From Rossini to Mozart to Beethoven: A Historical Performance by FILharmoniKA and Michael Tsalka
On January 18, 2011, Ambientmedia presented a concert with internationally acclaimed Israeli pianist Michael Tsalka and FILharmoniKA at the Philamlife Theatre. FILharmoniKA, conducted by Ateneo-grown Gerard Salonga, performed Rossini’s Overture to La Gazza Ladra or The Thieving Magpie and Beethoven’s Symphony No. 6, also known as “The Pastoral Symphony.” FILharmoniKA also accompanied Tsalka on Mozart’s Piano Concerto No. 25 in C Major.
FILharmoniKA opened the concert with Rossini’s famous overture from his opera La Gazza Ladra. It is rumored that Rossini only wrote this overture the day before the first performance of the opera. The producer of the opera had to lock him up for Rossini to finish the overture. Rossini then threw the pages out the window to his copyist as he finished the piece. Nevertheless, the overture did not come off underdeveloped. Its inclusion of snare drums in the orchestra was a major development during Rossini’s time.
FILharmoniKA rendered an exciting performance of Rossini’s overture. In the opening lines, a conspicuous slip from the horns seemed like an ominous harbinger. However, the orchestra quickly regained itself. During the middle section of the piece, Salonga conducted with intense passion and ferocity, as the violinist played running notes flawlessly. Gerard maneuvered the orchestra adeptly to deliver Rossini’s sudden and dramatic crescendos and descrescendos. The orchestra moved as one, resulting in an exciting and cohesive performance. Indeed, FILharmoniKA performed the overture with the heightened energy of a marching band and the sensitivity of a chamber orchestra.
The next performance featured Tsalka as the soloist. The Israeli diplomat to the Philippines introduced Tsalka, a prize winner at the Van Cliburn competition, and someone who is able to unite geographies and countries with his music despite Israel’s war-torn history. Standing at more than 6 feet tall, it was surprising to see Tsalka’s gentle and graceful movements at the piano. He performed “Allegro maestoso,” the first movement of Mozart’s Concerto No. 25, with utmost clarity and elegance. Using the soft pedal and long melodic lines, Tsalka gave a fresh interpretation of the second movement. His performance was subtle and almost romantic. “Allegreto,” the third movement, is an exciting rondo piece, a fitting end to Mozart’s last great concerto, which he had written in Vienna. After Tsalka’s performance, the audience demanded an encore. Tsalka responded by playing Chopin’s Etude in F minor. The most technically difficult part of the piece is its left hand, which requires the pianist’s hands to span wide lengths. Tsalka seemed to have no trouble with this as he played the etude’s melody with finesse and sensitivity.
FILharmoniKA ended the night’s concert with a beautiful performance of Beethoven’s Pastoral Symphony. Salonga introduced the piece by noting how easy it is for Filipinos to connect with this symphony. This is because the piece was inspired by Beethoven’s travels to the provinces, an activity that Filipinos are more than familiar with. Unlike Beethoven’s stormy 5th Symphony, The Pastoral Symphony began with pleasant warmth. The first movement Allegro ma non troppo is called “Awakening” because it reflected cheerful feelings one experiences upon arriving in the countryside. FILharmoniKA played the first movement beautifully, evoking the grandeur of nature with its triumphant performance. FilharmoniKA continued to play the four other movements wonderfully. Salonga conducted the orchestra masterfully and brought Beethoven’s legendary symphony to life.
*This article was originally featured in the 2011 edition of the Blue Sound magazine. Edited by Christine Imperial & Ramon Nario.
**Image from http://www.bach-cantatas.com/Bio/Tsalka-Michael.htm