Liberation-themed concert opens new MSO season
The Manila Symphony Orchestra (MSO) kicked off the first concert of its current 99th season at Aliw Theater with a nostalgic “Music for Peace” program. It was chosen to commemorate its first concert held 80 years ago on May 9, 1945, at the Sta. Cruz Church. The concert marked the historic liberation of the country, even if during the intermission, echoes of the “rat-tat-tat” of machine guns fired from a distance could still be heard, said Carmita Carrion in her write-up in the souvenir program.
Reading the message of MSO president Marianne Hontiveros, John Silva said the concert was staged in honor of “that enduring legacy—one where music became a voice for resilience and a bridge toward recovery!”
In a short message, MSO executive Jeffrey Solares said that instead of Beethoven’s third symphony, “Eroica,” Beethoven’s “Violin Concerto in D major, Op. 61” would be played, with Berlin scholar Emanuel John Villarin as soloist.
A total of 150 concerts were performed by the MSO from May to December in 1945. It was in one of those concerts that 18-year-old violinist Basilio “Billy” Manalo played the Beethoven violin concerto.
Manalo is remembered as one of the country’s foremost violinists, pedagogues, and conductors. He was MSO’s concert master from the 1950s to the 1970s, and reorganized the MSO into what it is now in 2001.
A scholarship program in his name offers financial assistance to MSO musicians pursuing their music study in local universities. Four students have since completed their studies, while seven scholars are still in school.
National Artists Dr. Ramon Santos (Music) and Virgilio Almario (Literature) graced the audience with their presence.
Flawless collaboration
Playing on a violin by Gencer Cerit (2021), violinist Villarin earned the adulation of the audience. The violin was a gift from the Standard Insurance Company, which has also provided scholarships to six outstanding instrumentalists who are pursuing their studies abroad. The same company is a copresenter of MSO Concerts.
Villarin cut a debonair presence on stage, playing with utmost sincerity and letting his violin intone a caressing, well-modulated sound. The rapport he forged with Maestro Marlon Chen was intimately done, ensuring the dynamic dispatch that marked their flawless collaboration through the entire work.
In the first movement, he essayed the piece’s arresting theme, capped by the brilliant playing of that lengthy cadenza punctuated by the timpani. It was such a pleasure listening to the second movement, leading to the final movement with the various sections playing with much flair.
After playing another flourishing cadenza, with the arresting “stoppings” on that playful theme that the movement (rondo) was built on, the concerto soon came to an end—all done with aplomb.
The audience greeted the performance with thunderous applause. For his encore, Villarin played Paganini’s “Caprice No. 9” where he once more displayed his virtuoso stance.
The ensuing playing of Dvorak’s 9th Symphony, “From the New World,” elicited more blissful listening. Here, one savored the collaborative effort of the musicians to achieve a brilliant symphonic sound. From the first to the last movement, Chen ensured fine listening, stamped with his authoritative leadership from the podium. One could tell the musicians enjoyed their playing, what with the precise and intelligent cues that came from the Maestro’s baton.
Villarin, engaged for another encore, gave the audience something to be awed at as the strains of John Williams’ theme from the movie “Schindler’s List” played.
The nostalgic trip to the Liberation in 1945 was then made more historic with the playing of John Philip Sousa’s march, “Stars and Stripes Forever.” Chen led the orchestra in playing with gusto.
Indeed, there could not have been Liberation Day without America’s historic return. The audience clapped mightily along to every beat of the march, making for a great ending. Bravo, MSO!
