a decade, showcasing the works of homegrown composers boosts the growth and vibrancy of a country’s music industry.
Local composers play a pivotal role in shaping a nation’s musical identity, capturing its cultural essence, and adding depth and diversity to its musical repertoire.
In addition, being able to watch the masters of their art inspires young musicians and encourages them to explore their creativity, resulting in a vibrant pool of fresh musical works.
In regularly featuring the works of Filipino composers in concerts and recordings, we preserve our musical heritage and encourage the creation of new works. This constant creative dynamic is crucial for the development of a national music. It establishes a sense of continuity and lineage in the music industry, ensuring that the legacy of these composers lives on.
Congratulations to Dr. Chua, Dr. Súnico, Ms. Arrieta, Musika Pilipinas, and the production team of “Ritmo at Romanza” for giving us a magical evening of music! Here’s to more such concerts in the near future.
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