Friday 29 November 2013
Short Biography of Felipe Padilla de Leon
Felipe Padilla de Leon was born on the 1st of May, 1912 in the barrio of Papaya (now General Tinio) in Penaranda, Nueva Ecija. He is the son of Juan de Leon and Natalia Padilla. He is the third of four children by the second marriage of his mother. His elder, half-brother, Pedro P. San Diego, helped his mother in taking care of them. Felipe de Leon married pianist Iluminada Mendoza with whom he had six children. Bayani and Felipe Jr., are two of his children; the former being a well-known composer, and the latter, a writer. Felipe Sr.'s father died when he was only three years old and his mother supported the family by selling betel nut leaves. And when he was old enough, he held a number of odd jobs ranging from that of a shoe-shine boy, a carabao herder, a rig driver, a seller of vernacular weeklies, and an ice-cream and pan de sal vendor.
An uncle who realised that he had already gone past the regular school age was responsible for his eventual enrolment in school. It was during this time that his talent in painting and drawing was discovered. His uncle, peers and other students admired Felipe's sketches. People even paid him for illustrations they asked him to make. When he was studying at the Nueva Ecija High School, he went on trips with his hometown band and wrote short pieces for them. In 1927, he took up Fine Arts at the University of the Philippines, but he had to stop schooling in order to make a living. He played the trombone in dance orchestras which performed in cabarets, circuses and bodabil (vaudeville). Then, he worked as an assistant conductor of the Nueva Ecija High School Orchestra where he started doing musical arrangements. Later on, he wrote music for the sarswela. He decided to study formally and enrolled at the University of the Philippines Conservatory of Music, where he studied under Col. Antonio Buenaventura and Antonio Molina. He contributed articles to the school paper and vernacular magazines. Later, he wrote music columns for the Manila Times (then known as Manila Tribune) and Taliba. In 1939, he graduated with a music teacher's diploma, major in conducting. Much later, he took advanced studies in composition under Vittorio Giannini of the Julliard School of Music in New York. De Leon received many awards. Among them are Composer of the Year (1949), Manila Music Lovers Society, Musician Of the Year (1958), UP Conservatory of Music, and others. He was conferred an honorary degree, doctor of philosophy in the humanities, by the University of the Philippines in 1991.
Felipe P. De Leon wrote piano compositions, hymns, marches, art songs, chamber music, symphonic poems and overtures, band muic, school songs, orchestral works, operas, kundimans and sarswelas. Known as a nationalist composer, he sought to express the Philippines' cultural identity through his compositions.1 Two operas which are considered his masterpieces are the "Noli Me Tangere" (1957) and "El Filibusterismo" (1970). These two operas have been staged in the Philippines and abroad. He also wrote a march during the Japanese regime entitled "Tindig, Aking Inang Bayan", and another march "Bagong Pagsilang" during the martial law. He wrote the popular Christmas carols, "Payapang Daigdig" (1946), "Noche Buena" and "Pasko Na Naman", both in 1965.
Felipe De Leon died on the 5th of December, 1992.
Short Biography of Filipino composer, Nicanor Abelardo
Nicanor Santa Ana Abelardo was born on the 7th of February, 1893 in San Miguel de Mayumo, Bulacan. He was a composer, pianist and teacher. He was the eldest of eight children born to Valentin Abelardo, a photographer, and Placida Santa Ana, a church singer. His father taught him solfeggio and bandurria when he was five. At six, he could already play the William Tell Overture on the guitar. He composed and dedicated a waltz, "Ang Unang Buko" (First Bud) to his grandmother, at age eight. In 1902, his uncle, Juan Abelardo, a painter, brought him to Manila where he studied in several primary schools. While working for his uncle, he learned to play the piano, and later studied voice under the Italian maestro Enrico Capozzi who refused to be paid for teaching such a talented boy.1 Upon the recommendation of composer, Francisco Buencamino, he was hired to play at saloons and cabarets at age 13. At barely 15, Abelardo took on a teaching job in barrio schools in San Ildefonso and San Miguel, Bulacan.
In 1916, he studied at the University of the Philippines Conservatory of Music. While there, he composed the "U.P. Beloved", a school hymn which won first prize in an open musical contest in 1917. In 1918, he was appointed as an assistant instructor in solfeggio and harmony. He became a full-pledged instructor in 1919. He received his teacher's certificate in science and composition in 1923. He then became the head of the composition department the following year.
