The Music and theater of the Filipino people

THE MUSIC RnD TH~TER Of THE /' fiLiPino PEOPLE

BY

RA YMUNDO C. BAN AS 'l

With a P rologue

~I.

by

DR. P . RODRIG UEZ VERZOSA, M. A •. LL. M., Ph. D. Former Dean, University of Manila College of Phil· osophy and Literature; Dean, Liceo de Manila College of Liberal Arts; Director. The Phil· ological School; Member, Societe Lorraine de Psychologie A ppliquee. France.

Published

by

THE AUTHOR M a nila

1924

Rare

ML

31-5"8

Pc

B3£

Iq2f

1311

COPYRIGHT. 1924,

By RAYMUNDO C. BANAS Registered in Philippine Islands

ORIEN'J'AL PRINTING M a nil •. ,'. I,

1924.

1'0 MY LOVING MOTHER, WHO, IN MY YOUTH, USED TO SING "KUNDlMAN," THIS HUMBLE WORK IS DED ICATED.

DON A 1TD BY A Y LA COR POR ATI ON -, TO FILI PIN AS FOU NDA TIO N, I NC.

I

PREFACE As true citizens, we should be acquainted with the history of the musical development in the Philippines. To students desirous of knowing the cha.racter and growth of Filipino music, this book, I think , will be the fountain of inspiration. The study of the lives of eminent artists is as essential as the study of the achievements of great heroes and patriots. ') he third chapter of tris book deals with dramas and erection of theatrical edifices in Manila. But as this work was not written exclusively for the treatment of dramatic works, here the development is, ind eed, concise. The lives of Ve nancia Suzara, PraxedE'S Julia Fernandez, and Maria Carpena are discus~ed besides a brief history of Tagalog Literature. Othel' native artists, however, have been omitted in this book for the lack of time and space.

In addition to these chapters. I have appended some interesting topics for the benefit of students of music in particular and of the public in general. These are : "The Early Violin-makers", Th e Essential Qualities of Orchestral Performance and Chorus", and " The Formation of the Conductor".

The historical data have been patiently collected by the auihor from books and periodicals which are found in the Filipiniana Division, Philippine Library and Museum, a nd from confidential persons; and most of the sources of informations are written in Spanish.

I greatly express my sincere grllititude to those persons who have helped me in preparing this work: to Mr. Ramon Ampuero, the Secretary of the University of Sto. Tomas. for Dancel's school r e!Co rds; to Father Eulogio Sanchez, the former Director of the "Colegio de Niiios Tiples" of the Manila Cathedral, for his data about Simplicio Solis and Antonio Garoia; to the Parish priest of Paombong in Bulacan for the church records relative to Simplicio Solis (Jan. 23.1920) ; to Mr. Manuel Tanghal for his letter wherein he described the bo~'-hood of Soli8: t.o R. P. Hiceforo Merino of the Saint Augustine convent for his church records; to Mr. Jose Ma. Rivera for his brief account of Jacobe's life; to Capt. Pedro Naval'l'o and Lieut. Alfon so Fresnido of the P.hilippine Constabulary Band; and to Mr. Manuel Artigas of the PhilipDine Library and Museum who j!'ave me a short stonr of Manuel Luna.' s life and whose rfifferent articles on Filipino cantatrices published in the "Renacimiento Filipino" had given m e much help. v

PREFACE Furthermore, I am indebted to Dr. P. R. Vel'zosa, former Dean of the University of Manila College of Philosophy and Literature, and present Dean of the Liceo de Manila College of Liberal Arts, who willingly revised my work giving suggestions, and helped me read the proofs while the work was in the pI"ess. ¡ RA YMUNDO C. BANAS. Sampalok, Manila, P. 1., .July, 1924.

PROLOGUE Why did the author of the present work request me to ¡ write the prologue to his book \v:hen others. abler scholars, could efficiently do the task, is a thing rather surprising to me. Nevertheless, upon his repeated insistence I accede to his request with the full confidence that .my present undertaking will materially satisfy the desire of my friend , MI'. Baiias.

Undoubtedl~', this book being the pioneer of its kind , fills a wide gap which the music and art lovers of the Philippines badly miss. It is a fact that in the ma.iority of cases Filipinos give preference to the reading of foreigners ' books dealing on us rather than those of the natives' intellectual productions. The reason is not far to seek: passivity and indifference. Tn the absence of legal protection to Filipino authors, the field of writing is left deserted, still virgin as we may term it. Many a promising youngman would not risk his chance of wl'iting a book because we have no copyricd:t law that will scare our teeming sharks who prey on other's works.

The author of the Music and Theater of the Filipino People ha~ crossed the Rubicon and has cast his luck upon the adventurolls life of Filipino authorship. Mr. Baiia ~ is to be conj!'I'atulated on his pain stakin~ strugl!'le to bl;ng to public light his maiden work, which has double honon'l: first, being the first of its natnre to be perused by his countrymen and foreigners as well. second, being the only exhaustive re.~earch treatise on these important topics.

Apropos of the Filipinos' music I herein quote the opinion of the Marysville Evening Democrat of California, speaking of th e Filipinos as musicians during the Panama Exposition: "The Philippine Constabulary Band has proven to be a revelation to mu sicians and music lo ver~ attending the exposition in San Francisco. Too mu ch cannot be said in describing the beauty of tone and masterly rendition of all classes of iI11.usic they choose to play, and Mr. Sousa himself told the prel'S that in his opinion the Filipinos have the greatest band in the world. The question has been asked, 'Why do thev seem to be born with this wonderful. mu sical talent. while we. Wlho pride ourselves on our civilization, find it so difficult ?' The reoly is that the Filipinos have been unhappy with the sufferin~ that comes to a conquered people, overriden and mi sused

vii

viii

PROLOGUE

for 300 years. All they had of jo), was love for their families and their music. None could rob them of either love or musical intelligence."

The ,musi1c and arts of a nation are the greatest psychological exponents of its people's idiosyncracies, ideal, and culture. They are infallible norms whereby we may judge the m ental mal<eup of a race. 'l' he Filipinos. living under the continual pressure of aspiring to their political emancipation and liberty, cannot but reflect thru their inborn music, the longings of theiI- national soul and. the ambitions of their political consciousness. As Miss Morilla Norton wrote: "The prenatal life of the Filipino Nation has its roots in the earliest history, when the proud and independent sea people roamed free afar the Pacific and {'vel' the lofty mountains, then after hundreds of years of foreign occupation, the Malay soul awoke anew from dreams never Quenched to a desire for life, the life of an Independ ent Nation."

It is an outstanding reality that the Filipinos are born musicians. Nature has endowed the Philippine soil with such weAlth of scenic beauties, that inspirations of esthetic charadeI'. b~ in mus ic or painting, run riot all over the nooks and corners of this benignant spot of the Pacific.

In conclusioT) I must reiterate my heartfelt admiration for the noble spirit of th e author of this valuable contribution to the History of Philjppine Music and Theater, and I favorably augur for him that the students of our Rising Generation will welcome this book with open arms in their midst . Behind' this great task undel1:aken b~' the author. there lies the untold sacrifice incident to the bringing into realization of hi s project, in whi:ch many weary years of arduous labors are involved. At any rate. MI'. Banas has done his 'wee bit' in the great mission of educating his people. to which task we are ali morally called to lend our helping hand.

DR. P. RODRIGUEZ VERZOSA. The Philolollical School, Sampalok. Manila.

July 31st. 1924.

CONTENTS CHAPTER 1 The Early 1I1"8ie of the Filipi'M' I-The Native Music of the Civilized Filipinos..... .

When Music is used-What Franz Liszt said-Primitive Songs-Musical Instruments Found by the Spaniards -The Music of tbe Tagalog. of Luzon-The Pasion Reading and Month of May in Manila-Ilocano Songs and the Month of May~The Music of the Visayans.

II-The Music of the Mountain Tribes of Southeastern Asia and of the Philippines....... ......................................... ........

The Malayan Migration to the Philippines- Ravanastro n -The Music in Malay Peninsula-Progress of Music in Asia-An Articl. in 1886-The Negritos--The Ibanngs - The Tinguians-The Ilongots--The : Igorots-The Tagbanuas of Palawan- The Music of Mindanao and Sulu Islands.

J II -The Filipinos As Musicians.................. .......................... .......

The Filipino Musicians in Foreign Lands--Famous Mu¡ sic Bands and Orchestras in the Philippines-Favorite Instruments of the Natives-Mm. Donald AyreNatural Beauty of the Islands-Foreign Virtuosi in the Philippines-FrierJenthal's Letter-Musical Compositions of Some Fjlipinos-The Native Music and Jazz lIfusic-Mu,ic in Our Public Schools.

8

14

CHAPTER II vo,.r01f..R AII(.8i.cal Organ1'zatUJ1LS and institutions

I-Private Musical Organizations .... _.................. .......... _...........

Aims of the Musical Organizations-USociedad de Artes y Oficios"-Liceo Cientifico Arlistico¡Literario"Winners in the Contests opened by this Lyceum"Union ArUstico Musical"-"Sociedad :Musical FiJipina de Sta. Cecilia,,-uCirculo Musical de Pandn~ can-uSociedad Artistico Literario de Iloilo--Rizal Orchestra-fi E1 POlvenir',-uCentro Artistico"-"Centro de Artistas,,-uAsociaci6n Musical"-HClub Euterpe"-HArtistico Literario of Cubero"-Meeting of the .'ilipino Music Lovers in 1912-Failmes of these Organizations-The Musical Association of the Philippines at present (Asociaci6n Musical de Filipinas)E:lman-How lhe Filipino Love for Music is Shown.

ix

17

CONTEN,T S

x

IT- The Saint Augustine Ohurch Orchestra of Manila ..

Page 21

T'he Earliest Works of the friars in the Philippines-The Founding of the Saint Augustine Church-Famous Augustinian Musicians in the Philippines--The Installation of the Organ of the Saint. Augustine OhuTch of Mani\a~The Church of the Ntra. Sra. de Gund<llupc--Saint Augustine Church Orchestra Founded-This Orchestra After the Filipino Revolution-Noted Pupils of the Convent.

III-The " Oolegio de Niiios Tiples" of the Manila CathedraL.

24

The F irst Cathedral (Immaculate Conception)-The Edifice as it is now-The lIfost Reverend Fr. Juan Angel Rodriguez XIV and the Founding of This In. stitution_The Faculty Mell\bers--The CurriculumAdmission-Filipino MlIlsicians from This Institution.

IV-The Conservatory of Music, University of the · Philippines

27

In the Twentieth Century-Senator J oaquin Luna-The F irst Concert in Honor of the First Director of the Conservatory-The Formal Opening of t he Conservatory-Courses of Study-Aims of the Conservato ry.

V-The Philippine Const abulary Band .................... ,........ ...........

29

The Band as a Source of Intel·e.t- Organization-Ad. mission of Member s--A Concert on May 20, 1903Dr. Wilson's Speech-The Band In the United States in 1904-Navarro As a Solois t-The Bnnd in t he United States in 1909 and in 1915-Whnt Sousa Said - A Farewell Concel't O-n .Jan. 16, 19j 6-Navarro as t he New Conductor- His Letter s from F r lends-Concert s and Benefits of the Band during his Directorship--Silos as N a·varro's Succe.c;sol'-l he Manila Public and the Band- Lovin!!, in Mnnila once more-The F ir st Concert on Jan. 1st. 1920-Ba nd's Progress under him-Alfonso F resn ido as the New Band Conductor~ Sunday Concert of the Ba nd on t he Lunet n.

L

CHAPTER III I- Before 189l!

Filio inos as Lo V~l' S of Theatrical Pe.l'Cormances-A p prformance When Legaspi came-Competitions in L ite rary Productions as Enrly as 160Q-Ea dy Plays

36

CONTENTS

,,; Pa.ge

-Francisco de P. Entrala's Works-Christening of Alimudin-The Moro-moro Comedy Representa. tion-Sinibaldo de Mas--Primiti'Ve Theaters in Arro· ceros and in Tondo--"Sociedad de RecreoH~The Binondo Theater-Various Societies (La Espana, L. ll Alianz8, and La Confianza)-"Sociedad An6nima The Arroceros Theater-The French Opera Company ....JI'he Chinese Theatrical Performance in ManilaThe Spanish Theater But'ned (Teatro del Principe Alfonso)-The Kiosk and the Vanedades Theatel'The Filipino T'h.ater in 1881- The Theater in Pandacan-The People of Pandacan as Musicians-The Zorrilla Theater-Opera Companies in' the philippines -The "Carrillo"-Rizal's Dramas, Near Pasig, and The Council of the Gods (Junto al Pasig, El Consejo de los Dioses.l II- AUer 1892 .. ................................ ................... ..........................

