VERA Files
Saturday night (June 17) at the Manila Pianos showroom, clarinetist Jason Marquez surprised local music afficionados with a rarely played program for clarinet so varied and wide-ranging it left an audience asking for more.
It was Marquez’s first team up with pianist Dingdong Fiel who had only a few days to learn the program on top of preparing for other endless chamber music commitments.
A highly revealing opener was Bela Kovacs’ Sholem-Alekhem, rov Feidman, a Philippine premiere of Kenji Bunch’s Cookbook (2004) and with cellist Job Polvoriza doing a sensitive part in Robert Muczynski’s Fantasy Trio, Op. 26 (1969).
By the time Marquez reached Copland’s Concerto (1949) and George Gershwin’s I Got Rhythm (1930 arr. 1994), audience was by then convinced he is the new exciting clarinetist to watch.
His musicality was evident from the very beginning.
On top of that, he had a way of explaining his repertoire which made enjoyment easy for the first-timers in this all-clarinet program.
A new holder of a bachelor’s degree in Music Performance at the Andrews University in Michigan, Marquez said his program was taken from selections from his junior and senior recitals including pieces from his chamber music class.
“I decided to incorporate music with popular influences such as jazz, pop, Latin, bebop, and more. I aimed to offer a refreshing departure from the traditional 17th-18th century repertoire commonly heard in recitals. I wanted to present something fun and accessible to those who may not be as familiar with classical music. My hope was that this diverse selection would spark curiosity in first-time audience members and encourage them to attend more classical music concerts in the future, “ he pointed out.
Putting the recital together was an eye-opening experience as it revealed the music world after finishing school.
Due to budget constraints, he can only afford three rehearsals with the pianist (Dingdong Fiel) and the cellist (Job Polvoriza). “I was initially concerned because I had never met them before and there was a significant amount of music to bring together in just three days.”
With intense concentration, the initial encounter led to smooth rehearsals where they focused on interpretation and cohesion rather than simply learning the notes.
Still, the Copland concerto and Gershwin’s I Got Rhythm were the evening’s beautiful highlights.
He did not find difficult the Gershwin piece although it could be tricky for the pianist. “It is a marvelous arrangement by James Cohn that beautifully captures the essence of simplicity, joy, and exceptional artistry,” he enthused.
The Copland concerto has been a significant piece for him even during the early years of playing the clarinet.
“I had always aspired to perform it but I didn’t feel prepared until my senior year of college. I must admit that I encountered challenges while learning the Copland concerto. The first movement, in particular, is exquisitely delicate and demanding. It explores the higher range of the clarinet while exploiting its ability to produce extremely soft dynamics. The cadenza that connects the first movement is renowned and feared by many clarinetists. It presents a highly exposed passage that showcases virtuosic playing with large leaps, register changes, and intricate articulation—all while maintaining the piece’s character. If not approached thoughtfully, this cadenza can sound purely technical, resembling an etude, rather than capturing the musical essence it demands. It is crucial to keep in mind the interpretive aspect and strive for musicality alongside technical proficiency. The second movement is a whirlwind of notes that poses significant challenges when playing alongside the pianist or orchestra. With multiple tempo changes, character variations, and rhythm displacements, the clarinetist must remain intensely focused to effectively interpret this movement. After dedicating months of work to this piece, my fingers, notes, and interpretation are well-prepared. As a result, I can now focus on enjoying the performance and infusing the music with my personal expression.”
Marquez plays on a B-flat Tradition model clarinet by Buffet Crampon.
Before acquiring his instrument, his professors noticed that his previous clarinet was getting in the way of his growth as a musician. They suggested that he start a GoFundMe page to raise funds for a new instrument. “After successfully raising the necessary funds, my clarinet teacher and I embarked on a two-and-a-half-hour drive to Ann Arbor, Michigan to meet with a Buffet Crampon clarinet dealer who also happens to be the 2nd/bass clarinet player for the Detroit Opera Orchestra.”
He distinctly remembers the dealer presenting approximately 20 different clarinets from various models by Buffet Crampon for him to try. “We meticulously narrowed down the options to three clarinets which I took home to playtest for a few weeks. This trial period allowed me to thoroughly assess and evaluate each instrument before making my final decision.”
In addition, his clarinet teacher ordered several clarinets from Royal Global for him to playtest. “I had the fortunate opportunity to test these clarinets at the Howard Performing Arts Center which is our on-campus concert hall. My teacher recorded and attentively listened to how the clarinets sounded and projected within the concert hall setting. Based on the evaluation, we ultimately made a final decision on the clarinet that I am currently using.”
Apart from him, there is another musician in the family in the person of violinist Jeanne Marquez who is studying in Juilliard. She is in town for a semestral break and will do outreach concerts in Manila, Iloilo and Catanduanes.
The presence of classical music in the Marquez household probably ignited their love for music. “Even before my siblings and I were born, our parents frequently listened to classical music. As we grew up, classical music remained a part of our lives. When we expressed our desire to take music lessons, they wholeheartedly supported us, providing instruments and driving us to our lessons. I am immensely grateful for their commitment in helping us practice our instruments and their unwavering support as my sister and I pursued music at an advanced level of education.”
His younger brother Johann plays the flute. He is currently an incoming junior psychology major at Manila Tytana Colleges.
Pianist Dingdong Fiel admitted it was a tough repertoire they played at Manila Pianos. “It was a very challenging program but definitely worth it. The three sets of pieces had a polymeter found in a movement from the Musczynski Fantasie Trio and the Copland concerto. “It had the same 3/4 and 4/4 constant change in meters that when it was time for Copland, it was a different piece, a different genre. It had a familiar feel coming from the music but with a different tempo.”
The pianist admitted his schedule was a bit full with performances that he did not have the time to really study program until only a few days ago. “I had to really pick the difficult music apart and thoroughly study the details. Thanks God we were ready come concert day.”
The pianist finds the clarinetist a highly intelligent musician and a very intense and passionate artist, a combination he doesn’t come across very often. “He wants as much as possible to follow all the details written in the sheet music, delve deeper on what the music wants to say even as we were basically on the same page all the time.”
Marquez sums up his Andrews University schooling: “My overall experience at Andrews University was amazing. I had the opportunity to meet incredible musicians whom I am proud to call my friends. The professors were dedicated and showed genuine care for their students. My clarinet teacher, Jason Gresl, is an exceptional and dedicated educator. The lessons and coaching sessions I had with him were some of the best in my musical journey.”
(By insistent public demand, Manila Pianos will present Jason Marquez with Dingdong Fiel and cellist Job Polvoriza in a a repeat performance on July 29,6 p.m. His sister, violinist Jeanne Marquez with pianist Gabriel James Frias will also be heard at Manila Pianos on August 17, 6 p.m. There will be an invitation concert at the University of the Philippines Visayas on August 15. For tickets, call 09065104270 or email: [email protected].