Abelardo was a prolific composer of kundiman (art song). He redefined this genre and elevated it to artistic heights through his compositions like "Nasaan Ka Irog?" (1923); "Kundiman ng Luha" (1924), and "Paghanga" (1939). Abelardo also composed music for the sarswela - such as "Kawanggawa" (1918); "Dakilang Punglo" (1926); "Tayo'y Pakasal Na" (1930); "Kapabayaan o Bunga ng Masamang Hilig" (1918); "Sumilang", "Ang Tala ng Unibersidad", "Lucila" (1911); the operetta "Akibat" (1913); "Ang Likha ni Pierrot o Batik ng Kabihasnan" (1931); "Ang Mestiza" (1922); "Makabagong Dalaga" and "Batang Tulisan" (1934). He also wrote in different musical forms such as the "Kung Hindi Man" (transcribed from a love song originally for voice, violin, cello and piano), "Ang Aking Bayan" (patriotic song), "Bonifacio Song", and "Naku...Kenkoy!" He also has works in the classical genre which include "Sonata for violin and piano", "Salve Regina Mater" (1932), and many others.
After more than 140 works, Abelardo began to ail. He died in 1934 leaving behind several unfinished works.
1 CCP Encyclopaedia.↩
Biography of Filipino composer, Dr. 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. His parents were Felipe and Maria Santiago. He married Concepcion Z Ocampo in 1923 and they had four children.
The young Francisco had his elementary education at the Colegio de San Juan de Letran. He finished high school at the Liceo de Manila. When he was seven years old, he took piano lessons from a private tutor. After three years, he studied pianoforte under Blas Echegoyen, and then Faustino Villacorta and Primo Calzada. Because his family was poor, he had to support himself throughout school.
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. Dr. Santiago obtained his teacher's certificate in science and composition from the University of the Philippines in 1922. He obtained his masters in music at the Conservatory of Chicago, USA in 1924 and his doctorate at the Chicago Music School in the same year. 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 resumed teaching at the University of the Philippines.1 He became the director at the UP Conservatory of Music from 1930 to 1946. He was appointed Professor Emeritus at the University of the Philippines.
Among Dr. Santiago's popular kundimans are "Sakali Man" and "Hibik ng Pilipinas" (1917); "Pakiusap" (1921); "Ang Pag-ibig" (1922); "Ano Kaya Ang Kapalaran?" (1938). Among his undated kundimans are "Hatol Hari Kaya?"; "Aking Bituin" and "Pagsikat ng Araw". The kundiman entitled "Kundiman, Anak Dalita", which he wrote in 1917, was sung before the Royal court of Spain under the request of King Alfonso II.2
Among his works in the classical genre are the "Philippine Overture" and the "Sonata Filipina in D flat Major" written in 1922. The latter is the "first sonata written in the Philippines introducing Philippine musical themes" according to the films, among which are "Kundiman", "Leron-leron Sinta", "Madaling Araw", "Manilena", and "Pakiusap" (the movie which was inspired by his own composition). Dr. santiago also composed a version of "Ave Maria" for high voice with violin obligato in 1919. He did musical transcriptions of "Ay, Kalisud!" (1928); "Ang Kumintang", "Kura-kura" (a Jolo folk song) and "Hawi-hawi" (an Aeta folk song). These last three pieces are undated. He also composed "Sumilang na Ang Manunubos" in 1932, a Philippine Christmas carol, which according to composer, Antonio Molina, is the "first Philippine Christmas carol ever written for mixed chorus and symphony orchestra."3 Dr. Francisco Santiago wrote the music of the sarswela, "Si Margaritang Mananahi" in 1913, with libretto by Severino Reyes.
Dr. Francisco Santiago died on the 28th of September, 1947. He was posthumously given the Patnubay ng Sining at Kalinangan Award by the City of Manila in 1968.
1 Santiago, Francisco. pp. 362, CCP Encyclopaedia.↩
2 Ibid. ↩ 3 Ibid. ↩
Thursday 28 November 2013
Iyo Kailan Pa Man (Yours Forever) by Angel Pena - Piano/Vocal Score
Iyo Kailan Pa Man - Piano/Vocal Score
A Piano Student's Journey: Learning & Performing Angel Pena's "Iyo Kailan Pa Man" (Yours Forever)
Like what I did with other Filipino kundimans, I sang the lyrics as I practised (silent singing helped too). Followed all the tenuto markings on the piece. I especially liked the first piano solo part where the notes seemed to sound like teardrops falling. There are also mood changes (key change to A major), and I made sure these were clearly highlighted too. There is so much drama in the part where the singer says, "Kung babalik ka hirang, at ako'y lalapitan... (If you will come back love, and come to me) I started softly and got gradually louder until "Pusong iyo nang minsan, ay iyo kailan pa man....!" (The heart that once was yours, will be yours forever more....!) where it is played forte then piano.