Spanish Zarzuelas--N atiye Zarz.uelas-Newspapets in the City·....]"nn Abad-Pascual H. Poblete-Pedro A. Paterno---HC'l'11logenes Ilagan-Severino Reyes--Pantaleon L6pez-Corcuera-Aul'elio Tolentino--Patricio Marh\no--Thc Filipinos As Dra matists_The Moromoro--The Manila Grand Opera House. llI- Famou. Native Singers ........ ............................................... .

Venancia Suzara ........... .......................................... _... ,........

Praxedes Julia Fernandez ... ........................ ....................

Maria Carpena y Evangelista ........................................

IV- Early Signs of Tagalog Literature....................................

Native Folklore briefly discussed-The T roubadours of Euro_The Troubadours of the Philippines.

42

52 52 53 56 68

CHA:PTERIV FCOJlOWI F'iJi,Jilio M Ilsicians

I- Marcelo Adonay ..... ......................... ......................................... lI~ose «ansoeo, JI' . .................. ..... _.. .......................................,.. . lll-A ndres Dancel . ................... .......................................................

IV- Antonio Garcia ................. ,.......................................................

V-Cayetano Jacobe .. .. ........... :................................... .....................

'VI-Manuel Luna y Novicio ...................................... ..................

VII-Bibiano Moral.. ........................................ ................ :...............

VllI-Pedro B. Naval'l'o, Jr. ............................................... ...............

IX- Hipolito Rivel'a ......... ............................................ ...................

X-Simplicio Solis ......... .................................,............. ................

XI- Ramon Valdes .......................................................... ... ..............

61 68 73 79 86 90

95 98 102.

105 112

CONTENTS

xii

CHAPTER V l-Other Filipino Mpsieians ...........................................

Pau114

Jose EstelJa--Jose Muezo-Ladislao Bonus-Manuel A. Mata--Juan S. Hernandez.-Francisco Buencamino-Crispino Reyes-Teresa Zapata-Gavino CarluenAntonio EscalJlilla-Bonifacio Abdon--Juan Silos.Jose Snos-Alejandro Francisco-Juan de Dios Morales-Marciano D. Aquino-Bernabe Solis-Calixto Llamas-Ramon Corpus-Nieanor Abelardo-Francisco Santiago--Julian Fefipe--Jose Palma-Pedro Elorjaga-Father Pedro Dandan, Balbina Carrion, and Andres Cida Cruz.

IT-Filipino Women's Place in Music ..................... ...................

123

Filipino Women as Musicians-The Harp and the Guitar-In Town Fiestas-Mrs. v.entura Galvez-Female Professional Musicians (Emilia Ni(!3Sio, Elvira J. Morales, Carmen Abella, Jovita Fuentes, Rosario Lollez Quintos).

CHAPTER VI Addenda I-Ea.-ly Violin·makers

125

The Good Qualities of a Violil~Violin, Harp, Piano, and Organ-The Violin dated 1449-The Early Italian Makers-French Makers--German Makers-English Make.rs-Fl'ench Bow-makel's-Instrument Making in the Philippines.

II-The Essential Qualities of Orchestral Performance and Chorus . ................................................ ............................. ... .

las

Orchestra Defined-Solidity-Qunlity and Balance of tTone-Nuancing-Prec.ision and Unanimity____}t.,rex_ ibility-The Revelation of the Middle Voic<>--What Players Should Master-Qualities of Good Choral Singing-What Performers and Singers Should Know.

TIl-The Formation of the Conduct"r ..... ..............,........... ......

CorlductOJ· in the 14th century-Conductor in the 19th century-Johann Bohr-Ludwig Sp<>lll· in 1820-Filipino Conductors-Duties of a Conductor.

138

CONTENTS

xiii

UST OF PORTRAITS Page i - F a ther Eulogio Sanchez, directing tbe orchestra of tbe 24 "Colegio de Ninos Tiples" of the Manil a Cathedral... .

II- Dr. Robert L. Schofield, the Second Director of the Conservatory of Music, University of the Philippines ........ . 27 Ill- Lieut. Alfonso Fresnido, the present Conductor of the 2~ Philippine Constabulary Band .. .

46 IV- Hermogenes flagan .................................. ............. .

47 V- Severino Reyes ...................................... .......... .

61 ..................................................... .

VI- Marcelo Adonay ...

68 VU-,Jose Canseoo, Jr. ......................... .

79 VIII- Antonio Garcia .. ............................................... .

IX-Cayetano Jacobe .' ............................................... .

86 90 X-Manuel Luna y Novicio ................ ___ ............................ .

95 XI- Bibiano Mora les ...................

98 XII-Pedro B. Navarro, Jr. 102 XIII-Hipolito Rivera 112 XIV--Ramon Valdes XV-,Jose E. tella 114

CHAPTER I.

THE EARLY MUSIC OF THE FILIPINOS I

THE NATIVE MUSIC OF THE CIVILIZED FILIPINOS Of all the arts, music was the last one to be cnltivatEli by men. Different peoples of the earth possess a certain fonn of mu ~ic.al instruments or have music only on certain occagions. The tribes inhabiting the wilderness have music for their amusements. To war, soldiers go w'ith their bands of music to inspire them with patriotic ideals and to give them an enduring courage. Franz Liszt, a wonderful pianist and a prolific writer who had studied philo'lophy and theology, said that poetry was the language of the brain; while music, of the heart.

Long before musical instruments were invented, what was known first, was the vocal music. The beating of two pieces of wood together, or the clapping of handR, was used to accompany the most ¡ primitive kind of song.'

Primitive peoples only sing on important occasions: while rowing boats, the Egypti'an boatmen sing; the New Zealanders in pushing their canoes 'overland; and the Negra iIaves of Brazil in carrying heavy loads.

Musical Instruments Found by the Spaniards When Magellan and his men t:eached Cebu in 1521, they found the natives using instruments of percussion such as a timbal (timpano), a timbrel (another kind of timbal), cymbal (platillo), and a kind of drum fixed on the ground. Then when Villalobos came in 1543, his Captain, Bernardo de la Torre, attended the grand ball held at the palace of Lakandola of Samar, where there was an I

Cai-l Engel, The Music of the Most Ancient Na tions.

'2 interesting native dance of young women (dalagas).

Among the stringed instruments in use at that time was a kind of guitar known as kudywpi (kol'yapi) having sleel strings.

The Music of the Tagalogs of Luzon

Like other peoples of the world, we possess songs typically Philippines: the K~tndiman (contraction of h1un di ma1J- or Kung hi ndi man), and the Kumintang.

The Kundiman is a love piece of musical composition played when serenading ladies at night. In Spanish, it means "aunque no sea" and in English, "should it not be".

In general, however, the h1undimatn is a song sung to the acompaniment of a violin or guitar.

The Kumintang is called the the "Tagalog D{)leful Ditty", with words in verse. It is a musical composition written in 3/ 4 time as well as in 2/ 4 or 6/ 8 time. Hlowever, this manner of writing is only conventional. When sung by a lover below the bowers of his fiancee at the dead of night, it awakens the reposing maid by its romantic freshness.

It is a song apropriate at night and is unlike the Kund~man and the baZitao which may be sung during the day time.

As it was supposed, according to some writers, it originated in Balayan, a town in Batangas, and for this reason this province was formerly called the province of tht' Kumintang. At first it was a war song; but later that character was lost, or forgotten and the song became nothing but a song of "rest". It was formerLy' danced by a woman and a man. She would come out, with a cup of sasa (nipa palm) wine in her hand, dancing with light steps, and approaching the man with whom she intended to dance.

She moved carefully not to spill even a drop of the wine; and after sipping a little of the wine, she would offer it to the man. She would return. then, to her original position, and then approach again the man, dipping her fingers with the wine in order to wet the .man's cheeks. She would retire after that, and once more would go near the man again, to embrace his neck with her arms. Then she would sit on his knees and both of them would finally finish the wine still left in the cup.

3 According to A. Canovas' manuscripts on Philippine music, the native dance of the people was performed by a number of persons, holding each other's hands and for;ming a grand chorus, in the middle of which, was a flag and a jar of wine. Around that flag and, jar of wine, they danced with the sound of the tambourine and from time to time, would drink the wine until they all got drunk.

The Pasion Reading and Mrmth of May in Manila In Manila, or in other Tiagalog provinces, f;he "pasion reading" is very common specially during the Lenten season.

Two persons usually kneel neal' an altar and sing the " pasion" in duet, alternately with the other two persons kneeling on the opposite side of the altar. Whenev¡e r these persons are tired, others will take their places. On Holy Thursday and Good Friday, special food is being prepared for tire readers of the "pasion".

In Manila, special church servkes mark the sole.mnity of Holy Thursday, Good Friday, and Easter Sunday. On Easter Sunday, the Archbishop officiates at the Manila Catholic Cathedral the morning services. The High mass is aelebrated at 10 o'clock and fa.mous soloists will display their celestial voices. At the Quiapo church, Good Friday church services are held with grandeur. At 10 o'clock in the evening, a special ceremony is held in this church where Christ is shown as lying down near the Cross where lie died. On this mournful occasion, is executed the immortal religious composition entitled "Los Siete Dolo'res de la Virgen" (The Seven Sorrows of the Virgen) which was composed by Natalio Mata and continued by his son, Manuel Mata, However, the work still lacks some more fragments.

The month of May is observed in Manila with great celebrity.

The "Sta. C,'UZ de Mayo" celebration 'is held within nine davs and it mav be begun in any day of May. Sometimes, this event is extended until the middle of June.

From the first to the ninth day there is "bitin" and praying. "Bitin" is a term given by the F1ilipinos to a bam. boo trellis with fresh fruit and other articles hanging from

4

it; su~h as, m,rangoes, santols, pineapples, squashes, baskets, coconuts, spoons, handkerchiefs, living chickens, and other costly things. But the most costly thing is always hung from the ,middle part of the trellis, and this is the reward of the next "he?'mano mayO?¡". An "hel'mano maJyor" is the one who manages and furnishes the necessary expenses for the "Sta. Cruz de Mayo celebration," The articles hanging from the trellis are gotten by the people, by jumping and pushing against each other, after the procession has entered the chapel. The ninth day is held with great joy and elaborate preparations. In the afternoon, different games wi\) be held, in which young boys can take part. and near the chapel built temporarily for the occasion, a band of music will play while the games are going on. Thp most charming maid of the place will be made as the St. Helena. She has a long robe on her back and costly diadem on her head; and in her delicate hands, she holds a cross. On her side walks the king Constantine, a handsome boy, dressed like a captain-general with a robe on his b?ck and a crown on his head. Besides the queen' Helena, who is an important figure in the procession, there is a queen known as "sentenciadJa!', "Infanta Judith", queen Esther, and queen of the "flowers." After the procession in the evening, a great feast is held at the residence of the "hermano mayor", where the important partakers of the procession are to be invited. Here in Manila, on the ninth day the "tibag" is pompously done near the Suspension bridge (Colgante Bridge) on Arroceros St., where an artific;al calvary, in which three small crosses and four nails are buried, is erected. As the procession passes by the calvary, the queen St. Helena, King Constantine, and the so-called Bishop, will declaim in Tagalog. Then the king Wlill order his soldiers to dig up the mountains. and ~on­ seque~tly, the three crosses and the four nails will appear, Then they will approach a woman, who intends to be sick; and magically, she will be cured by the crosses.

Ilocano Songs and the Month of May As the Tagalogs, the Ilocanos also posse~s variolis kinds of songs, which have almost similar rythm; but by

5

a skillful hearer, some marked differences can be detected.

Furthermore, these songs have minor style as the Tagalog songs. The Ilocanos also own a primitive kind of guitar called "kutibeng", having five strings.

The Ilocano people celebrate their wedding with great joy, and mlply years ago with great ceremonies. The bride and the bridegroom coming from the church, will 'pass thru a portal where there are many lighted candles, and will be conducted to their parents before an altar, where they pray the "Te-DeU'Tn laudamus" with music. Then they will kiss the hands of their parents and of older people, who are present on the occasion. After this a ball follows; and when all the money and other presents were W]'apped in a handkerchief, the bride and the bridegroom will sit near the alta!;', with an old man who sings and plays the guitar with five strings.

T,be Ilocano dances will give us an idea of the developed culture of this people. The "Kinotan" or ants' dance is one in which the dancers gesticulate on a person attacked by ants and with a quick motion, they will scratch the body of the person.

The "Kimllal-loglYnfl" is anotrer Ilocano dance in which a man and, a woman will stand facing each other. The man remains stationary While th~ , warnall, who is singing and. dancing. wiII apprOach him. 'She has a hat which she continually moves with her blands, intending many times to place it on the man~s head. Finally she placeil it on the man's h,ead anll then both: of them wiII begin to dance.

