The concert not to be missed next week is the “Manila Symphony Gala Concert No. 4” with pianist Rudolf Golez as soloist in Liszt’s Hungarian Fantasy at Philamlife Theater on October 8, 8 p.m.
The program also includes Brahms’ Symphony No. 4 and Waltz from Strauss’ “Der Rosenkavalier.”
After his stint with MSO, Golez teams up again with violinist Joseph Esmilla at the Umali Hall of UP Los Baños in Laguna on October 15, 7 p.m. This concert is the first anniversary presentation of Dalcielo Restaurant & Bakeshop.
On Friday, October 21, the two return to UP Balay Kalinaw for an evening of Strauss and Brahms before the pianist leaves for the US end of October.
Call 7484152 or 0906-5104270.
Meanwhile, Cecile Licad, who will be heard in Hawaii and Stockholm next month, was interviewed by Movimiento, a South American music website which aired her views on what distinguished a great artist from the merely good ones.
Some highly revealing and enlightening excerpts:
You have been hailed by the New Yorker as a pianists’ pianist. That statement certainly encompasses technique and artistry. In your perception, what makes the difference between a great pianist and a great artist?
Licad: I would say that a great pianist is someone who has discipline, dedication, and has a unique relationship with the piano which has been developed since his/her training. I think what sets apart a great artist in this field, however, is two things. The first is just an ability to approach the same piece of music over and over again as if learning it for the first time every time. The second is the creativity to have a vision before you even sit down at the piano, and then having the chops to execute that vision.
Having been both a recitalist and a soloist, how do you perceive the different realities of playing a recital and working with an orchestra? And what are your thoughts of sharing the stage with singers, cellists or violinists in chamber-music situations?
The difference is always going to be how much trust or chemistry exists in terms of whom you’re working with. This is not an element that exists when playing solo recitals, you’re pretty much depending on yourself, and there’s only one person to blame if something goes wrong.
So whether playing with an orchestra or a small chamber group, trust and chemistry allow for fun, productive rehearsal time. Trying things out and experimenting are the best parts of collaborating with other people, and can sometimes be difficult given the limitations on rehearsal time.
You benefited from the teachings of great masters. Now that you are one of them, do you feel like sharing your experience with young aspiring pianists?
I am not that old yet! Haha, but, seriously, teaching is something I’ve never thought I would be very good at, but over the years I’ve picked up enough experience that at some point I would love to sit down with pianists who need help in certain areas. I always consider myself a student and I never would see myself as a great master, and neither did Serkin or Horszowski, I think.
Other than your busy schedule, how do you relate to the other arts, and how do they affect you, if at all?
I would say that anytime I see someone who has very obviously spent many hours honing his/her craft, no matter what field or medium, it’s always an inspiration to me and a reminder that all this time I spend learning pieces of music is absolutely worth it. For example, like most people I love watching movies, and good actors like Al Pacino and Meryl Streep are always sources of inspiration to me.
How do you envision the future of the piano beyond the established and standard repertory taking into consideration your experience with audiences the world over?
I think that we should definitely have faith in our audiences in the sense that they always appreciate and are always looking for something new.
In other words, we shouldn’t disrespect our audience by constantly playing the same things in the same way, expecting them to react in the same way.
As artists, I think we should be trying to offer new experiences and perspectives every time we go on stage, and I think if performers embody this kind of attitude the future of piano performance will be in good hands.