a night with the Philippine Philharmonic Orchestra
I have always loved classical music, moreso watching a live performance - so when we heard that the PPO was coming to town, I knew it was too good to resist.
Surprisingly, the organizers were able to fill the National Theater (considering that it is the season for the Bangkok International Dance & Music Festival) and have a royal audience too. I had high expectations since the PPO once held high distinction as a world-class orchestra. After watching a Russian orchestra, and other european acts during past ballets and concerts, then I would be in for a treat.
The first piece they played was Trinity, A Symphonic Cycle by Angel M.Pena. Though quite eclectic, this showcased the fullness and texture of the orchestra. Adagio for Strings, from op. 11 by Samuel Barber was up next and as the title says, the strings were the stars of this piece. It was great to see the bows go up and down in unison, and to hear the depth of the violin, viola, and cello combined in one measure. The last piece, Symphony No. 4 in E minor by Johannes Brahms, was not much of a climax, nor was it powerful enough to end the show. The show's saving grace: an encore of a jazzed-up version of Dahil Sa'yo.
Sadly, the concert was not as grand as its premise. Under the baton of Maestro Eugene Castillo, the members of the orchestra lacked emotion, energy and stage presence (except for the conductor himself)... my piano teacher once said that when you perform, you have to feel the piece you're playing so that the audience feels it with you. The pieces that they played seemed
fitting for a chamber performance, rather than a concert... which is probably why at the end of the evening, the performance seemed to be a bit flat (no pun intended!). It's sad that so much potential talent can still be utilized within the orchestra. I'm sure that all the members are passionate about what they do - all it takes is to find inspiration and motivation.
Interesting enough, I found this piece on the PPO:
"We need to keep up with the other professional orchestras of the world," says Fredeline Parin, principal trumpet of the ppo who plays a King trumpet that is more than 20 years old. dditional instruments are needed too, Parin explains, citing one concert early this year when a cornet was required for Mahler’s Symphony No. 3. Because the orchestra didn’t have a cornet, Parin stuffed a felt cloth in his trumpet to approximate the sound. "It almost killed me. Imagine blowing into a bottle…."
The son of a trumpeteer who is one of the ppo originals, Parin says that the new generation of trumpets provide for easy blowing and quick response. A principal trumpet should have about seven trumpets of different keys, an assistant principal should have a minimum of five while the third and fourth trumpets should have at least four. Each trumpet can cost up to US$2,500.
"It’s very important to have a very good trumpet sound," Parin insists. "Trumpets are the soprano of the orchestra and have the most penetrating sound."
A few chairs away sits Alejandro Fernandez, acting assistant principal trombone. "Ito na ang pinakamalaking pupuntahan ng isang musican," Fernandez says about being part of the ppo. He started playing trombone as a gradeschooler in Nueva Ecija, in the marching band of his hometown of San Leonardo. He would be a good trombone player, his teachers said, because he was tall for his age.
To buy him a trombone, Fernandez’ father sold some land. That same trombone, a Conn, is still with him, literally green in some parts because of age. Reflectorized tape is what Fernandez uses to cover up those patches of green. For the ppo, Fernandez plays a Yamaha. It’s a bit outdated, he admits, but it still plays well. "Ten years ago modelo pa yan," he reveals, adding that
today, it is no longer even listed in the catalog.
Vicente Galang, principal horn, plays an American-made Holton french horn which still has a wonderful sound, but it obviously has seen better days. Galang has had to improvise with plumber’s teflon tape to seal off air leaks in the bore of the instrument. He’s also found a nifty substitute for the parts he needs to make the pistons of the horn’s keys bounce. "Pumupunta ako sa automotive supply at bumibili ng brake repair kit. There’s a part there used for the brakes and I just cut it down to size."
The most desperate case for new instruments, says Lozada, is the tuba that Benedicto de la Peret Jr. plays. It is battle-scarred, heavily dented and minus its gold lustre in many places. De la Peret goes all the way to Bulacan to have his tuba repaired. One of its pistons won’t bounce and the valves are out of alignment, and it takes great effort, says dela Peret, just to play this tuba. "Nakakapagod!" he exclaims.