The "Dal-lot" is an Ilocano song with words in verse, eight of which compo~e 1\ stanza. But this stanza contains ,m any words but have no meanings. A man in front of a young woman will sing Uris song, and the woman wiU, as her response to him, sing some verses. Then both of them will have a duet by singing a stanza of the poem.

Beginning the Ash Day, the singing of the "Pasion" and the plain song are observed among the Ilocano pro~­ inces. Formerly, each person sings the "Pasion" ~ingly in his own home, unlike the Tagalogs who sing in pairs

I>

and in two different voices (duet). But now, the nocanos read it as the Tagalogs.

In Vigan, besides the religious observances of the Holy Weeks, the month of May is also considered as one of the happiest and sacred months of the year. On the first day of May, commences the May flower celebration of an association known as "Daughters of Mary", (Hijas de Maria) composed of the young women, vMO decorate the altar with artificial flowers, go to mass at 6 o'clock in the morning, and pray the "Roswrio" at 5 o'clock in the afternoon. After the praying, a number of young ladies wiIJ sing the "Letania" and then the young men will enter the presbytery to offer a handful of artificial or natural flowers.

The Flowers of May celebration ends on May 31st when a solemn mass is held in the jlII.Orning and a religious procession takes place in the evening, in which young women have an important part. In the principal streets where the procession will pass, beautiful arches are being built.

The Mu.~ic of the Visayams Now, we shall speak of the music of the Visayan ,peopIe. In their feast, they usually ring a bell. The meJ;! possess a violin-like instrument with metallic strings; the women a metallic timbrel, usually played by a number' of them. While one shakes it, the others beat it with sticks and the rest strikes it with the adjoining timbrels.

The Visayans also possess an instrUilTlent caned "ruben", \vhich resembles a flageolet.

There are many kind~ of folkdances practiced by the Visayan people; such as balitao, ku1'atcha, pandango, and RJany others.

The balitao is oftener played than danced. In Leyfe it is popular, Whne a man and a wQlTUln stand vis-a-vis, they alternately sing a love ditty. But at first, the girl seemS' not to accept the proposition. However, further explanations follow in a poetic dialogue, as they dance around ellJCh other in time to the music, until the man's offer is accepted.

The ku1'atcha is done in feast days, by a man or a WOlTUln, who standS' facing each other, andi in rhythmie

7 lInison with the music, the man talks and approaches her but soon retreats as soon as he is near her. This is re}Jeated and the girl performs the same movement. Theil" dance is repeated until they are so tired that a new pair w.ill take their place.

The pandango is a pantomimic dance. The man approaches the woman with wh~ he wishes to dance, moving with the music and offering her a "salakot", which covers his head. If the girl accepts it, it is placed on her head and both ¡continue to dance. But when the girl wants to end the dance, she will uncover her head with the "salakot" and' the man will get it from her. who ,vin accompany her to the place where she was, before they sta.rted the dance.

In Samar, there was a da.nce, where improvised verses were sung. "The male dance1' compared his pa1iner with a 1'ose; and she answered h e should be ca1'eful in touching it as a rose had throns." .Just as peoples inhabiting different regions separated by mountains speak distinct languages and have different customs, so peoples in different provinces of Spain have distinct forms of music. The Spaniards from different parts of Spain, came to the Philippines and have inhabited different parts of the islands, thus modifying the local music of the place settled by them. The music of Luzon is somewhat unlike the music of thoe Visayans and Mindanao. Professar Jose Estella, a native composer, has carefully observed this fact.

REFERENCES Isabellt de los Reyes, "Folklore Filipino."

Walls and Merino, "La. musica Popular de Filipinas", pp. 30, 40, 42, 45.

Craig and' Benitez, "Philippines Prior to 1898," Vol. II, pp. 99-100.

Charles Morris, "Our Island, Empire", p. 432.

II

THE MUSIC OF THE MOUNTAlN TRIBES OF SOUTHEASTERN ASIA AND OF THE PHILIPPINES The Philippines being at the door of Asia, I shall endeavor to bring forth some facts of the early music of the people of southeastern Asia. Extensive CQInmerce, we have learned from history, binds the Asiatic peoples with the Filipinos even before the Spanish conquest o1i the islands.

The early peoples of the Philippines and of the other islands of the Pacific, came from southern Asia either by sea or perhaps by land. Tl1is migration was caused by the people's love of adventures or by political unrest. In Asia, a kind of violin known at an early peliod, was the "ravanastron", a Hindu instrument which is played with a bow. It was invented by Ravanen, King of Ceylon, about 5,000 years ago: However, instruments played with bows are also encountered in China, in Japan, in the Philippines, and in other Oriental islands. The Chinese use "gongs" which are also found among the people of the Philippines.

In the Malay Peninsula, there are three wild races: Sem<Ln g, Sa/ca.i , arid Ja,kun. The musical instruments of these races are the primitive stringed , instruments like "'banjeng", flute. drum, Jew's-harp, and. other instruments played by percussion. Their music is somewhat similar to that of early China; Indo-China, Java, and to the wild Phili.ppine tribes. The Kedah Sem4ng has choral dances called "Siwang", the performers of which are women. At Siong, there is an orchestra coITl(posed, of two men with bamboo guitars, a man with a nose-flute, and one or two men beating time by knocking two pieces of sticks together. This organization accompanies the dances almost similar to the dances of our mountain tribes. The Selangor Sakai are fond of bamboo wind-organs. These have a slit in each internode and are hung in the highest Ilranches of trees. When the wind blows, these instruments proS

9

duce musical tones. Among the Jakuns there is a descriptive song called "Trumba" describing the wandering of the chiefs of the tribes and then reciting the different localities which had been occupied by the ancestors.

However, in spite of the early musical culture of this part of Asia, the progress is rather slow, comparing with the Philipines. In 1886, there Wi3S an item about the Philippines: "This is the place where the people have love for .music and this is the Italy of the Orient. If there should be a conservatory, many would show wonders in music". , 'rhe Negrito8, supposed to be the early inhabitants of the Philippines, are mostly found in the mountains of Hataan, Zambales, Tarlac; they love music and dancing.

They possess rude muskal instruments: J ew's-harp of ba.mboo; a fonrholed flute called "ban-sic" made of mountain cane; and bamboo violin with three abaca strings of different sizes, played with a bow with abaca fibers; rude guitar of' six ' strings of banana fibers; and gangsa. This rud~ guitar above mentioned is composed of two nie: es of wood: one' is hollowed out and has a curved m!ck at' one end; and the nthE'r. a flat piece of wood glued to the first with gum. Another musical instrument of this tribe is made ' of a single section of a piece of bambo'). frOl'll thp center of which, two or three thin parallel strips of the outer skin are raised but are still attached at the ends.

These strings have different length and are held away 'from 'the bOdy and ' made tight by little bridges. The Negritos also sing various kinds of songs; such as, "Du-nu-ra" a love song of long verses; and the "Tal-bun" which is sung on festive accasions or when there are visitors. .The last onE' has words improvised to suit the occasion.

Interesting rude dances a.ccempanied by music are so popular among the Negritos that r ne3d to mention thE!\m.

The "Potato" dance or "pifia camtote" is performed by a man through the motion of stealing some camotes in the field. The "Bee" dance 'or "pina pa-ni-lan", is also performed by a ,man through the motion of getting honey from a tree. The "Torture" dance is done to commemo-

10 rate the capture of an enemy; it is performed by a group of persons executing a circle dance about a person supposed to be a captive. The "Duel" dance is represented by two men or warriors having an imaginary fight and being armed with bows, arrows, and bolos. One of them will fall to the ground and the other will go to the motion of cutting off the head of his opponent, with a bolo. The next dance is called the "Lover's dance" usually executed only by one man performing different gestures while dancing around a woman, who keeps her feet moving in one place, in time to the music. So,metimes, this is performed by a line of men going on a circle around a group of women in the center.

For their amusements, the people of Cagayan valley has music and dancing. Tohey use a kind of harp. , The Jbanags of the valley pref~r more the stringed instruments than the brass; and the Apayos of Northern Luzon use a kind of drum, bamboo guitar, and gong.

The musical instruments of the Timguians of Luzon are nose-flute, bamboo mouth organ, and the gong played with the hands. But the Tinguians of Apayao, in addition, have Jews-harp which is constructed in this way: one end C1f a single joint of cana ('boio) ¡is cut off and more than half of one side is cut away in order to leave a projecting tongue. Then near the s-eptum at the end of the .ioint, a round hole is pierced. over which the thumb of the operator can be placed. The projecting tongue is then struck upon the head of a battle-ax. The pitch produced by the vibration .can be altered by thumbing the hole pierced near the septum. Usually a man plays on this kind of instrument. A nd their song called "dalleng" is either melodious or sad.

The Ilongots inhabiting Isabela and Nueva Viscav8, for their musical instruments have noseflute, bamboomouth organ. and a' rude kind of instruments ;made of one . or two bamboo joints. From the outer layer. the thin skin of the bamboo is separated and raised as strin~s by means of wooden bridges. While playing, a man holds the instruments and a woman strikes the' strings with two

11

slender, curved strips of ba,mboo. They also have rude fiddles tuned in fifths and played by men and possess a sort of an orchestra to accompany the dances.

The Bontok Igorots of Luzon have a variety of musica,l instruments-lover's jew's-harp of bamboo or brass; bamboo flute; ab-a-fii, a primitive 'M alayan instrument: and gansas which are struck by a skin-covered drumstick.

This manner of playing the gansas (gang'-sas) is very different frQlll those of the Kalingas, Tinguians, and Ifugaos who all use their hands in beating the gansas; and from those of the Benguet-Lepanto Igorots who use a piece of wood. Two classes of "gang'sa" are used in the Bontok region : one of them is called "ka-Ios" and the other "co-ong-an.

The first is smaller than the second. The "gang'-sa" has a chord going through the two holes in the rim and the end of the chord is attached to a piece of bone, the human lower jaw. In playing it, it is suspended vertically in the hand by holding this jaw and is then beaten by a boy or a man with a short padded stick. There is no dance without music. The "gang'-sa" is struck regularly while the ka-Ios is played with accent lind without rest. The lover's jeWish-harp is played near or in the olag where the sweetheart of the young man is residing.

These son~"Mango{l.y-u-weng", the laborer'S song sung in the filed and in the' trial: "Mang-ay-yeng"; "MangBy-Iu-kay; and "Ting-a6-are the four classes of the Bontoc Igorot songs. This' tribe does not sing to babe, Many of the songs are wordless it is said, and they are only voIUllizations like the "tra, la, la u â&#x20AC;˘ One ' of the Bontoc Igorot dances is called th'e "Hea'd' Dance". A group of eight or ten men with gang-sas is their hanos dance counterclock-wise around a small ',circle, beating ' their gang-sas with emotion and joy. The other dance is called "Funeral Dance". Coronel Chas. Nathorst of Cervantes" related a dalllCe he believed to be a funeral one. In a long line. men stood side by side, he said, with arms on each other's shoulders. While in this position, th'ey swayed and sometimes paw the air with one foot, thus producing a lifeless and lazy movement. '

12 The Benguet-Lepanto Igo?'ots possess slender woodtln drums, open at one end while the opposite end is covered with pigskin or lizard skin. This instrument is played with the hands; and the pitch of the tones can be altered by pressing the wooden barrel. The "gang-sa" is played with a slat of blljmboo. This tribe is also fond of vocal music.

The Tagbamw,s of Pala.w an own primitive instruments; such as, 'drums with shark-skin heads, Jew's harps, bamboo flutes; guitars or banjos with hemp strings, and brass gongs of different size.s. Their dances are sometimes singly and at other times in pairs. During the "macasla" festival, they have music and dancing. "Mucasla" is a :kind 'O f "mixture" made by them. When a Tagbanua becomes iII, the other Tagbanuas play upon their gongs anell 1:Irums to cure the sick. It is believed that the music produced will frighten the evil spirits, the cause of people's illness. When a person dies, they sprinkle ashes around the corpe, to see if the soul in leaving the body, has left any foot-prints. Then they encircle the corpse, chanting a dirge in honor of the departed soul.

The Ta,gbanua. night perfor.mances, in which the dancing is singly performed by men, women, and children, are illuminated by torcltes stuck in the ground. The woman, who is dancing, holds in each hand' a small branch of the 'btead-fruit .tree having two big leaves. This she waves about as she moves, in t~ to the music. Sung by the Calamianes Tagbanuas in honor of their dead relative, a chant called "Bactal" is a primitiVe song giving accounts . of the' enterprises of DU?1uimool, a mythical person.

Now, I sha.\) di1lcuss the music of the people whose homes are the islands of Mindanao and Sulu. As the other tribes we have studied. they are fond of dancing. The "gang-sa" of the north is not used by this people; but instead, a metal instrument called "gong" is in general use.

