Cecile Licad's Lisztian affair with the ABS-CBN Philharmonic Orchestra

When I first heard about this concert, my initial thoughts were, "Liszt... again?" I just came out of a concert featuring Liszt's 2nd concerto at the time, and being the borderline personality that I am, I figured I could do with some variety.

But after factoring in several things, I eventually got swayed into watching it: 1) I've been hearing a lot of buzz about ABS-CBN Philharmonic Orchestra and its conductor, Gerard Salonga, and if I'd want to become the concert connoisseur I intend to be, I'd have to at least prime myself with all the orchestras around, this burgeoning entity a non-exception; 2) It's going to feature Cecile Licad, for chrissakes! Enough said! And: 3) BECAUSE TOTENTANZ (They had to hold the repertoire info from concert-goers beforehand to brew suspense. I guess it worked, to some degree.)

Okay--I know I've been rash in dismissing this concert to be another Liszt affair that features one of his not-so-stellar concertos, which is why I couldn't help but be guilty-excited the moment I learned that this notoriously difficult showpiece was in the set list. And who better to initiate me to a live Totentanz experience than one of the country's most renowned classical pianist--who, in all abashedness, I haven't seen perform live yet?

And so just like any other concert I've attended in the past, this will probably bring me some monumental firsts which are most certainly not worth forgetting.

I might have hyped over Totentanz a little bit too much, so just to let readers know, the concert also features other Liszt masterpieces, such as Symphonic Poem No. 2 Tasso, Lamento e Trionfo, S. 96, and his more famous concerto Piano Concerto No. 1 in E-flat Major, S. 124, also to be played by Ms. Licad.

And as if that night could handle all the epicness in the world, ABS-CBN Philhamornic also lined up Beethoven's Egmont Overture op. 84 and Saint-Saëns' Danse Macabre Op. 40, two perennial concert favorites.

So "The Pianist's Pianist" it shall be.

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Gabriel Allan Paguirigan's second bite of the cherry

After his amazing rendition of Saint-Saën's piano concerto no. 2 in G minor August of last year, Gabriel Allan Paguirigan once again took center stage with the Philippine Philharmonic Orchestra when he played Liszt's piano concerto no. 2 in A mjor during its "Mahler's Fifth" concert last April 4, 2013. This came after he won PPO's 2013 Young Pianist Competition, which I found not at all surprising.

What I did find surprising, however, was the boy behind the virtuoso. For someone so awfully talented, he is awfully friendly and modest, so much so that when I finally got around to asking him for an interview, he immediately agreed. He's quite the character, that kid.

Get to learn more about our little national treasure in this little interview. Quick, before he flies to Europe!

Image credit: Philippine Daily Inquirer

So you got to be a part of the PPO's season-ender concert last month. How did you feel about the experience?

It was a very memorable performance. Not everyone gets the chance to perform with the PPO. I feel very blessed and happy.

It is your second time playing with the orchestra, the first time was during the Classical Champs concert where you played Saint-Saën's piano concerto no. 2. How did it feel during the second time and how does it compare to your first?

The second time is more special to me. I never thought that I'd be featured as soloist in PPO's season concert, and definitely not in a season-ender. It was also easier for me the second time I worked with Maestro Oli and PPO. I remember the first time I rehearsed with maestro and PPO, I was really overwhelmed by the sound of the orchestra that I couldn't focus on my playing. But this time, I was more comfortable in playing, and of course the Liszt concerto was more straightforward than Saint-Saens' no.2, thus making it easier to put together with the orchestra.

You won your way into obtaining that coveted "guest artist" spot. Tell me about your competition experience: how long were the preparations and how did you prepare?

Actually, my teacher and I were informed around 2 weeks before the competition. Good thing, I was preparing the Liszt concerto for my solo recital (which took place April, around one week before the concert), so we decided to join. Preparing for competitions have always been tough for me. Short notice performances/competitions would really require intelligent practice. It's really quality over quantity. And of course, everytime I participate in competitions, I don't expect anything. I set my mind that it's just a performance and winning is just a bonus. Winning this competition came as a surprise to me, seeing who the competitors were and knowing how good they are. I really didn't expect to win.

Image credit: NiceyArafiles.com

Whenever I hear your interpretations, especially those amazing 2nd movements, I can feel that you have a some sort of "connection" with the moment (read: may pinanghuhugutan). Where do you harness these emotions that you express through your music?

In my opinion, a musician should have two perspectives when practicing and performing: performer and listener. The performer connects with the instrument while the listener connects with the music. I guess I'm more of the listener when I play. I try to relate to what the music tells. To be able to convince the audience, I make sure that I also convince myself. That's probably why you say I have this connection with the moment.

I just had to ask: What do winning pianists like you listen to? What are your musical preferences?

I can't end a day without listening to Bach. I love listening to his compositions! Who doesn't anyway? I feel really grateful to Petri, Busoni, and Rachmaninov--among others--for expanding the piano repertoire with transcriptions of Bach's instrumental and vocal works.

What are your plans for the future?

I'm still not sure.  Most probably, I'd continue my studies  in music abroad.  I just hope I could get a scholarship.


Gabby is taking up Diploma in Creative and Performing Musical Arts (DCPMA) at University of the Philippines, Diliman.  He is currently studying piano under the tutelage of Ms. Nita Abrogar-Quinto.

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PPO VIII: Mahler's Fifth

So why must you watch PPO's 2012-2013 season finale?

Two words: MAHLER's FIFTH. Enough said.

