MUSIC FOR HEALING: PPO IN QUARANTINE
Virtual PPO pocket concerts to heal the heart and mind
These performances will be streamed online.
November 6, 2020 | 8:00 PM – PPO By Your SideStreamed for FREE on the PPO Facebook page, CCP YouTube channel and the CCP website
Experience the healing power of music as we give you the Philippine Philharmonic Orchestra in virtual pocket concerts that soothe the heart and mind!
MUSIC FOR HEALING: PPO in Quarantine continues with a new PPO By Your Side playlist composed of Romantic Period and Impressionistic pieces whose soothing melodies will help ease your mind and let you relax. Premiering this Friday are well-known pieces written by Dvorák, Saint-Saëns, Debussy, and Paganini, as performed by members of the country’s premier orchestra.
MUSIC FOR HEALING, a series of online performances consists of three playlists: PPO by Your Bedside, PPO in Your Workplace, and PPO in Your Living Room. Each playlist has a program of four musical numbers consisting of solo and ensemble performances, recorded by PPO musicians from their own homes. MUSIC FOR HEALING aims to promote the benefits of music therapy on the mental and emotional health.
Songs My Mother Taught Me (Als Die Alte Mutter) (Antonín Dvorák)
Performers: Gerry Graham Gonzales, cello & Rommel Camba, piano
Songs My Mother Taught Me or Als Die Alte Mutter in its German translation is a folkloric selection from Antonín Dvorák’s set of song cycle “Gypsy Songs”. The set of songs was inspired by the Gypsy cultures found in Eastern Europe. It was originally set to poem by Adolf Heyduk in Czech language and also prepared a German translation for it was to be first premiered in Germany. A distinctive feature of the piece is the different time signature of the vocal line from the piano accompaniment.
Antonín Dvorák travelled in Europe and United Kingdom, was a professor at the Prague University, and became the Director of the National Conservatory of Music of America in New York before he returned to Bohemia in 1895.
The Swan (Le Cygne) (Charles-Camille Saint-Saëns)
Performer: Herrick Ortiz, cello
The Swan or Le Cygne was composed by the French composer Charles-Camille Saint-Saëns in 1886. It is the 13th and penultimate movement the The Carnival of the Animals which was originally scored for solo cello accompanied by two pianos. The Swan is written in 6/4 time signature and marked “Andantino Grazioso” which means “slowly and gracefully” to portray the legend of the “swan song” and also has become the inspiration for the Ballet-The Dying Swan.
Charles-Camille Saint-Saëns was born in 1835 and was a true prodigy demonstrating a perfect pitch at the age of two. He studied the organ and composition at the Conservatoire de Paris and described by Liszt as “the greatest organist in the world”.
The Girl with the Flaxen Hair (La fille aux cheveux de lin) (Claude Debussy)
Performers: Jopi Diestro, cello & Dr. Michelle Nicolasora, piano
The Girl with the Flaxen Hair or La fille aux cheveux de lin in its original French is the eighth piece in his Book I of solo piano préludes written around 1910. The title was inspired by an 1852 poem by Charles-Marie René Leconte de Lisle. While different arrangements abound, it was originally written for solo piano. The musical simplicity, the harmony, and technical elements were tied with Debussy’s successful portrayal of innocence and naivety.
Claude Debussy was a French composer whose works were an influential force in the 20th century music. He developed a highly original system of harmony and musical structure which expressed the idea of impressionism.
Cantabile in D Major Op. 17 (Niccolò Paganini)
Performer: Giancarlo Gonzales, cello
Niccolò Paganini was an Italian violinist, violist, guitarist, and composer. He is known for his technical innovations on violin playing. His second favourite instrument after the violin is the guitar as he was also a virtuoso on this instrument and he composed his own works for him to play exclusively in his performances.
Cantabile Op. 17 is a heartfelt instrumental aria with lavish ornamentations, reminding us that Paganini’s musical style had a lot in common with the operatic bel canto tradition of his time.