The metal kettledrum tuned to the notes of the scale and usually placed over wooden frame is their characteristic instrument. A woman. kneeling near this instrument beats it with a pair of sticks. From the ceiling, large

13 kettledrums are suspended and on the floor, several doubleended wooden dru.ms with heads of python skin are placed when playing. Vocal music is also like by the iMoros.

Thus we have already seen and noticed that the mountain tribes of southeastern Asia and of the Philippines have similar form of musiJcal instruments and that the Filipino are, indeed, lov-E!rs of music. We further notice t/:at most of the musical instruments of the people under discussion are made from bamboos which abundantly grow in these islands often Called the homes of palms and bamboo trees.

REFERENCES Skeat and Blagden, "Pagan Races of the Malay Peninsula", pp. 1I7, 118, 120. 132, 139.

William Allan Reed, "The Negritos of Zambales".

Dean C. Worcester, "The Non-Christian Tribes of Northern Luzon".

Dean C. Worchester, "The Philippine Islands and their People", pp. 104, 194, 495.

Albert Ernest Jenks, "The Bontoc Igorots", 1905, pp.

180, 181, 189, 193, 194.

Frederic H. Sawyer; "The Inhabitants of the Philippines; pp. 313, 315.

ill

THE FILIPINOS AS MUSICIANS The previous pages attest the condition of the pri;mftive music of the different tribes in the Philfppines. But when the light of the western ICivilization shown over these fair islands, the Christian people have made a remarkable advancement in literature and musi.c. Most Filipinos p03sess a knowledge of more than one instruments and; many are now in other lands only to acquire a broader education in music. The Filipinos in the countries of southern Asia are generally the jIllusic-leaders In those ,places and they earn more than what they can in their own country. In the United States, many . Filipinos have organize!I stringcircles which furnish excellent music on important occasions as on Rizal Day, and hav¡e graduated from the conservatories With honors.

In the city! of Manila and in the provinces, there are many organized bands and orchestras. The most famous bands in t'he Philippines' is the Philippine Constabulary band and next in importance are the Cebu Municipal Band in Cebu and San. Juan del Monte Orchestra, Groet's Orchestra, Rizal Orchestra, and Molina Orchestra in Manila.

The San. Juan del Monte Ortchestra and the Gruet's Orch&tra do not exist anyjlllore, their members having joined other local orchestras. Some of these organIzations have been briefly discussed in this same volume.

Stringed instruments and pianolt are the favorite Instruments of the rising generation and the use of the harp seems to disappear at present. Now:, there are string-circles for girls; AgcaoiIi, a private violin teacher, has organized a solid stringcircle exclusively for girls.

The Philippines, being the land of music in the OrIent, attract the tourists of other nations. The Filipinos are mus]cians by birth as shown by the smallest child! that can perfoljlll a w.hole lot of opera said Mme. Donald Ayre, an Italian prima donna. In Paris and in her Europe concerts,

14

15 she said, before she could sing a piece, it was first to be practiced by the orchestra which would accompany her in parts. But here, she continued, she has observed that only in one sitting the Filipino musicians at a glance and without any effort, !Could accompany her.

The wonderful works of nature-numerous waterfalls, the ever green Mount Makiling, and the alluring sunset. view'ed at the historic Luneta-these are the great sources of inspiration to the European people and to the Iibertyloving natives. Foreign artists and different European opera companies ¡visited the Philippines to give performances in the big theaters in Manila. The natives. being fond of theatrical performances. erected in the city big theaters in the early part of the 19th century.

About the middle part of the 19th century, foreign virtuosi and prima donnas toured these peaceful islands.

In 1862 came here Al!"ustin Rubio. a pupil of Paganini, and gave several public !Concerts; in 1881, Ignaeio Massaguer, a piano professor; in Sept., 1886. Eduardo Remenyi; in 11192, Alberto Friendenthal ; in 1897, Ciro Cavalieri, and many others. Friedenthal, before leaving the Philippines, wrote a profound letter published ih a local Spanish newspaper, showing his honl'st observation on the natives.

This letter, in part is as follows:"True 'sublime art' clings to the heart of the ma.iority.

If at Manila Bay. I happen to beh~ld the last palms, I shall feel sad that I shall soon depart from this soil where. J shall leave many people who have won all my sympathies."

Before, the !public was fond of mazl1l"kas and valses; hut now these forms of music ar¡e seemed 1;e ¡be forgotten.

Jose 'EstelIa, a piano teacher, ha~ written a number of 'Valses; such as. "Los Pa.iaros", "La Tagala," "Gloria a Espana". and "En 1'1 Cielo". Ramon Valdes. a music professor of the "Colegio de Ninos Tiples" of the Manila Cathedral, had co.mposed a danza. "Un Recuerdo a Namayan" (1886) : Juan Hernandez. a Filipino da.p za. "Halika"; M. Tanghay, a danza. ''La Denortacion"; Bonifacio Abdon, "Kundiman" (1920); and Francisco Buencamino, also a "Kundiman".

16 At present, ho\V'ever, the Filipino music such as the kumintang and charming "danzas" are slowly disappearing, their place~ being taken by the JAZZ music, a wierd c~cal composition.

But I do not mean to say that our native music is entirely forgotten-it is oIlly laid aside.

If a musical composition is turned into a JAZZ musk, its beauty and naturalness are ruined. The nature of a JAZZ music is not natural but artificial and funny, and the 'attention of th e audience is captured not by the charms of the music but by the gestures of t~e singers and the conductors: Hlence, a great unnecessary noise is produced in the theater. On the other hand, when a piece of musk is performed with naturalness and in a<;cordance with the laws of true ;music, the audience feels that which the composer intends them to feel. This is the kind of music that needs a serious study and culture. If we consider that lIhe study of our vernacular music is very essential; if we wish that it be not forgotten by our posterity, we should introduce into our public alld private ,s.chools our Filipino songs-songs of Filipino ideals, which wiII intensify one's love of his native land. Although. little steps have already been taken in our publi'c schools rÂŁgllfding this matter, yet its real significance is not well undelilhlOd. How great is our inspiration, when Hernandez's Maria Clara's song is I<ung: and how courage<'llS we feel. when our voung women sing or our local bands execute that precious National HY\ffiJ1 of. ours. ' We. therefore. should try to elevate and protect .our native music. and create a grea~ .i~terest, to its earnest study as we do to painting, science! and literature.

CHAPTER

n.

VARIOUS MUSICAL ORGANIZATIONS .

AND INSTITUTIONS I

PRIVATE MUSICAL OR,GANIZATIONS In the city of Manila and in most provinces, since the beginning of the 19th iCentury, musical organizations and institutions have been created to develop and foster the Philiwine music, architecture, and painting: These organ" izations initiated by prominent men in the city have very far-reaching aims. The artistic love of the ' natives have cam:.ed them to form such bodies of which there are many in the Philippines but in this book I mention only the most important, • In May. 1869, a society called "Sociedad· de Artes y Oficios" in the Philippines, was organized, ·the aims being the promotion and Icultivation of all kinds of arts. Some of the most i,m.p ortant subjects in tbe curriculum were: drawing, engraving (bro'nzE, ' silver, and gold), sculpture, and modeling agriculture, natural history, dentistry, declamation, a'nd vocal and instrumental music. The institution was allowed to confer diplomas to its graduates.

In November, 1877, was created the "Liceo Cientifico Artistico-Literario" to maintain tHe union and protect the interests of the lovers of musk, fine arts, literature, and to cultivate aesthetic taste. Later the society published II "review", the first number of wbich appeared on August 10, ]879. On the night of February 23, 1878, the inaugural program of this Lyceum was held 'at the Variedades, A hymn dedicated to the society' was sung by Mr, Alano with the chorus, The words' were written by Mr, Gomez; 17

18 the music by Mr. Arche. Resurreccion showed his skill as a violinist by playing a very difficult composition. His delicate bowing interpreted clearly the idea of the piece.

Rizal for J:is poem, "A la Juventud FiIipina" (To the Filipino Youth) ; Anacleto del Rosario y Sales for his scientific composicion entitled "The Unity of Physical Forces"; Juan Luna, the painter; .'\.ntonio Garcia as cellist; and Victoriano Antonio and Salvador Pifion as violinists, won the prizes offered by this Lyceum in a public competition in November, 1879. In founding this Lyceum, the initiators had in mind to convert it afterwards into a Conservatory of Music and Declamation.

In May, 1885, the "Union Artistico Musical" initiated

by Manuel Garrido and Saco del Valle was organized in the city. On April 16, 1885, at 9 o'clock a. m., owners and directors of different orchestra bands in the city had a big meeting at the residence of Pedro Gruet in Sampalok.

The persons present at the first meeting were: Francisco Domingo with his director, Joaquin Aragon; Eulogio Revilla with his director, Florencio Lerma; Bruno Sta. Maria with his director. Jose del Prado: Pedro Gruet y Atayde with his director, Ramon Valdes; Marcelo Adonay, the director of the Saint Augustine orchestra; Carlos Sa co del Valle; and Manuel Garrido. Manuel Garrido presided the meeting, discussing the ai,ms of the new organization, which were for social betterment and protection of the interests of music professors and the cultivation of musical art. Then in April 23, of the same year another meeting was held in order to elect the officers of the society. At this meeting some members of the Cathedral orchestra and Pilar V. del Saco del Valle (a piano teacher) were present. As a result of the election, the first elected president was Ped/o Gruet, the founder of thel famous orchestra band in Sampalok and Jose Elorza, the vice-president. Francisco Domingo was the secretary; Terezo Zapata, the treasurer.

Then for the improvements of the musical art in the Philippines; for the protection of the common interests of Filipino musicians; and for honoring the patron St., St. Cecilia: another prominent body was organized in the city.

19 This was the "Sociedad Musical Filipina de Sta. Cecilia" organized in 1888. In November, 1891, Antonio Garcia was elected president of the instI'lljItlental ssction.

In 1893, an organization called "Circulo Musical" was formed in Pandacan. This was initiated by the Francis-_ can Friar Cipriano Gonzales who stayed in the convent of Pandacan. His purpose was to encourage musical education among its members, especially the study of vocal and stringed instruments In Iloilo, O~t. 25, 1893, the law governing the society known as "Sociedad Artistico-Literaria de Iloilo" was approved by the provincial government. The organization was to render literary and musical entertainments, theatrical representations and literary and musical contests. In 1896, its president was Lorenzo Romero.

The Rizal orchestra composed of Filipino musicians was founded in 1898 by Martin Ocampo, Jacinto Limjap, Edilberto Calixto, Alfonso Tioaqui, Ram6n Genato, Eulalio Carmelo, Leandro Osorio, and Galo Lichauco. Jose Estella was the oI1Chestral director.

In Dec. 1900, Mr. Coppa an Italian ;music professor, tried to establish a music academy to which P. A. Paterna gave the title "EI Porvenir." Then in June, 1901, the "Centro Artistico" was inaugurated, having Juan Utor Fernando (Pres.), Jose Silos (Vice-Pres.), Salvador Natividad (Sec.), Tomas Guison (Treas.), and Clemente Jose Zulu eta (Librarian), as the elected officers. In 1904, at 6 :30 in the evening was inaugurated the "Centro de Artistas", the program being presided by Governor GeneraJ Wlright. The president Eulogio Garcia spoke. In May 1907, the inauguration of the 'Musical Association (Asociacion Musical) took place, of which Jose Estella was the president: Antonio Escamilla, the secretary j and Alejo Carluen, the treasurer. And in June of the same year, the "Club Euterpe" was organized, Miss Filomena Barretto (Pres.), Miss Nena Zamora (Vice-Pres.), Miss Lucia Hernandez (Sec.), and Miss Amada Argiielles (Treas.) being the officers.

20 On Saturday, Oct. 2, 1909, at the " Teatro de la Cwnedia" took place the inauguration of another society initiated

by Alejandro Cubero, known as "Artistico Literario". Alejandro Cubero was the father of the Spanish theater in the Philippines it was said. Since the year 1884, he was in the city, heading a Spanish Zarzuela company. In 1886, he ac~ompanied the San Juan del Monte orchestra to Hongkong for some theatrical perfOl¡mances.

In 1912, again the Filipino music-lovers had a meeting reorganizing once more the Musical Association (Asociacion Musical) of the Philippines. Antonio Garcia was the president; Hon. Sergio Osmefia, the honorary president; Antonio Escamilla, tte secretary; and Gavino Carluen, the treasurer.

However, nat all' of ithese different organizations founded with lofty ai,m s had long life perhaps because of the lack of harmony among the members or of the lack of financial support. Nevertheless, the Musical Association of the Philippines (Asociacion Musical de Filipinas) is now the leading musical body in the Philippines. ,Mrs. Natividad O. Arellano was reelected president; Miss Jovita Fuentes, the treasurer: andi Mrs. Ramon Alberto, the secretary, in the election last March, 1921. "The Orleon Filipine", of whiich Bonifacio Abdon. a noted violinist, is the director, was created by Manuel Arellano as a part of the association. To )protect and develop the Philippine music is the most important work of the association. On ,may 8.