The most difficult part of this piece for me was the piano solo which consists of full chords in succession. I spent much time studying that part, and I was always so disappointed that after so much practice, I still could not get it. I really didn't want my playing of that part to ruin the over-all beauty of the piece, and I continued practising until I could play it very well.
I'm happy that Prof. Laureola was pleased with my interpretation of this piece. Needless to say, it has become one of my favourite kundimans. I have attached the score below. Happy playing! :)
Iyo Kailan Pa Man Music Sheet
Iyo Kailan Pa Man Music Sheet
Tuesday 26 November 2013
Learning & Performing Nicanor Abelardo's "Nasaan Ka Irog?"
A Piano Student's Journey: Learning "Nasaan Ka Irog?" (Where Are You, My Love?) - A Filipino Kundiman by Nicanor Abelardo
This piece was one of the assignments in our Filipino Music- Piano Literature class under Prof. E. Laureola at the College of Music, University of the Philippines. Although it's meant to be sung and accompanied on the piano, the piece can also be played as a piano solo.
The discussions we had made in class at the beginning of the semester had been very helpful when I started learning this piece on the piano. Our teacher made us read the lyrics first, and presented a picture of what this whole kundiman is actually about. Of course, he also asked us for our ideas. We sang the song in class, and related the melodic contour of the notes to the song lyrics. In this way, I was able to gather lots of ideas to help me with the technical and interpretative aspects of the piece.
The very first difficulty I encountered were all the notes in full chords. These were consecutive chords which were meant to be played like whispers. Needless to say, it was such a challenge to gain full control over them. Then there were full octave chords marked pp. The other problem was playing them in such a way that the song melody must come out. (Pieces were to be played as solos in this piano literature class.)
Instead of studying the piece all at once, I divided it into its natural phrases. I practised each phrase until I could play it fluently, after which I started to imagine the interpretation for each particular phrase. It was helpful that i took down notes during our class discussions. During the discussion where we analysed the piece, there were specific parts that seemed to be the opening of the curtain on stage, the main character's introduction of his story and the part where he revives himself after his heart was broken. There were also parts where one can imagine teardrops falling. Images like these really helped me in interpreting the piece effectively.
Typical of Filipino kundimans, this piece has a lot of ritardandos, rubatos and dynamic gradations, which were of course, another challenge. Singing while playing the piece also helped me with the interpretation, because the music followed the natural flow of the Filipino language (such is Nicanor Abelardo's composition talent).
One good thing about this piece is that the words provide actual information about the song. The words help to form concrete images, concrete situations. I think it would have been more difficult to interpret this piece had there been no lyrics. As I practised, I found that frequently playing the piece sparked up more ideas for interpretation - I began to imagine more differences in the tones and I tried doing what I imagined. Sometimes I got what I wanted, but at other times, I couldn't. But it was always a wonderful feeling after playing the piece full of heart and imagination.
Performance day arrived, and I was nervous as I was about to play it for my teacher and classmates. I hoped that I would be able to make the story I had in my mind come alive. With such a beautiful piece (song), I found my nervousness drifting away as I began, and instead there was the sudden feeling that I wanted to share what I could see in the music. As i was getting carried away by the music, Prof. Laureola corrected me for playing so loudly at the last system of the first page, where the phrase begins with Subalit nasaan... (But where....) Although it was marked ff, he said that I could play it softly, because the character could also be asking the question in a soft voice. I realised that we don't always have to follow exactly everything that's written, as long as it's in the right context. The piece is full of drama especially towards the end starting from the accelerando and crescendo, leading to the phrase with the loudest dynamic marking, sffz, in the whole piece. This part fit so much with what the character is saying as he concludes his song with "Ang lahat sa buhay ko, ay hindi maglalaho't magsisilbing bakas ng nagdaan tang pagsuyo. (literally: Everything in my life, will not vanish but will serve as traces of our past love.)" The piece finally ends with the words, "Nasaan ka irog? Nasaan ka....irog?"
I learnt so much from this piece - from the technical to the interpretative aspects. I have come to fully appreciate the beauty of the Filipino kundiman. It has a unique and distinct quality of its own - a great contribution to the musical gems of the world.
Click below to view or download Nicanor Abelardo's "Nasaan Ka Irog?" piano/vocal score:
Nasaan Ka Irog
I found a rough English translation here:
English Translation of Nasaan Ka Irog?
Nasaan Ka Irog
I found a rough English translation here:
English Translation of Nasaan Ka Irog?
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