The Music of my Life IV

In the years that followed, the music of my life became more and more the music of the Philippines. Maybe it was because of the first radio shows I presented. The music archive was full of Filipino music, but it was rarely broad-casted. I thought that was a shame.

I asked myself: What makes Filipino music unique? My radio colleagues gave me an answer: such is the case of Philippine music which until today is regarded as a unique blending of two great musical traditions – the East and the West. ... The majority of Philippine Music revolves around cultural influences from the West, due primarily to the Spanish and American rule for over three centuries.

I learned from musicologist and professor of the University of the Philippines, College of Music, that after studying abroad, modern methods of composition were employed by Eliseo Pajaro and Lucresia Kasilag. Both were strongly influenced by American neoclassicism. Jose Maceda is considered the first legitimate Filipino avant-garde composer. He was the first Filipino composer to succeed in liberating Philippine musical expression from the colonial European mould of symphonies, sonatas, and concertos. Among the younger generation of composers, the first to respond to the challenges of new music were Francisco Feliciano and Ramon Santos. A still younger set of composers, all students of Ramon P. Santos includes Josefino Toledo, Ruben Federizon, Verne de la Pena, Arlene Chongson, and Jonas Baes. Since the 1950’s to the present, the trend of serious musical compositions in the Philippines has been towards a synthesis of traditional concepts of  structure, of time, of space, of melody, of performance medium with the new and experimental techniques.

Then, I met Ryan Cayabyab (born Raymundo Cipriano Pujante Cayabyab; May 4, 1954), also known as Mr. C - a Filipino musician, composer and conductor. His compositional style makes much use of syncopation, extended chords, and chromatic harmony. He was the Executive and Artistic Director for several years for the defunct San Miguel Foundation for the Performing Arts. He was named as National Artist of the Philippines for Music in 2018. His musical output consists of several masses, award winning film and television scores, short symphonic works, ten full-length Filipino musicals, a major opera, full length ballets, solo and instrumental works, orchestrations of Filipino folk, popular and love songs. I was fascinated by his stage performances.

[Ryan Cayabyab]

During her Europe tour, Imelda Papin crossed my way. Imelda Arcilla Papin (born January 26, 1956) -  a Filipino singer and one of the bigger names in the Philippine music industry. Dubbed the "Sentimental Songstress", Imelda Papin is responsible for songs such as "Bakit (Kung Liligaya Ka Sa Piling Ng Iba)" and "Isang Linggong Pag-ibig".

[Imelda Papin]

[Rico Puno]

In 2018, legend Rico Puno died. I experienced him, the foul-mouthed macho guapito and total entertainer, as he was described in 2005 during his performances in the Apo View Hotel in Davao City. "Grabe". The "Godfather of  Pinoy Soul passed away too early.

My encounters with Filipino music of all kinds were so colorful with the colors of a rainbow. During some of my stays in Manila, the Madrigal Singers performed the Philippine and German National Anthem. Goosebumps ... .

During their first performance in Berlin, I got tears in my eyes ... 

Filipino pop music, otherwise known as Original Pilipino Music or OPM, refers broadly to the pop music that first emerged in the Philippines in the early ’70s and has since come to dominate radio airplay and karaoke playlists in the Filipino market and beyond. But my radio shows brought me back to the classics by Beethoven, Mozart, Chopin, Liszt, Bach, Händel and more and more. 

(To be continued)

A GERMAN EXPAT IN THE PHILIPPINES: The Music of my Life III

A GERMAN EXPAT IN THE PHILIPPINES

The Music of my Life III

Filipino music in general was introduced to me by my wife Rossana. What does music really mean to Filipinos? It simply tells them where they've been and where they could go. It tells a story that everyone can appreciate and relate to, which is why it's a big part of every Filipino culture.

During the 1980s, Rossana was the lead dancer of the Manisan Cultural Dance Troupe. I got to know about  gong music which can be divided into two types: the flat gong commonly known as gangsà and played by the groups in the Cordillera region and the bossed gongs played among the Islam and animist groups in the southern Philippines. The kulintang ensemble is the most advanced form of ensemble music with origins in the pre-colonial epoch of Philippine history and is a living tradition in southern parts of the country.