1921, the association had a tea-party in honor of Michael Elman, a famous violinist. Tha.t night Elman had an oc'casion to hear Ernesto Vallejo's execution of a difficult composition. He said that if Vallejo would be allowed to have further studies in foreign nations, h'e would honor the Philippines in musical art.

The love of the Filipino people for musi~ have been shown by the founding of different musical organizations, and by the rendering of selected progra,ms, concerts, and benefits. But tho time was too unfavorable to give these organized bodies longer existence. However, the people is pursuing to cultivate music, the most sublime art of the Filipinos.

' II

THE SAINT AUGUSTINE CHURCH ORCHESTRA OF MANILA Before commencing my brief discussion on the subject , I try to bring f orth -before tr e readers a short but impressive account of the Augustinian Friars who have labor ed In the Philippines as cultivators of musiJeal a.rt.

The erection of churches Wlas tke ,m ost patriotic achievement done by the religious orders in the Philippines; and amOJ;lg the oldest churches in the city of Manila is the Saint Augustine church.

The church and monastery of Saint Augustine were r onstrud ed in 1599 in Manila. But frequent earthquakes had caused its occasional deterioration. However, the present church was improved in 1614. The Augustinian Friars are lovers of poetry, fine arts and music. T.he following paragraphs dealing 'with the works of some of the AU(1:ustinian Friars as friends of the musical art are extracts of the letter addressed to me by the Reverend Fr. H~ceforo Merino. of the Saint Augustine church.

In the convent of Saint August ine in the sixteen century, lived an ''hermano,'' Fr. Marcelo of Saint Augustine, who was a teacher of singing, a composer, and organist.

Father Juan Bolivar who was for eighteen years the chief vicar of the choir of ' "Sn. Felipe el Real" (Madrid) came to the Philippines in 1739. He mast ered the harp, organ, f iddle, flute, and other instruments, As he was a celebrated "cantor", the cathedral of Toledo and of Mexico were offering him j!'reat sums of monev, only to sing in those places. However, he did not mind! the offer but sailed for the Philippines. In Manila he displaYed his metallic voice that people from rE'lmote places would come here only to hiear his incomparable singing. He Icomposed a song for the organ and three volumes of different Glorias. Credos, and Villancicos (Christma s Carols ) . In Panay where he later stayed, he had taught many brilliant pupils. In 1718, ciime to the Philippines Father Lorenzo Caste1l6 of the convent :'.1

22 of Valencia. Being an intelligent musician, he was reckoned as the son of Castilla. "Orfeo Agustiniano" was the name given him in Manila; as a "cantor" and wise composer, he was sincerely admired by the public. In Manila he had many Tagalog and I1ocano pupils; and from Panay where he also had many pupils, he came b8lCk to Manila and reformed and enlarged the choir books. He composed two columes of classical masses, two "Visperas", various "Procesiones", and two VilIancicos (Christmas Carols) and Airs. Father Ignacio de Jesus visited the Philippines in 1737, became a Prior in Guadalupe, and wrote most of the choir books of the Saint Augustine convent. Father . Jose Calleja came in 1750. He could play on any musical instruments. Father Juan Andrade was a choir vicar and noted "cantor" of Manila.

These were the Augustinian Friars inManiIa who were among the cultivators of the art of Euterpe. Furthermore, according to Fr. Hiceforo Merino of the Saint Augustine convent, the organ was installed ~n the church in 1762 when the English took possession of Manila. The organ w.as alreadv in use before that date; but inspite of its impared condition, with it, various combinations can still be produced.

The convent ¡of the Augustinian Friars of "Ntra. Sra. de Guadalupe", at the start (1601), owned a solid orchestra for Which Father Juan de Torres bought some musilcal instruments in 1643. But in Manila in later years, or in about 1870, when the "Procurador" of the Saint Augustine convent was Fr. Toribio Varas, the church orchestra oam<! into existence. Its initiator and first director was the composer Marcelo Adonay who In later years was aided in his work by his four brothers, all noted musicians. Iu later years, Father Manuel Ar6stegui directed the orchestra band for about one year; and in 1886 Marcelo Adonay resumed the directorship of the orchestra. The organization was known for its splendid interpretation of clasSIcal comlpositlons of ~nent German and Italian composers. But during the Tast struggle of the Filipinos against the yoke of Spain, this musical organization began

23 to decline, leaving nothing but the shadow of its former gplendor. Adonay left th e convent and then Friars Qyanguren and Jose Foj became its directors. Some of the known violinists who had been under the roof of the Saint Augustine convent were: David Jamena, Cristino Aguilar, Tomas MeJlaren, Roman Malauin, Pedro Navarro y Bravo, and Baltazar Castueras. 'I1hese as choir-boys were admitted in the convent without fee as is done in the "Colegio de Niiios Tiples" of the Manila Cathedral. So we see that the Saint Augustine orchestra was mainly composed of the choir-boys of the convent, which was, during the S~nish time, a place where young boys could receive a knowledge of ;musical art.

III THE "COLEGIO DE NINOS TIPLES" .OF THE MANILA CATHEDRAL

Father Eulogio Sanchez, directing the orchestra of the "Colegio de Ninos Tiples" of the Manila Cathedral

On the 21st of December, 1581, was dedicated to the Most Reverend Fr. Domingo de Zalazar O. P., the first arch. bishop Qf the Philippines, the first cathedral known as "Immaculate Conception". Many tiilTles the edifice was destroyed by earthquakes; but, however, on the 7th and 8th of December, 1879, the actual cathedral was blessed by the Most Reverend Fr. Pedro Payo, the archbishop. In this cathedral have been held the most solemn ceremonies as requiem masses. I In order to own a good musical organi, M. M. Norton.-"Gu:de to Manila Catholic Churches", p.

24

ag.

25 zation, tl".e cathedral has established a free school of iffiUsic for ambitious young boys. This was about the middle of the 18th century.

The Most Rev~rend Fr. Juan Angel Rodriguez XIV; Archbishop of Manila, who had thought of the origin of this musical institution, landed at Samar, at the port of Pa){lpag on the 30th of Aug. 1736. Then he went to Nueva Caceres in Camarines, and on January 23rd 1737, he assumed his archbishopric in Manila. Here he made several reforms in thE' Man'Ja Cathedral. At length, on June 24, 1742, he met his unt",mely death, leaving the idea of founding this mtlsical institution to tre Most Reverend Dr. Juan de la Fuente Yepez, Bishop of Nueva Segovia. The institution was founded in honor of the "La Santisima 'f1rinidad."

The faculty of the "Colegio de Ninos Tiples" is composed of a director. a vice-director, three music p'r ofessors and an academic teacher of primary instruction. The three professors should be clergymen. The first should teach solfeggio and vocalization; the second, organ and composition: and the tt. ird, stringed instruments. The curriculum adopted by the school is the same as that on'e followed by the Madrid Conservatory of Music. Among the earliest subchancellors were Fathers Hermogenes Dandan and Gregorio Gomez.

A boy in order to be admitted in the school, should be six or ~even vears of aue and must have a good ear for music. He will be tested by the three professors nresided by the director. Those who had been members of the faculty during the Spanish times were Remigio and Apolinar Calaho..... a. O!'Car Camps. BIas Echegoyen (piano and solfeggio), 'Luis Vicente Arche (organ and comnosition), ' and Ramon Valdes (violin and other instruments). P. Joaouin Calp '~ w~s the director in the year 1878. One of the directors of the institution was F08ther Eulogio Sanchez, who studied solfeggio under Jose Muezo, and .piano unde" Oscar Camps. He has composed several religious compositions. Under his \wse guidance, the institution still main'J. J. Delgado, Histori. de las Islas Filipinas (1892), pp. 169-170.

26 tains its standard up to the present time. Now, Manuel Lopez teaches piano; Hipolito Rivera, solfeggio; and Bibiano Morales, violin and other advanced studies.

Many noted .musicians have been under this institution. Besides those I have named. figure Salvador Pinon, a native of Guagua, Pampanga, who at 13 entered the "Colegio de Ninos Tiples" in March, 1875, and left it on July 31, 1879, with a knowledge of violin and flute: Fulgencio Tol.entino, a native of Antipolo, who entered the same tution in Dec., 1879, in his seventh year of age, and left it in June, 1887, as a good pianist; Maximo Nazario. a native of Sta. Ana, Manila, and the son of Manuel and Luisa Sn. Jose, who studied piano in April, 1887, in his sixth year of age; and Manuel Lopez (already mentioned), a noted pianist and humble composer, whose musical compositions are only for religious services.

The "Colegio de Niiios Tiples" has already done something for the iIIlusical education of the Filipino youths, as the Sto. Tomas University and other ancient colleges. The students from the former, after leaving the co\1ege, are ready to earn their livelihood, independently; for the:y have acquired the proper training necessary for a boy,-intelleetual, phlYsical, m<>ral, and spiritual.

IV THE CONSERVATORY OF MUSIC, UNIVERSITY OF THE PHILIPPINES In the twentieth century, the most remarkable undertaking done in the Philippines that has created a loftier inspiration among the music-lovers of this country, was the establishment of the first Conservatory of Music, a department of the highest institution of learning in the extreme East. the University of the Philippines.

Senator Joaquin Luna, who know's violin and also musicDr. Robert L. Schofield, the Second Director history, had presentof the Conservatory of Music, University of ed a bill at the Philthe Philippines. ippine Senate for the establishment of a conservatory of music in Manila This was approved and carried. At length, when the Conservatory of Music was about to be opened, the first thing done was the selection of its instructors and professors.

About thirty aspirants entered the competition; among these were Jacobe, Abdon, and Morales. A public concert in honor of the first director of the Conservatory, Mr. Wallace W. George, was held at the University hall. August 5, 1916, before a great audience. Accompanied at the piano by M,T. Francisco Santiago, Jacobe's execution was much applauded. Next, a private test of all the competitors was held at one of the halls of Wilson Hall on Taft 27

28 Avenue. The new director of the Conservatory was the chief eX2,miner. One by one they entered the room and were asked to play on an instrument and to answer some theoretical questions about music. The result was that Jacobe was 'chosen to be the first instructor of violin.

The formal opening of the Conservatory was begun on Sept. 4, 1916, in a large building on Calle R. Hidalgo, Quiapo. At first the matriculation was done in one of tl:e rooms of the main building of the University ar.d the ilctin!!' Secretary was Gen. Fernando Canon; but the regular classes were held in the building I have just stated. Two courses are offered: one is called "especial course"; the other, "regular course" leading to¡ a diploma or degree.

The second is free to any person possessing the essential qualifications and seeking for higher studies in music. To cQmolete this 'course, four years are required (elementary, intermediate, advanced, and seniors). Violin, piano, organ, voice, composition, musical history, and foreign languages, are among the courses taught. Students of the orga.n department are required to attend tr.e lectures on English litel'ature. musical history. orchestral instruments. and organ constructions, besides the course in choir training and accompanying. What determines the promotion or graduation of the pupils are the records of each pupil plu3 the examinations. At the end of each half year. the students are examined!, first by the members of the faculty and then by the director, The establishment of this Conservatory of Music 1 wiII give the ambitious youths the ample opportunities to guide and cultivate their musical genius. This century as we have seen, is the era of change, the era of development.

After our revolution, many educational institutions have been established and the creation of this Conservatory means progress in our country. It will give us inspiration to study musi'c as a profession like medicine, law, and teaching. This Conservatory will shape the future destiny of the Filipino music, and wiII awaken into our minds that music is an art ~onnected with the history of a country.

1

It was

establi.o.~

February 4, 1916.

by an Act of the T'hird Philippine Legislature,

V THE PHILIPPINE CONSTABULARY BAND The history of the Philippine Constabulary band will be a source of eager interest to the Filipino people in particular and to the musical world in general. So luminous are the achievements of th'.l band that they dazzlethe civilized countries of the m,rld, where music is considered as an art of emotional expression.

The Philippine Constabulary ban d was organized and Lieut. Alfonso Fresnido, the present directed by Maj. W. Conductor af the Philiopine H. Loving, on O::.toConstabulary Band. ber 15th, 1902, with less than forty mmbers. He was a competent graduate of the New England Conservatory of Music at Boston and also a postgraduate of the Leipzig Conservatory.

The band first appeared before the Manila public on the arrival of General Miles. New members are admitted after passing a rigid trial. The members are taught music free and have frequent rehearsals. The first assistant director of the band was Pellro Cruz who left the band in 1907; . and then Navarro succeeded him in his position.

