MANILA, Philippines - The 85th birth anniversary of Robert Coyiuto, founder of Prudential Guarantee and Assurance, Inc. (PGAI), offered a fitting and meaningful musical event.

Featured artists were pianist Cristine Coyiuto; the superb soloist in Schumann’s Piano Concerto in A Minor, Op. 54; and her 14-year-old flutist daughter, Caitlin Alisa Coyiuto, the dazzling soloist in Poulenc’s Flute Sonata orchestrated by Sir Lennox Berkeley.

With Helen Quach at the podium, the Philippine Philharmonic Orchestra (PPO) regained a solid sound that translated into exciting rapport with the piano and flute soloists.

Opening with a ravishing rendition of Wagner’s “Meistersinger” Overture, the concert was off to an exciting climax with Cristine playing a fresh version of the Schumann Concerto. She was in command in all the three movements, and Quach’s masterful baton gave the concerto a translucent reading.

The number that ended in a standing ovation was Tchaikovsky’s Symphony No. 4 in F Minor, Op. 36, conducted by Quach. It was Coyiuto’s first orchestral concert at Meralco Theater, which suddenly acquired an acoustic shell courtesy of the PGAI in-house department. A special Porsche-designed Bosendorfer piano was flown all the way from Vienna (courtesy of ROS Music Center) for the occasion.

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Why did she choose the Schumann concerto among other piano favorites?

“I have always wanted to do the Schumann concerto for many years because of my teacher Rosario Picazo,” said Coyiuto. “She was the one who encouraged me to include this piece in my repertoire, as she had performed this in Vienna and received a most enthusiastic applause right after the first movement.

“In the past solo recitals I did at the Cultural Center of the Philippines, I had always tried to program a Schumann work (Humoreske, Faschingsswank aus Wien, Fantasiestucke). Last year, my family and I visited the homes of Robert and Clara Schumann in Leipzig and Zwickau. What a wonderful pilgrimage it was, especially when I was given the singular honor to play the personal piano belonging to Clara Schumann herself.

“The Herr Direktor of the Schumann Haus even wanted me to do a recital on Clara’s piano! We chose to perform this concerto in anticipation of Schumann’s 200th birth year this coming 2010.”

Coyiuto actually played the concerto earlier last May, at the Victoria Concert Hall in Singapore with the Braddell Heights Symphony Orchestra, also with Quach conducting. The Singapore audience gave her an extremely warm reception after the first movement and she had to do two encores.

Coyiuto said the Schumann concerto was special in many ways. “It’s such an exquisite work, full of lyricism, tenderness and energy. The piano and orchestra parts are interwoven to the highest degree. It is impossible to think of one without the other.”

Important part

Did she in any way influence her daughter?

“Playing an instrument has always been very easy for Caitlin. Learning to play the flute was my daughter’s own personal choice. Caitlin has been studying the flute (as well as the cello under Tess Ibero and piano with Virginia Laico Villanueva) for the past three years with Marie Poblete, member of the PPO, and also with Tony Maigue, professor at the University of the Philippines. Her recent trip to Nice Conservatoire has definitely broadened her repertoire and musical outlook.

“There is an inner connection whenever my daughter and I play together. We seem to feel and breathe at the same time, just like one person.

“My husband and I believe learning to play a musical instrument is a very important part of Caitlin’s education, whether she becomes a professional musician or not. Playing an instrument gives joy not only to yourself but also to others. Music is a special gift from God that should always be shared.”

Quach added: “Caitlin has a lovely clear tone and her rhythm is steady and her phrasing musically expressed. She played with conviction throughout the Poulenc, which showed her very gifted control of the flute. On the other hand, I also enjoyed performing the Schumann concerto with Cristine. We achieved a fine partnership, and all the brilliance, exuberance and wistful gentleness of the piece were beautifully expressed by her sensitive playing.”