The University of the Philippines Symphonic Band (UPSB) electrified listeners in its recent concert at Cultural Center of the Philippines.
In a fitting observance of the Lenten season, the band, under the baton of musical director Rodney D.S. Ambat, gave a sterling performance of a meaty program of mostly contemporary works on religious themes.
It gave the Philippine premiere of Spanish composer Ferrer Ferran’s “La Passio de Crist (La Pasion de Cristo), Sinfonia No.2.”
UPSB also performed Richard Strauss’ Finale from “Death and Transfiguration”; Robert Smith’s “The Divine Comedy”; and David Maslanka’s “Give Us This Day.”
Because the band has been closely associated with the parade ground, hardly has it come to mind the idea that it is capable of performing works of symphonic proportion.
But symphonic sound is within the capacity of the band, which is composed of some 80 students of the UP College of Music. This band is the official student performing arts group of UP.
Youthful zest characterized their playing. Their sound, however, was not infantile but solid and mature.
On the podium, the conductor stood like a titan wielding the baton with solid authority. Ambat may be youthful-looking but his passion has capably produced the enviable band, which gives regular concerts of difficult standards as well as contemporary music.
In the opening piece, the Finale of Strauss’ “Death and Transfigurations,” UPSB at once set the audience for engaging listening. Ambat etched a clear, flamboyant sound for the band achieved through understandable gestures that one could visibly follow. The majestic color etched by the horns and the oboes and the mellifluous soundscape signaled great listening!
Visual projections by Edmund Nerval, with Hanani Al Asuncion as photographer, and competent lighting designed by Bambi Buco and Edgar Aguja enhanced music appreciation.
In Smith’s “Divine Comedy,” the band added clapping, stomping and chanting to the “Inferno”; “Purgatorio”; “Ascension”; and “Paradiso,” disclosing the narrative in poignant and graphic manner (or “sonar narrative,” as National Artist for Music Ramon Santos would call it). The projection of the UP Oblation during “Ascension” was a visual delight.
Ferran’s “La Pasion de Cristo” opened the second half of the program. Ambat read the score with solid dispatch. The musicians played their part brilliantly to reinforce dramatic realism: The unbearable is suggested by the clappers, the Crucifixion by the stabbing sound of the anvil and hammer.
Inspired playing and warm rapport defined the ensemble playing. There was dialogue between the saxophone and the horns, and between the flute and the bassoon. The brilliant playing together (tutti) was bitingly moving.
Maslanka’s “Give Us This Day” was a fait accompli. It served as the icing to the main fare, Ferran’s opus.
The band encored “Good Friday” from Wagner’s “Parsifal,” its meditative playing attuned to the observance of Lent.
The band deserved the standing ovation in the end, led by National Artist Santos. —CONTRIBUTED