29

30 On ,May 20, 1903, at 8 :30 p. m. this band rendered a concert at the plaza of Binondo, before a large audience, in honor of Dr. William P. Wilson and Dr. Gustave Niederlein, of the St. Louis Exposition Board. When the concert was over, Dr. Wilson congratulated Loving, saying that he was surprised: to hear the musical pieces so finely executed that night; that he was satisfied for the musical talents possessed by the Constabulary .musicians; and that he was desirous of asking the Civil Governor's permission to let the band go to the United States, to participate in the Grand Exposition of St. Louis which was to be inaugurated in 1904. A paragraph of his pompous speech is as follows:"To-night, I have an occasion of admiring your musical talent and your natural inclination to art. You must take into account that progress in music can only be 8ICcomplished primarily thru natural talent and genius, which you possess, and secondly, thru constant practice."

Then after sE'veral months, the band was ready to go to the U. S. to render concerts at the St. Louig Exposition; so early in the yea,r, 1904, the band left the Philippines for the United: States. There it was directed by Maj. Loving and it had received the second prize in an international band concert in the Exposition. That on the eve of the departure of the band, it was interesting to know, it was offered a SUIlil of $14,000 for fourteen more concerts to . be held in New York, with free expenses for the trip and stay therein. But this good offer was not accepted; for the band was ready to sail for its belov.ed Philippines the next day without failure. As soloist of the band, a bronze medal was awarded to Navarro. during the World's Fair Expositiop at St. Louis, Missouri.

F'olJowing this concert-tour through the U. S., two more visits were made: one in 1909 and the other in 1915.

The one in 1909, gaÂĽe the band a still wider reputation at Wa~hington , being the only band outside the U. S which exclusively furnished the splendid music for the inauguraT ball of President Taft, pTaying alternateTy with the famous Marine Band. The same year the hand also visited New

31 York City, Chicago, San FranciEco of Californ;a, Philadelphia, Atlantic City, New Jersey, and the Exposition at Seat tle.

Lastly in 1915, saw the Philippine Constabulary ba!1d at the Panama Canal Exposition, in San Francis~o, California. On the way to the exposition, the band had given concerts under Navarro, in the largest cities of the Orient: Hongkong, Shanghai, Yokohama, Kobe, and etc. At these places, the band was wele,ome and sincerely appreciated by the people. During the exposition at San Francisco, California, different bands assl'mbled for competitions: Thaviu's band. Boston Municipal band, Chcago band, Sousa's Creatore's band, Innes' band and the Official band of t he Exposition under the personal direct ion of a prominent Italian musician, Mr. Cazzaza. To these bands our Philippine Constabulary band did show an 'excellent and well disciplined execution. Inspired by the unusual execution of ollr band, John P hHlip Sousa stood before an immense audience in one of the last concerts, and said; "I r ecognize your Filipino band as the best and well-organized one during the exposition". During t he Panama Pacific International-Exposition held at the Golden Gate, in San FraTl'cisco, California, Navarro received, a gold medal, his prize for being the acting director of Ollr band. who demonstrated his real artistic faculty. Early in the year 1916, this band arrived in Manila where as usual, it continues to give 'Concerts on the beautiful Luneta and at the Sta. Lucia Barracks.

At length, aftet using hi s efforts to make the band a distinguished musical organization in the Philippines, Maj. Loving decided to go to the United States. Thus on the evening of January 16th, 1916, the band rendered in honor of Loving a selected farewell concert on the Luneta, un-' der Loving's direction. Throngs of people, high or low. witnessed the evening's !fine program and listened to the farewell speech of Vice-governor Gilbert who then gave Maj. Loving a precious gold watch and purse. Since befOI'e, the band also had given Maj, Loving a beautiful cup as a token of its love for him as a finished director and' a

32 sincere friend . But what gave me a strong impression that evening. which I considered to be the climax was this: a few bars before that sentimental piece, "Auld Lang Syne" ended, without any previous notice, Maj. Loving gave the baton to Navarro, wiho at once put aside his pi'Ccolo and stood before the band and conducted it until the program was ended. Navarro's receiving of the baton was followed by an inces~a nt applause of the public, showing their love for him who was the right man to take Maj. Loving's place.

Maj. Loving had already given him a fine saber as a symbol of their good friendship.

Then after a fe . ." days of Maj. Loving's absence, Navan'o was made the permanent conductor of the band" whose appointment as conductor of the band took effect on Feb. 20th; 191.6.

Not long after his appointment as band conductor, the band had renrlered a series of vocal and instrumental concerts at the Sta. Lucia Barracks. I myself attended the "Second 1916" concert on the 29th June, 1916. As I had observed. the concert-hall was too small for the audience and every nl'mber of the program was well applauded due to t.he scientific and artisti'c conductin~ of Cant. Navarro.

So inspired bv the evening's program, Wades Hummond of the ninth U. S. Cavalry band in a letter to hlm said in part: "I ,vish to congratulate you UpOJI the splendid succes.. of the concert of the band and orchestra on the evening of tile fifteenth. and to assure you that your people have every reason to be proud of you and your excellent organizations.

"Now as to your conducting. we all were more than pleased and recognized that you have an immense amount af real artistry in this, to which the success of the program was largely due.

"You have every right to feel proud of the entire effort and your people should be quick to realize your worth to them and give you and the very fine band all the support and encouragement that you so richly deserv,e".

Again on Au~ust 9. 1917, a benefit 'Concert for the Mary J . Johnson Memorial Hospital was ren'dered at the concert-hal! of the Sta. Lucia Barracks. The first initia-

ss tor of this matter was Capt. Navarro, who is indeed a true patr:ot. The amount collected after the concert was 'P391, which was greatly appreciated by Dr. Rebecca Parish of the Hospital, who then expressed her most sincere gratitude to Capt. Navarro in particular and to the members of the band in general.

On September of the SlIjTIle year, as the band honored the Spanish residents of Manila by furnishing them with tte most enjoying pieces. after a few days, Mrs. Enriqueta Lopez y Gonzales sent Capt. Navarro a letter, in which she expressed her sincere gratitude to the band which dedicated almost all the musi'Cal numbers of .the ¡evening's program exclusively to the Spanish airs.

Towards the later part of the year 1917, for some reasons, Capt. Navarro left his services and Jose Silos took his place as the new band conductor. But under the leadership of Silos. thE' band did not flourish; its growing fame was checked: and there was no hanmony between the members and the conductor. It is the co-operation of and harmony between the members that will ma,ke a solid organization. On the other hand, Navarro already known as an efficient conductor, who had worked with the band for many years, should be given a willing support and promotion by the intelligent publi~.

Seeing that Lieut. Silos could not ,maintain the honor of the band, the Manila public began to critiCise the band that finally to remedy the situation, Maj. Loving was summoned to come back to Manila to assume command of the band: Thus on November, 1919, he arrived in Manila a.nd after a few days of his arrival, Lieut. Silos left the band. The following days, no public ~oncerts were rendered by the band; it was reorganized by conductor Loving. And the very first concert under Maj. Loving's direction that year was on January I, 1920, on thl! Luneta.

He arrived at the Luneta a few minutes before 6 o'clock; while he was approaching the band, he received the tumultuou ~ applause of thf r.eo-,le. which did not cease until he with his baton, stood before the band to begin the

34

first number of the evening's concert. Every piece was well applauded by the public.

Now the band has gained much under the competent direction of Maj. Loving who recently appreciated the reed section of the band, saying that reed instruments are natural instruments of the Filipinos. The cornet section of the band was so highly developed,. he further stated, that a number of cO)."1letists c.ould play an air together as only one instrument. Lord Northcliffe's admiration to the band was expressed in his letter of last October, 1921, to Brigadier General Crame. Many visitors of the Philippines can not but give their 'appreciation and sy,mpathy to this famous Filipino ¡band.

But in the year 1923, a great change pas taken place in the band, thus altering its history. After Lieutenant Alfonso J<'resnirlo's a.r rived from the United States, where he was sent to ' studY band "conducting ana music theory. the delicate position of Maj. Loving was given to him. The last concert of the band under Maj. Loving was held at the Luneta on the evening 'o f Nov. 11, '1923. As soon as the baton was handed to Lieut. Fresnido by Maj. Loving, the public came nearer the sta,ge and greeted hi,m by an incessant applause. The American National Hymn was finally executed under his own personal direction . . Lieut, Fresnido is a Visayan. He speaks English and had been a public school teaeher in his OWn province. He plays trombone, violin, and other stringed instruments. By having him who is a Filipino as the band conductor, I think, its members will be inspired to work still harder to maintain the standard' of the band. The following is his recommendation from the Dana's Musical Institute: DANA'S MUSICAL INSTITUTE WARREN, OHIO. Aug. 2, 1923.

To Whom It May Concern This is 'to ce1'tity that Lieut, AlfO'MO Fresnido was. a pupil (J)t Da1JlL's .MUIlical Institute t01' one yew' beginning in Septembe1' 1922 and -ending the last ot Aug, 1928,

35 Lieut, Fresnido p1'oved himse~f to be ,'emarkably fine pupil, acqwitted himself with hlOtwrs in all examinations, in public perf01-rnaJ/'We amd aU that goes to make wp a seriou.8 student and 1vell equipped musician, We 1'eg1'et that ci,'cumStances do not permi t his ~'e­ maining with us idefinitely and shaU always fee~ proud of the fact that he haB been a pupil here. He is gentleman in even) wwy that the 1liorcl implies.

Since?'ely, LYNN B. DANA.

Every Sunday evening, the Manila pubJioc assemble on the beautiful Luneta to receive the Manila Bay breeze and to listen to the exouisite music of the Philippine Constabulary Band. Never has the band won the most exalted love of the whole public than it did at its splendid concerts on the Luneta when the Filipino, now Capt. Navarro was the conductor. Nevertheless, under proper direction of Lieut. Fresnido. the band will continue to achieve more¡.

The Philippines are very proud to owtn this band whose incomparable succe~s havp. been due to the effol-t exerted

by Maj. Loving, Capt. Navarro, together with the cooperation of its members who aspire to see its splendor shine over the civilized countries of the World .

.

,

.

CHAPTER III

THE TAGALOG THEATER I

BEFORE 1892.

The Fil pinos are lover.:; of theatrical performa,nees.

During the town holiday, It is the custom of tr.e people to stage sp,me plays, usually of religious character. Formerly, on this occasion, our native artists like Yeyeng, Chana nay, Balbino, and some others would display their charming voi.oes. When Legaspi was in the Philippines, he was given a.. theatrical. performance by the natives. A Spanish political refugee dir.ected the play, taken from ,Persian history. But the partakers .were dressed not as tl:ey should and performed their part in such a way that they could not be understood. . The stage was built near a public street imd was roofed with ,palm leaves. On each side of the stage were the covered gll)leries for, the dJignitaries .of the pla'ce; and the uncovered galleries were costructed for the cornman people.

To encourage the love for arts and letters, competitions in literar:r production~ were alreadv practi'ced as early as 1600. In 1611 a conte~t. on poe-ms, prose compositions. was held in the city of Manila. To the winners were aw arded prizes made of pearls, diamonds, silver, and gold.

And to diffu~e the literary culture among the natives. the most exalted work of the friars Wlas the establishment of educational institutions in which theatrical representations usually took place.

The first play written by the Spaniards in the Visayan djalect was staged in Bohol in 1609; the actors and actresses were the na.tives. The "Comedia de Is venta de Jo36

37 seph" and "Comedia del Principe de Transilyania" were 2.lIlong the earliest plays presented in the city. T.he first allegoric comedy of things Philippine was written by P > Jeroni,mo Perez, a Jesuit, in 1637, on the oeeas:on of t he ' conquest of Mindanao by Gen. Corcuera. It was presented on the evening' of July 5, of the same year. ' The next comedy presented was that dluring the governGrship of Simon de Anda, in, the evening of Jan; 22, ·1772, .at the R:>yal Palace of Manila.

In 1873 came to Manila Francisco. de P. Entrala; who had studied· in Spain how to write novels and .plays. H ~ loved things Phmppine, which love was .shown- in ris book ,.

Before the end of 1874, the published "La 'Rubia . de Quiapo" and in 1875, "La' Morena de Sampaloc" " (novel) He was often called a Peninsular Filipino. •. . .It was on April 28, 1750, that Alimudin, king of Jolo, was christened at Panique, a town of Pangasinan, by the name of Ferdinand I, in honor of Fernando- V·I, who at that t :m.e ruled Spain. The day was mark ed by imp(lrtant events. The ''Moro-moro'' dance w.as. shown to the public. However, that was not only the -first time, that that play was 'presented to the public; in 1637; the same play was presented in Luzon, in honor of the conquest of I1igan, Mindanao, by Gen. Corcuera. After that .date, the Moromoro became the. favorite play of the people .especiallv during the town fiesta. · Befol'e the middle of the 18th century, there have been different kinds of comedie3 staged at the various pla~e s of the Philippines. ' Sinibaldo de Mas, who ' was in' Ma!lila in 1841, said that the native people were fond of stall" perfoI1lTUlnces and that some had translated Spani ~ h plays into the native tongue.