On April 4, 2013, the Philippine Philharmonic Orchestra (PPO), under the baton of Olivier Ochanine, will cap off its 30th season with a concert billed as "Mahler's Fifth."  This is a momentous occasion for me, as it marks the end of my first season as a PPO regular (if I could actually call myself that). So this coming Friday, by hook or by crook, I'd be at CCP's Tanghalang Nicanor Abelardo before 8PM to witness this once-in-a-lifetime performance by my favorite local orchestra.

For the past weeks, Maestro Ochanine has been stoking everyone's interest with Facebook posts which dropped several hints regarding the concert's program. I now know that Gustav Mahler's Fifth Symphony (the concert's namesake and centerpiece) is one of the most revered masterpiece in the entire orchestral music literature.  At over an hour in length, it is by no means an amateur's piece. In a Facebook post, Maestro Ochanine expressed his awe at the sheer grandeur of the work, stating: "I feel extremely lucky. This work is sublime. I feel unworthy, yet am excited to give it the best I can give." 

"The Philippine Philharmonic Orchestra will dazzle concertgoers with this one for sure," he added.

For what it's worth, I am most excited to hear the symphony's 4th movement, the "Adagietto." It's probably the most exquisite piece of music my ears have ever heard and it never fails to bring me eargasms each time I play it. I can't wait to hear it live, just because I don't think I'll be able to hold back them tears once they get to the most dramatic part.

I heard Herbert von Karajan, the great Austrian conductor, once said that "a great performance of the Fifth is a transforming experience." I guess that could count a another reason for people to hear the PPO play Mahler's Fifth: to have a shot at transforming their dreary lives. I kid, of course. Then again, that might also be one of my reasons, so who knows?

Another factor which got me really pumped up for this concert is Gabriel Allan Paguirigan, an up-and-coming concert pianist who I hold in high regard. I've had the honor of watching him play Camille Saint-Saëns' piano concerto no. 2 in G minor last August, and I can't wait to watch him tangle fingers with Franz Liszt's Piano Concerto no. 2 in A major this coming Friday. He was chosen to be the guest soloist for the concert after he won in the 2013 Young Pianist Competition held last March 6, 2013, besting some of the country's best young pianists for the coveted spot.

Gabriel Allan Paguirigan
Image credit: NiceyArafiles.com

Apart from the abovementioned pieces, the PPO will also be playing Wolfgang Amadeus Mozart's Overture to Cossì Fan Tutte.  

Tickets are available at P1,000, P800, P500, P350, and P200, with discounts available to students, senior citizens and groups. Earlier this week, Maestro Ochanine announced that as a special promotion for the PPO's 2012-2013 finale, those who will purchase tickets at regular prices will be allowed to bring a companion for free.

For inquiries, call the CCP Marketing Department at tel. 832-1125 loc. 1806; CCP Box Office (832-3704) or Ticketworld at 891-9999.

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PTGP Seminar Series VI: The road towards the 2013 piano festival

On April 14, 2013, the Piano Teachers' Guild of the Philippines, Inc (PTGP) will host the sixth installment of its successful seminar series.  Themed "2013 Piano Festival: Composers of Nationalistic Themes," the seminar will be conducted by Prof. Mauricia Borromeo and will be held at the Rehearsal Hall of St. Scholastica's College, Manila.

Dr. Mauricia Borromeo is widely known and respected for being a long-time professor and dean at the University of Philippines' College of Music where she taught piano performance, music theory, and music education. She has since then become a sough-after resource speaker in various regional and national conventions and seminars on music education. True to her dedication in piano pedagogy, she has served two terms as the president of the PTGP.  Prof. Borromeo, alongside Fr. Manuel Maramba, OSB, currently acts the PTGP's adviser.

The seminar's theme is in congruence with PTGP's upcoming 2013 piano festival which will center on the works of composers of nationalistic themes.

Seminar fee is P100 for non-members and P50 for students. Admission is free to all guild members.

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The Maestro's Maestro: A night of French music with conductor Mark Gibson and violinist Gao Can

You've heard the maestro.  Now it's time to hear the teacher.

As suggested by its theme, "The Maestro's Maestro," the Philippine Philharmonic Orchestra's latest concert features Mark Gibson, Olivier Ochanine's conducting mentor, as he leads the PPO in its upcoming performance on March 22, 2013, 8PM, at the Cultural Center of the Philippines' Tangahalng Nicanor Abelardo.

Image credit: http://ccmopera.com

Mark Gibson boasts of an impressive portfolio, having conducted various orchestras and ensembles in both opera houses and concert halls.  He is currently on his fourth year as Artistic Director of the Opera Theatre and Music Festival of Lucca and is currently the head Orchestral Studies program at the College-Conservatory of Music, University of Cincinnati—all while maintaining an active performing career across three continents.

Image credit: http://criticaclassica.wordpress.com

Joining the PPO is guest soloist Gao Can, a Chinese violinist who is considered as one of the most versatile young violinists in his country today.  He has received many domestic and international distinctions, including the Grand Prize during the 2006 China’s National Violin Competition, a special Recognition Award at the Michael Hill International Violin Competition in 2007, and the Second prize and a Special Award from the 2008 Naples “Alberto Curci” International Violin Competition.  His most recent achievement is the "Highest Violin Award" which he received during the 2009 Ima Hogg International Young Artist’s Competition.

The programme consists of selected works from great French composers.  The PPO will play George Bizet's Petite Suite from "Jeux d'Enfants," Maurice Ravel's "Daphnis et Chloe," and Camille Saint-Saëns' "Violin Concerto No. 3 in B minor" with Gao Can as the featured soloist.


Tickets are available at P1,000, P800, P500, P350, and P200, with discounts available to students, senior citizens and groups. To purchase tickets, call the CCP Marketing Department at tel. 832-1125 loc. 1806; CCP Box Office (832-3704) or Ticketworld at National Book Store (891-9999).

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