Ugh, even our national orchestra is suffering from poverty. I do hope that they raise enough funds to buy new instruments, and hopefully regain the glory they once enjoyed.
Surprisingly, the organizers were able to fill the National Theater (considering that it is the season for the Bangkok International Dance & Music Festival) and have a royal audience too. I had high expectations since the PPO once held high distinction as a world-class orchestra. After watching a Russian orchestra, and other european acts during past ballets and concerts, then I would be in for a treat.
The first piece they played was Trinity, A Symphonic Cycle by Angel M.Pena. Though quite eclectic, this showcased the fullness and texture of the orchestra. Adagio for Strings, from op. 11 by Samuel Barber was up next and as the title says, the strings were the stars of this piece. It was great to see the bows go up and down in unison, and to hear the depth of the violin, viola, and cello combined in one measure. The last piece, Symphony No. 4 in E minor by Johannes Brahms, was not much of a climax, nor was it powerful enough to end the show. The show's saving grace: an encore of a jazzed-up version of Dahil Sa'yo.
Sadly, the concert was not as grand as its premise. Under the baton of Maestro Eugene Castillo, the members of the orchestra lacked emotion, energy and stage presence (except for the conductor himself)... my piano teacher once said that when you perform, you have to feel the piece you're playing so that the audience feels it with you. The pieces that they played seemed
fitting for a chamber performance, rather than a concert... which is probably why at the end of the evening, the performance seemed to be a bit flat (no pun intended!). It's sad that so much potential talent can still be utilized within the orchestra. I'm sure that all the members are passionate about what they do - all it takes is to find inspiration and motivation.
Interesting enough, I found this piece on the PPO:
"We need to keep up with the other professional orchestras of the world," says Fredeline Parin, principal trumpet of the ppo who plays a King trumpet that is more than 20 years old. dditional instruments are needed too, Parin explains, citing one concert early this year when a cornet was required for Mahler’s Symphony No. 3. Because the orchestra didn’t have a cornet, Parin stuffed a felt cloth in his trumpet to approximate the sound. "It almost killed me. Imagine blowing into a bottle…."
The son of a trumpeteer who is one of the ppo originals, Parin says that the new generation of trumpets provide for easy blowing and quick response. A principal trumpet should have about seven trumpets of different keys, an assistant principal should have a minimum of five while the third and fourth trumpets should have at least four. Each trumpet can cost up to US$2,500.
"It’s very important to have a very good trumpet sound," Parin insists. "Trumpets are the soprano of the orchestra and have the most penetrating sound."
A few chairs away sits Alejandro Fernandez, acting assistant principal trombone. "Ito na ang pinakamalaking pupuntahan ng isang musican," Fernandez says about being part of the ppo. He started playing trombone as a gradeschooler in Nueva Ecija, in the marching band of his hometown of San Leonardo. He would be a good trombone player, his teachers said, because he was tall for his age.
To buy him a trombone, Fernandez’ father sold some land. That same trombone, a Conn, is still with him, literally green in some parts because of age. Reflectorized tape is what Fernandez uses to cover up those patches of green. For the ppo, Fernandez plays a Yamaha. It’s a bit outdated, he admits, but it still plays well. "Ten years ago modelo pa yan," he reveals, adding that
today, it is no longer even listed in the catalog.
Vicente Galang, principal horn, plays an American-made Holton french horn which still has a wonderful sound, but it obviously has seen better days. Galang has had to improvise with plumber’s teflon tape to seal off air leaks in the bore of the instrument. He’s also found a nifty substitute for the parts he needs to make the pistons of the horn’s keys bounce. "Pumupunta ako sa automotive supply at bumibili ng brake repair kit. There’s a part there used for the brakes and I just cut it down to size."
The most desperate case for new instruments, says Lozada, is the tuba that Benedicto de la Peret Jr. plays. It is battle-scarred, heavily dented and minus its gold lustre in many places. De la Peret goes all the way to Bulacan to have his tuba repaired. One of its pistons won’t bounce and the valves are out of alignment, and it takes great effort, says dela Peret, just to play this tuba. "Nakakapagod!" he exclaims.
Ugh, even our national orchestra is suffering from poverty. I do hope that they raise enough funds to buy new instruments, and hopefully regain the glory they once enjoyed.
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