At Arroceros, a primitive theater known as A II"I'OCCl'08 !,rimitive-.Th eater, was erected only for the presentation of T!&galog plays, according to Juan Atayde. Before 1841, the Trmdo primitive theater already existed. Althougb both theaters were built onliY for Tagalog plays, 'yet 'occasionally, Spanish.. plays were presented there. Being ~ilt of poor materials, those theaters did not last long_

38 ~

In 1,790, there W2S. a 'theater in Manila known as "Teatra Comical' , .

On. October 31, 1844; with the help of Gen. Narciso Claveria was inaugJlrated an institution known as "Sociedad de Recreo'~ whose members Were persons of high culture and 'of . love. for artistic life. This society had its own theater and often had theatrical representations. In Nov. ~844 .was staged the 'comedy "Marcela": In ~8~. was c~nstructed in Binondo, the Bino~ theat~r . . J.ts construction was due to the 1!ffort 'of a lawyer, Manuel PonGe de Leon, and of an ' engineer and, merchant, Jose B<isch. During the first years of its existence, it had suffered a great loss due to the lack of good company. As late!' it was. pre~.eryed for Spanish plays; it was sometimes nam.ed "Spanish'> Besides ' big theaters, small theaters were also built at some places .of tl).e city'; one in Sibaicon, and one in Gunao.

Quiapo: . At,· these theaters, the society called "La Espa fia" had . its -theatr,jcal 'performance. "La Alianza" and "La ConfiaJlza" Viere the other artistic organizations of that period. ' The latter was composed of young men interested in music. On Mav 6. 1862, a society known as "Soc!~dad annnima' entitled "Teatro del Principe Alfonso" was organized, with the object of erecting a theater at ArrClceros. · Its president · was Eusebio $alcedo, and its . secretary was.A, de Zarate. About fihe same year, was inaugurated the new theater 'of Arroce~os (Teatro' del Principe Alfonso (1862-1877),.

A Fr~ch Opera Com,pllny directed by Mr. Mogard used the Quiapo theater first. But when the society "La Espana" left the "Principe theater", the French Opera ' " ., Company chose that place.

In 1866; fne' national love for the stage performance in the Philippines was noticed even among the Chinpse in Manila. However, Gov. Juan ~e ~ra limited the places where the Chinese could present their plays. Tuesday night of January 16, 1872, a ehinese Opera was presented at the Tondo theater where a large nurnber of Chinese had witnessed! the accasion, The action of the play dealt with

39 the wars between the Tartars and the Chinese; and as the partakers used the Mandarin language, the Chinese themselves could not understand the ,play, On Oct, 13, 1877, the Spanish theater (Teat?'o del Pri:ncipe Alfonso) on Arroceros St, was destroyed by fire. But in front of this theater was located liince before, a big kiosk initiated by the Capt. Gen. It was octagonal in shape, and it was bulit for public dancing. As the "Principe Alfonso theater" was burned, ,this kiosk was converted into a theater known as tre "Variedades theater" (Teatro de Va- / riedades). The first company to .perform¡ in this theaterv' was ~ F~ench Opera Company. Later in 1881, this place was ca)fed' the "Coliseo Artistico", where a zarzuela company organized in Spain by Dario Cespedes had its performance.

At 't he end' of the year 1881, there c;me to Maniia another Italian Opera Company of Luigi Casati. which stll-ged at the Variedades theater 'and in 1882 Gore's Italian Company.

In thIS same year, the theater was destroyed by typhoon.

Then about 188i the Ftlipino theater was erected on Echague St., Quiapo. " In the convent of Pandacan about 1877 or 1888, there was a FrancisCan Friar Cipriano Gonzales, who was a masic! lover. There he headed the -erection of a theater, at his own The' ~ctors 'and actresses were the natives, r a'solid body (1893). By known as the "Circulo by the, people ' of so doinll", his name U:at place even gone. Most of the are lovers of the arts people of of Apollo. Boys , begin to study violin or other musical . ' iriiuiiurated the magAt Iris St., nificent Zon-illa 17, 1893. Its proprieSantos. Fegerico FernanOct. 25, 1893. was staged "Ell Diablo Mundo",/ Its and Rafael del Val while present, two 'big- theaters and the 'Manila Grnl);l

40 The opera companies coming to the Philippines hav~ been numerous. From 1864 to 1886 there 'came to the Philippines ten Italian Opera Cwnpanies. In 1868 arrived the Pompey Company; in 1874, the Assi-Panades Company; in 1886, the English Opera Company Mascote. This same year Donizette's opera Lucia di Lammermoor was first staged at tl:e Tondo theater. However, twentyfive years ago this same play was presented by Mr. Maugard's French Opera Company, at the Quiapo theater. In 1888, another Italian Opera Company by Cavalieri staged at the ZorriJJa theater the Lucia di Lammermoor. On March 1899, the "Anillo de Hierro" was pre~entecf at the Filipimo tlLeate?' by the Spanish Zarzuela Company. v

. Besides the Moro-moro, the "carrillo" WIllS also noticed among the Christian peoples. The first "carrillo" observed was that in 1879. In 1886, there was one on Magdalena St., ownedl by Navarro Peralta; and in 1893, there was another on Crespo St., Quiapo. The "carriJIo", or shadowgraphs, were made by cardboard figures movp.Q by skillful fingers between a white curtain and a lighted . lamp.

The Moro-moro was often presented by these shadow moving pictures. These entertailJiIllents were very common in Calamba ouring Rizal's tilP:~ But during the early part of the American adml~"1I in the ' Philipoines. the 3Jctors and actresses in;~;ÂŁf.#i)]o" became real people, instead of cardboard fi~'tifj.: fore. The performance took place in the open ail'r~The amount of the entrance fee depended up0Iti . of the individual; that is, if the individual likes to rlJve centavos. he may; and if he likes to give ten, he may also.

In 1880 Rizal had 'r~;leJ;;::~~d' v al Pasig" (Near Pasig) , ..~ de 'Manila on the nig.ht of of a religious character.

(CounsiI of the Gods) was contest held by the in honor of Cervantes, in prize, which was presented at

41 Governor General Primo de Rivera. Francisco Baltazar known as Balagtas, the Ta.g alog greatest poet, had written also many dramas. When he was i.n Balanga, he was often invited by the people to aid them in their Moro-moro performance.

Here ends my discussion on the Filipino musical stage before 1892. The period, then, was marked with the writing of poems or plays; and with the erection of public theaters. But after 1892, the Filipino ,nusical stage began to gain more life and courage. This is briefly told in the following pages.

REFERENCES La Ilustracion Filipina, 1891-1893.

W. E . Retana, "El Teatro En Filipinas", Chllpters IV, V, X, XI, XII, XIV, XV, XVI, XVIII, XXII, and XXIV. Vicente Barrantes, "El Teatro Tagalo", Chapters II and III. Craig and Benitez, "Phil ippines ¡ Progress Priqr to 1898," pp. 99-100 (Vol. 11.)

II

AFTER 18g2 , We have known that even before 1892, Here have been Spanish zarzuela companies in the city and in the provinces, besides the Italian opera companies. Most of tl' e members of the Spanish zarzuela companies have been the nathfe artists as Fernandez, Suzara, Tagaroma, Carvajal, Ratia, and others. But after the year 1892 the native zarzuelas began to have more life and courage as I have said.

ThJ Filipino masters of Tagalog language have produced many literary works about the Philippines; such as Tagalog zarzuelas, novels, and poems. The Filipino-Spani sh r evolution furnished us materials for our native plays and historil's. Furthermore, periodicals in the nat ive language also abound. However, during the Spanish domin3tion. we had many good periodicals as the "Ilustrac20n Filipina".

(1859), "El Trovador Filipino" (1874), "La llustracion" (1877), "La Lira Filipina" (1877), "Revista de l Liceo Cientifico Artistico-Literario de Manila" (1879), "Revista Filipina de Ciencias y Artes" (1882), "La Alhambra" (l889) , "El Hogar" (1893), which was about science, literatllrp., fine arts, and othl'r useful knowledge. The "La Lira Fili1)ina" was a periodical dl'voted to music. The first number was dated May 2, 1877 and the last number, Feb. 27, 1878. Most of the mus ical compositions of Carreras, Arche, and Massaguer were published in this short-lived but very interesting organ.

Among the early Filipino histrionic writers were Juan Abood, Pascual H. Poblete, P ed1'o Pate1'no, H81'7nog enes !la.gan, S everino Reyes, Pantaleon Lopez, C01'cue1'a, AU1'~lio T olentino, and Pat?-icio Mariano y Ge1'onimo.

JUAN ABAD was born in the year 1875, in Sampalok.

Manila. His first work in Tagalog, which early revealed his dramatic genius, was entitled "Suefios de mala fortuna," a comedy of ninl' acts which was staged at the "Arevalo" tl'.eater in Sampalok, in the year 1895. Then during our 42

43

revolution, he became one of our brave leaders; and afterwards he continued his work in different Tagalog periodicals. In December, 1899, the first number of a periodical entitled "Laong-Laan" published by Felipe Mendoza, Emilio S. Reyes, Faustino Salomon, Jose Palma, and by him, appeared. The publication of tbis organ was investigated and both Palma and Abad were caught and prohibited to write further in any other periodicals. At length, in Feb., 1900, the "Dimas-Alang", another periodical, was pub[shed and d:rected by Dr. Manuel Xeres Burgos. Again the oublication of this organ was investigated and suspended for that year.

However, that period of our history was marked with progress and important events. Amongst the signs of cultural development was the creation of a society known as "La Juventud Filipina," after the death of the "Dimas-Alang."

Filipino writers as Mariano Sequera and others, declared that the M07·o-mol·o or comedy representations only served to degenerate the growing culture of our country. Hence, this new society was organized by the writers of the dead "Dimas-Alang" primarily to d~scourage the Moro-moro or comedy representations and then to encourage or give more value to the Tagalog zarzuelas or dramas. Mr. Honorio Lopez was its president and Juan Abad, its active member.

This was an instrument that placed, a dividing line between the period of Moro-mol·o and zarzuela representations in the Philippines. .

Few were the zarzuelas \Witten by Abad; but ~heir value cannot be denied. His "Mabuhay ang Filipinas!" was staged at the "National theatelJ ' on the 17th May, 1900; "Mapanglaw na Pagkaalaala," at the "Universal theater" on Sept. 3rd of the same year; "Manila-Olongapo," the }!lroduct of his imprisonment at Olonga,po, at the Zorrilla theater in June, 1901, after his release from said deportation; and staged at the Oriental theater in Feb. 1902, one of his best works entitled "Bulaklak ng SallTlpalok," for its literary and technical merits, received a gold pen. On July 7th of the same year, was performed at the Libertad theater h:R work known as "Tanikalang Guinto,'; a drama of thl.ee v

44 acts. This play being 'considered as a libelous one, he was accused again when it was staged at Batangas in May, 1903. His writing of patriotic zarzuelas gave him many sufferings which only inspired him to produce more histrionic works in the future; and whenever he performed his work, he always won the sympathy of the public.

Pascual H. Poblete, a brilliant writer, was born on the 17th May, 1857, in N aic, Ca.vite. As a man willing to cultivate his literary genius, he worked in many different periodi'cals since his early manhood. In 1888 he founded the "Revista Popular de FiJipinas" and "Patnubay ng Catolico"; in 1890, the "El Resumen"; in 1891, the "El Bello Sexo", in 1893, "El Hogar" and many other newspapers published during our memorable revolution.

In the year 1896, he was sent to Spain as a prisoner.

Hie visited Paris and other countries of Europe and later was nominated to the Board of publicity of the "Ministro de Ultramar". In 1898 he came back to 1lhe PhiJippines, continuing his work in the field of Belles Letters.

In Sept. 1899, was performed at the Oriental tbeater his dramatic zarzuela of Philipine character. It was ent itled "Pagibig sa Lupang TInubuan" (Love for One's Native Land), containing three acts, with tre music of Severino Kimpin Bautista. Then on tre evening of March 25, 1900, the same work was again staged at the same theater, where an enormous aud ience ¡witne~ sed the performance. At the middle of the third act, the Filipino Capt.