Very quickly, it pleased me another popular medium for light classical muse -  the rondalla. Its repertoire consists mainly of native folk tunes, ballroom music as well as arrangements of classical pieces such as opera overtures. Bayani de Leon and Jerry Dadap have written more serious music for the rondalla.  Rondalla is a traditional string orchestra comprising two-string, mandolin-type instruments such as the banduria and laud; a guitar; a double bass; and often a drum for percussion. The rondalla has its origins in the Iberian rondalla tradition and is used to accompany several Hispanic-influenced song forms and dances.

Tinikling and  Cariñosa inspired me more and more. The Tinikling is a dance from Leyte which involves two individual performers hitting bamboo poles, using them to beat, tap, and slide on the ground, in coordination with one or more dancers who step over and in between poles. It is one of the more iconic Philippine dances and is similar to other Southeast Asian bamboo dances. The Cariñosa (meaning "loving" or "affectionate one") is the national dance and is part of the María Clara suite of Philippine folk dances. It is notable for the use of a fan and handkerchief in amplifying romantic gestures expressed by the couple performing the traditional courtship dance. The dance is similar to the Mexican Jarabe Tapatío, and is related to the Kuracha, Amenudo, and Kuradang dances in the Visayas and Mindanao Area.

In the first few years of my life as an expat in the Philippines, it looked like I had forgotten about my classical music from Europe. I focused more and more on Himig ng Pilipinas - the  musical performance arts in the Philippines or by Filipinos composed in various genres and styles. The compositions are often a mixture of different Asian, Spanish, Latin American, American, and indigenous influences.

Notable folk song composers include the National Artist for Music Lucio San Pedro, who composed the famous "Sa Ugoy ng Duyan" that recalls the loving touch of a mother to her child. Another composer, the National Artist for Music Antonino Buenaventura, is notable for notating folk songs and dances. Buenaventura composed the music for "Pandanggo sa Ilaw".

The leading figures of the first generation of Philippine composers were Nicanor Abelardo, Francisco Santiago, Aontonio Molina, and Juan Hernandez. 

But one composer and his works fascinated me the most:  Francisco Buencamino. He belonged to a family of musicians. He was born in San Miguel de Mayumo, Bulacan, on November 5, 1883.  In 1930, he founded the Academy of Music of Buencamino. His musical styles were Kundimans and Sarzuela.

Francisco first learnt music from his father. At age 12, he could play the organ. At 14, he was sent to study at the Liceo de Manila. There, he took up courses in composition and harmony under Marcelo Adonay. He also took up piano-forte courses under a Spanish music teacher. He did not finish his education as he became interested in the sarswela.  Some of the sarswelas he wrote are: "Marcela" (1904), "Si Tio Celo" (1904) and "Yayang " (1905). In 1908, the popularity of the sarswela started to wane because of American repression and the entry of silent movies. Francisco Buencamino then turned to composing kundimans.  

For a time, Francisco Buencamino frequently acted on stage. He also collaborated on the plays written and produced by Aurelio Tolentino. One of his earliest compositions is "En el bello Oriente" (1909), which uses Jose Rizal's lyrics. "Ang Una Kong Pag-ibig", a popular kundiman, was inspired by his wife.  In 1938, he composed an epic poem which won a prize from the Far Eastern University during one of the annual carnivals. His "Mayon Concerto" is considered his magnum opus. Begun in 1943 and finished in 1948, "Mayon Concerto" had its full rendition in February 1950 at the graduation recital of Rosario Buencamino at the Holy Ghost College. "Ang Larawan" (1943), also one of his most acclaimed works, is a composition based on a Balitaw tune. The orchestral piece, "Pizzicato Caprice" (1948) is a version of this composition. Many of his other compositions were lost during the Japanese Occupation, when he had to evacuate his family to Novaliches, Rizal.  

I would say that the "Pizzicato Caprice" is my favorite. I was so lucky to experience it during an awesome performance with the Manila Symphony Orchestra. 

 In my opinion: outstanding groups include not only the Manila Symphony Orchestra, but also the Filipino Youth Symphony Orchestra, the U.P. Symphony Orchestra, the Manila Concert Orchestra, the  Quezon City Philharmonic Orchestra, the Artists’ Guild of the Philippines, the Philippine Choral Society, the U.P. Madrigal Singers, the U.P. Concert Chorus among others.

These are extraordinary treasures of Filipino culture which one hears and experiences far too little about these days.

(To be continued)

[Nicanor Abelador]

[Francisco Santiago]

[Juan Hernandez]