BY KLAUS DORING
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 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, Antonio 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 UP Symphony Orchestra, the Manila Concert Orchestra, the Quezon City Philharmonic Orchestra, the Artists’ Guild of the Philippines, the Philippine Choral Society, the UP 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)/PN
