University of Santo Tomas

Conservatory of Music
Presents

Rafael Marco S.
Acknowledgements Balbin
Pianist

Assoc. Prof. Antonio P. Africa, Ph. D. Student of

Dean
Rev. Fr. Jose Ma. B. Tinoko, O.P., J. C. D.
Regent
Assoc. Prof. Peter J. M. L. Porticos, Ph. D.
Faculty Secretary
Assoc. Prof. Najib Ismail
In a
Junior Recital
In Partial Fulfillment of the requirements
For the Degree of
Bachelor of Music
Major in Piano Performance
with
Nathan Samuel Gemina
assisting artist

Thursday, April 2, 2020, 6:00 PM

Recital Hall 2, Albertus Magnus Building
University of Santo Tomas, Espana, Manila

________________________________________________
this serves as an invitation
Concert Manners
Going to a classical concert can be exciting but can be confusing for a first-timer.
The ambiance in a classical concert is more formal, the audience is expected to stay
quiet during the performance and sudden outbursts of appreciation are generally
frowned upon. However, watching a classical concert can be a very enjoyable and
memorable experience if you keep these simple tips in mind:
Stay quiet
This is the most important rule in concert etiquette. As best you can, avoid talking,
whispering, whistling, singing along or humming to the music while the concert is
ongoing so as not to distract other people. Listening attentively to the music and
paying attention to the performers on stage will help you appreciate the concert
more.
Stay still
Of course nobody expects you to sit perfectly still; however, stretching while you're
seated, tapping your feet, cracking your knuckles or chewing gum are inappropriate.
These actions also distract other viewers and the musicians themselves. Try your
best to stay put while the concert is ongoing.
Alarm off
If possible, leave items like cellphones and wristwatches with alarms at home. If you
really need to bring these things with you, make sure to turn it off or set it to
vibrate/silent mode before the concert starts.
Flashes off
Flash photography is usually not allowed during concerts. The reason behind this is
the flash from your camera can distract the musicians. Other items like camcorders
and camera phones are usually not allowed and may pose copyright violations.
When in doubt, ask organizers first before you use these gadgets.
Hold your applause
It is a common practice when watching classical concerts to hold your applause until
the end of a music piece. However, this might get confusing if you're unfamiliar
with the piece being performed. Your safest bet is to clap when most of the
audience starts clapping.
Take advantage of intermissions
Concerts usually have intermissions; this is the time when it's OK to leave your seat.
If you need to, you can go to the restroom, get a drink or a snack, or call someone
on your cellphone during intermissions.
Source:
(https://www.thoughtco.com/concert-etiquette-for-audience-members-2702063)
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg, Austria,
Wolfgang Amadeus Mozart was widely recognized as
one of the greatest composers in the history of Western
Music. Unlike any other composer in musical history,
he wrote in all the musical genre of his day and
excelled in each one. His taste, his command of form,
and his range of expression have made him seem the
most universal of all composers. Mozart's music
embraces opera, symphony, concerto, chamber, choral,
instrumental and vocal music, revealing an astonishing
number of imperishable masterpieces.
Mozart’s twelfth piano concerto was one of three
composed in 1782 for sale to the Viennese public by
advanced subscription. A major selling point of these
‘subscription’ concertos (K. 413, 414 & 415) was that
they were composed not only for concert use but also
for performance at home by a piano and string quartet,
as the wind parts were not structurally important and
could easily be dispensed with. This piano concerto is
still playful at times but is also a more mature version
of mastery.
The first movement of the A major concerto is
remarkable for the profusion of themes that it presents
– four in the orchestral exposition alone. The second of
these themes is accompanied by a leering
countermelody in the viola that evokes the intimacy
and camaraderie of chamber music more than the
starched formality of the concert hall.
 The second of these themes is accompanied by a
leering countermelody in the viola that evokes the
intimacy and camaraderie of chamber music more than
the starched formality of the concert hall. The second
movement opens with a direct quote from an overture
to Baldassare Galuppi’s La Calamità dei cuori written
by Johann Christian Bach, whose death has been
suggested as the motivation for this tribute.
After a deeply felt movement, a more restrained
finale must have seemed necessary. The last movement
is a sonata rondo with a great profusion of themes but
a quite eccentric formal structure. The orchestra briefly
introduces two themes, the first a skipping tune
decorated with trills followed by a unison passage
featuring a repeated motive of three notes descending
by step. When the piano enters, however, it ignores
both, choosing instead to spin out its own tune.
Francisco Santiago
Dr. Francisco Santiago was born on the 29th of
January 1889 in Santa Maria, Bulacan, Philippines. He
was a composer, pianist, teacher and film director.
When the University of the Philippines Conservatory of
Music was founded in 1916, he was taken in as a piano
instructor. He studied advanced harmony and
counterpoint under Robert Schofield. He obtained his
master’s and his doctorate in music at the Chicago
Music School in 1924. It was there that he presented
his Concerto in B flat minor for pianoforte and
orchestra, which is considered his masterpiece. He
returned to the Philippines in 1925 and became the
director at the UP Conservatory of Music from 1930 to
1946. He was appointed Professor Emeritus at the
University of the Philippines. 
He performed in his Nocturne in Eb minor in
March 1932 in his graduation as a composer. This
piece follows the musical style of the nocturne, as
popularized by Chopin: the use of freely flowing
rhythm, generally in ternary form (ABA), broken chords
on the left acting as rhythm while there is a song-like
melody on the right hand, repetitions of theme with
embellishments, and a mood that usually melancholic.
Dr. Santiago may have well been used to composing a
kundiman, that is why in this nocturne, the ringing
melodic feature of this song art form may be noticed.
Jeno Takács
Born in Cinfalva on 25 September 1902, he
studied at the Academy of Music and Performing Arts
in Vienna with Joseph Marx in composition and Paul
Weingarten in piano until 1926 at the University of
Vienna with Hans Gál counterpoint and Guido Adler
music science. In 1926 he made acquaintance with Béla
Bartók; from which a lively contact arose until Bartók's
emigration to the United States in 1940. In the years
1932 to 1934 he was a professor of piano and
composition at the University of the Philippines,
Conservatory of Music.
Toccata (from Italian toccare, literally, "to touch")
is a virtuosic piece of music typically for a keyboard or
plucked string instrument featuring fast-moving, lightly
fingered or otherwise virtuosic passages or sections,
generally emphasizing the dexterity of the performer's
fingers. Takacs composed his first toccata for the piano
in 1945 and was published a year after. He dedicated
this work to Mr. and Mrs. Philip Wyman.
Programme
Domenico Scarlatti
 Sonata in A Major, K. 208
Sonata in A Major, K. 322
Frédéric Chopin
Étude Op. 10, No. 9 in F Minor
Cécile Chaminade
6 Études de concert, Op.35 No. 2 "Autumn"
Nicanor Abelardo
First Nocturne in C# Minor
Claude Debussy
Preludes Book 1, No. 12 “Minstrels” L. 117
Intermission
Wolfgang Amadeus Mozart
Piano Concerto No. 12 in A major, K. 414
I. Allegro
II. Andante
III. Allegretto
Program Notes
Johann Sebastian Bach
Born on March 31, 1685 (N.S.), in Eisenach,
Thuringia, Germany, Johann Sebastian Bach had a
prestigious musical lineage and took on various
organist positions during the early 18th century,
creating famous compositions like "Toccata and Fugue
in D minor." Some of his best-known compositions are
the "Mass in B Minor," the "Brandenburg Concertos"
and "The Well-Tempered Clavier." Bach died in Leipzig,
Germany, on July 28, 1750. Today, he is considered one
of the greatest Western composers of all time.
Prelude and Fugue no. 20 in A minor is part of
the Well-Tempered Clavier, a collection of two series of
Preludes and Fugues in all 24 major and minor keys,
composed for solo keyboard by Johann Sebastian Bach.
The prelude in A minor may remind us of the
allemande: one of the dance movements from Baroque
suites. There are two significant motives which
together dominate almost the entire piece. Both come
with a steady accompaniment which swaps voices as
the respective motive does. The fugue enters with the
first half of the subject contains four quarter-notes
followed by a quarter-note rest, while the second half,
presents an eighth-note rest and four eighth-notes. The
dynamic design corresponding with these features
consists of a powerful increase of tension towards the
G# (dominant), followed by a tension-sustaining rest
and a gradual release through the eighth-notes. A
series of expositions and episodes surrounds this piece
with varying intensities. The final episode recalls
features of the redundant entry from the first section,
present a decrease in tension which is, this time,
completed with a final cadence.
Sergei Rachmaninoff
Born on March 20, 1873, in Oneg, near
Semyonovo, Russia, Sergei Rachmaninoff was the last
great figure of the tradition of Russian Romanticism
and a leading piano virtuoso of his time. He is
especially known for his piano concerti and the piece
for piano and orchestra titled Rhapsody on a Theme of
Paganini (1934). He died in March 28, 1943 in Beverly
Hills, California.
Rachmaninoff's Etudes-Tableaux (study-pictures)
are all miniature masterpieces. They are what
impressionist music would sound like if the
impressionists happened to be obsessed with
counterpoint and harmony: highly concentrated tone-
poems for piano. In any case, the Op.33 is slightly more
compact and restrained than the Op.39, but still
features rich sonoroties, complex contrapuntal
textures, melting lyricism, and a raw animal energy.
The 7th etude in G minor is a lovely homage to Chopin,
featuring a straightforward melody interrupted once by
dark violence. If you don't see the similarities to the
first ballade, I'd point you to the persistence of
Neapolitan harmony and the ending, which couldn't be
more direct in making its point if it wanted to.
Soirées de Vienne, consists of nine pieces
modeled on various waltzes (valse caprices) by
Schubert, which he originally composed for violin and
piano. Liszt added a literal transcription of Schubert’s
work, which includes interludes or transitions,
changing harmonies, creating passages that imitate the
original material, and expanding on or changing a host
of other details. Liszt's many transcriptions in his huge
output fall into three categories: the literal, the
paraphrases, and the fantasies. Soirées de Vienne
would certainly have to be classified in the middle
group. Yet, while the end results clearly show the
fingerprints of Liszt, the sound and style of the music
remain essentially Schubert's. It was one of Rosenthal's
favorite pieces. Liszt later made a more complicated
version of this piece, but most performers prefer the
first; the extension of Schubert's melodies is done with
great refinement, and we have here the beginning of
the great series of Viennese waltz transcriptions.

Franz Liszt
Franz Liszt was born on October 22, 1811, in
Raiding, Hungary [now Raiding, Austria]. His father, a
multi-instrumentalist, taught him to play piano. By the
time Liszt was 9 years old, he was performing in
concert halls. As an adult, he toured extensively
throughout Europe. He had an affair and children with
Marie díAgoult, and later lived with Princess Carolyne
zu Sayn-Wittgenstein. By his death, he had written
more than 700 compositions.