Carlos- Lara with some other Filipino policemen ru~hed to the stage, getting all the swords and rifles used by the actors and actresses. Capt. Carlos Lara seized the Filipino Flag from the hands of Miss Elena Famy Lara who was dressed like a lieutenant, stepped on it, and showed no respect. Mr. Melecio de Leon, the owner of the theater, and Pascual H. Poblete, the author of the work, were both brought to the jail at the plaza of Quiapo. To investigate the case the next day, guarded by a number of soldiers, the accused were brought before General Otis. Poblete was allowed to explain himrelf. Among the things he said was that whenever the stary flag of the sons of Wash-

45

ington was waving, there reigned liberty and reasons.

Then they were pardoned and General Otis .asked Poblete not to use yet the Flilipino Flag; for it would enkind!le the hearts of the Filipinos.

This work of Poblete reveals patriotism. Inspired by the insurrection of 1896, he became amongst the f irst writer on Tagalog zarzuela. In Dec., 1913, he founded the "Dia Filipino" wherein most of the articles speak of our national hero, Rizal.

In the afternoon of Feb. 5, 1921, he died of an acute heart disease. Every press in Manila was in mourn. His experience in the publication of different periodicals, p.is numerous literary works, and his diligent labQur as a reformer-aIl of these won for him an honour which will remain forever in the hearts of his people.

Pedro A. Paterno was a lawyer ~nd writer. He "fas born in Manila February 27. 1857. He studied in the ~'te­ neo de Manila, reC'lliving his A. B. degree in 1871 and .in lR80 he rpceived his licentiate in law' from the well-known "Universidad Central" of Madrid. In Spain he was known for his literary achievements. In the Philippine¡ he was the president of the Malolos Congress as thjl Philippine Republic Was organized. His tir.eless life was closely connected with the history of our country durin~ the last few years of the Spanish rule, he being the holder of responsible positions.

"La Antigua Civilizaci6n TaR'alog", "El Kundiman",.

"La Sampaguita", "La alianza sonada" (one- act opera). and, "Sandugong Panaginip" (a. Filipino ol)era), with music composed bv Ladislao Bonus liTe some of his literary procTuctions. After devoting most of his mlrk and energy to his peoJ:) Ie. he died in March. 1911. leaving- to u~ the permanent essenCe of hi ~ patriotic works. To be able to understand his "SanduR'ong Panaginip" one should have a deep academic training. When it was performed IJUl,ny years ago, it only gave a momentary idea. But now if it will be again staged . I think its historic value will be appreciated by the majority.

46 H ermog ~ nes Ilaga~!, born on April 19, 1873, in Bigaa, in the province of Bulacan, is a diligent cultivator of Tagalog theater. He came to Manila as a i'tiple" of the Sta. Cruz Church. There he received his early acadâ&#x201A;Źmi'c instruction and then he studied under Prof.

Enrique Mendiola. Desp:te He fact that he has received but little education from school, yet his self-study and frequent associatoin with the people of Bulacan, the cradle or Tagalog language, created in him the seeds of success in t he field of Tagalog theater.

HERMOGENES ILAGAN

His company known as Compania de Zarzuela Ta....,/ gala is noted for its stability. It has its own regular actors and actressEs and has visited \Laguna, Buia-_ can, Bataan, Tayabas, and other provinces of Luzo:l, giving there magni fi~e nt performances.. "Dalagang Bukid," "Lucha E 'ectora';' "Ilaw ng Katotohanan," "Kagalingan ng Bayan," "Punal 'de Rosa," "Despues de Dios, el Dinero," "Dalawang Hangal," Biyaya ng Pagibig," "W.agas na Pagirog," and "Isang Uno't Cero," are some of his noted works. Leon Ignacio wrote the music for the first seven; Antonio Custodio, for the eighth; Hipolito Rivera, the ninth;

and Lorenzo Reyes for the la st.

Another native stage writer of good reputation is Sevel-ino Reyes. He was born on Feb. 11, .1861, in Sta. Cruz,

47 Manila, and studied his secondary course in the schoo! of Cataiino Sanchez and later in the San Juan de Letran College.

Afterwards, he took philosophy in the Sto. Tomas University.

During our revolution in 1896, he was placed in jail for a time SEVERINO REYES and in 1902, he began to stay his Tagalog zarzuelas. Later he organ- /' ized a company know as Gran Compaiiia de Zarzue.........la Tagala. In October, 1902, was staged at the Zorrilla theater his zarzuela entitled "Filotea" or "Ang' Pagaasawa ni San Pedro", the music of which was composed by l<'ulgencio Tolentino and G. Carluen. In 1905 was staged his two zarzuelas of one-act, "Ang Bagong Fausto" and "Ang Kalupi". Cr;spino Reyes wrote the music for the fir st work and Fulgencio Tolentino for the next. For a year he had many theatri'caJ. performances, which I think, are not necessary to describe here further. The following works speak of himself as the author: "Filipinas para los Filipinos" (two-act). "La Venta de Filipinas al Japon" (two-act). "Walang Sugat" (three-act). "Los Martires de la Patria~rEe-actJ, ~' Ang. TaUong Bituin" (three-act), "Lukso ng Dugo" (tl:ree-actJ , and "Puso ng isang Filipina". Jo ~ e Estella composed the music for the first two; Fulgencio To!ÂŁ:ntino. for the r.ext two; Crispino Reyes for the fifth; and Juan Hernandez for the sixth and seventh.

Pantaleon LopeZ, the son of Felix Lopez and Pia de los Santos, was born on July 27, 1873, in Pandacan, Ma-

48

nila. and died on Sept. 22, 1912. He became a church canand among the first Filipino dramatists. His first work was entittled "Masamang Kaugalian, a three-act zar-V zuela which was staged at the F1ilipino theater in 1901.

His last work was the "Nena Pantoches" which he was unable to co,mplete due to his ill health. However, Fiorentino Ballecer, his wife's brother, completed it. His iii health was due to his continuous work during the night and during the day, sometimes trying to finish his work within a short time. His other works are: "Lumubog na araw sa Pilipinas", a one-act drama; "Ang Infierno", a three-act zarzuela; "Rizal en CapiJIa", one-act drama; "Rosa", a four-act melodlI'ama; and "La Independencia", one-act melodrama. These works are in the possession of his wife, Priscila Ignacio.

In July, 1902, were staged the three best works of Corcuera, entitled "Ang pagpapalayo ng magulang sa anak", "Ang pag-ibig ng babae", and "Ang paglililo ng asawa". The music was composed by Bibiano Morales.

Aurelio Tolentino, although a Pampango, had written many piaYR in Tagalog language: "Sumpaan" (3-act- zarzuela Tagala), with music by Teodoro Araullo, was staged at th'l L'bertad theater in Jan., 1903: in tha same year, his "Pilipinas at Espaiia," a two-act Tagalog drama, was performed at the Rizal theater; and "Kahapon, N gayon, at Bukas", a TJllgalog zarzuela in three acts, w.as staged at the Libertad theater, "Rizal y los Dioses" (three-act Tagalog opera); "Ang Makata" (one-act Tagalog zarzuela); "Sinukuan" (three-act Tagalog zarzuela) : and "La Rosa" (one-act Tagalog zarzuela), and many others, are his brilliant works.

Aurelio Tolentino was born in Guagua, Pampanga, on Oct. 15, 1868. He studied in Malolos, Bulakan. and then in San Juan de: Letran College, completing in the last his secondary course. He becB;me a prisoner during our revolution (Sept. 16, 1896-May 17, 1897) and he died in June. 1913.

There were many other Filipinos, since the American occupation of the islands, who have shown t'h eir love for

tOI'

49 the Tagalog stage, but their works are so few in number that I do not attempt to mention them here at present.

Furthermore continuing my discussion, I shall describe briefly the achieve,mtnes of Patl'i(}io Mwriano y Gm'onimo, who has also writt3n some meritorious works. He was born in Manila on the 17th of Mar: h, 1877. He began his early education in a private school in Sta. Cruz, and then studied his primary and secondary education in the Ateneo de Manila. Finally he took the bookkeeping course in the "Escuela de Artes y Oficios". Hlaving aspiration to be an artist, he worked in a shop of typography a.nd stereotypography und er the direction of Jose Dizon. After his stay in the Filipino revolutionary camps, he returned to Manila and became the director of various Tagalog periodicals. and officer and mâ&#x201A;Źlll1ber of different societies.

On June 19, 1902, his work in verse entitled "Silanganan" re ~ eived a prize from the "Samahan ng Manunulat ng Tagalog;" which opened a literary contest. In July, 1913 his one-act drama "Ang Pakakak" received a prize at the anniversary of the "Renacimiento Filipino". Some of his other works are "Sampaguita" (3-act Tagalog zarzuela), "Luha't Dugo (one-act lyric drama.), "Dalawang pagibig" (2-act politi(:al drama) I and "Lihim at Pagibig" (f)ne-act zarzuela). Lastly r may say th'a t Patricio Mariano y Geronimo is a poet, dramatist, writer, and laborious patriot.

Now, you have read the achievements of the early Filipino dramatists and also have seen the improvements of Tagalog treater before and after 1892. The Filipinos as a people have a dramatic tendency in their movements. When motherf talk with their innocent children; when children play with other children i when rice is pounded with the rhythm of the guitar and when a boatman rows his boa.t on the Pasig, a histrionic scene is beheld. In a play, an actor ot an actr~s usually acts for some one else, with proper demeanor and intonations. At times he or she tries to be sorry, to be happy, or to be angry, altho they are not.

This peculiar characteristic of a performer is well em~ ployed by the Filipinos who are rich with the native en-

50 dowment. Moreover, their voice is powerful perhaps because they are Oriental people. Listen to the voice of Carpena, Fernandez, Suzara, Montes, Carrion (Balbino), and Carrion (Victorino); in it there is dramatic life.

Moro-moro is not now the favorite play of the public specially in Manila, unlike the Tagalog and Spanish zarzuelas and operas, which are always presented in the leading theaters in the city ando in the other pa.r ts of the Philippines.

At present the Manila Grand Ope1¡a. House and the Z01'1illcL Theatcir are the most popular edifices for dignified ~ea1iri1Ca1 performances. In a ciVlililzed country, among the edifices full of historical Lmportance M'e the theaters and churches, where the true life of a country can be ¡explored. The ManilcL Grand Ope1'a House is an edifice of historical value both to strangers and to the natives.

Like monuments, this is so rich with the memories of the past. In 1899 the present site of the Manila Grand Opera House was the "National Cycle Tr(ck" owned by Mr. N. T. Hashim, who arrived in Manila on Jan. 5, 1R92, It was only one-fourth mile in circumference and it had a nipa roof. Every Sunday there was a bicycle race. Then in 1900 it became the "National Theater", which was the place where the Russian Circus had its performance whenever it visited Manila. In 1901 Judge Liddell and Dr. Skidmore made a con'tract with T. D. F. Frawley to improve the theater within three years. However, no good results were accomplished. Then in 1902, when the Italian Opera Company under Balzofiol'e arrived in Manila, Balzofiore had made a contract with the owner of the theater, Mr. N. T. Hashim, to construct and improve the entire edifice within sixty days. Thus, by their wise co-operation, the Manila Grand Opera House, as it is now, was completed and painted within fifty-nine days only, and after that date, it was ready for use. This was constructed without any drawn plan; the plan was only imaginary.

Hence, its dome in the center of the roof was erected with great diffi'culties.

Under the roof of this theater have been heM many

51 important meetings, both of political and private aims.

In 1907 the first Philippine Assembly which embodied the. liberty and life of the Filipino people, was inaugurated in this magnificent theater. When European virtuosi and opera co,mpanies come to the Philippines, they prefer to use this theater.

There are many other theaters here that J may touch upon in addition to those already mentioned. They are the Libeltad theatel¡ (not existing any more), and the Paz thea.ter in Paco.

/

CHAPTER III

FAMOUS NATIVE SINGERS I VENANCIA SUZARA Venancia Suzara, the daughter of Exequiel, a guitarrist, was born in the year 1869. When a young child, sh~ used to dance and sing while her father was playing some airs upon the guitar. At an early age, she began to appear on the stage and ~oined Cabero's Oompany which perfOl1Iued at the Filipino theater. In 1882, sl:e had theatrical engagements in Hongkong, with J. Carvajal. Raguer, Cubero, and others, giving triumphal performances. Then she came back to Manila in 1884 and appeared in the zarzuela, "Una novia de encargo", staged at the Filipino theater. When on Oct. 25, 1893, both mtnilio and Rafael del Val staged at U:e Zorrilla theater, the "EI Diablo Mundo", Suzara acted as Blasa. In the "Anillo . dE' Hierro" staged at the Variedades theater in Sulukan, Sampalok, on Nov. 17, 1901, she appeared as the Margarita with Mrs. Obrero, Ramos, Ratia (son), Carrion, La madrid, and Maurat. Then later, on Jan. 25, 1902, she acted with Mrs. Miguel and Navoa, and Messrs Cala, Ratia and Molinero in a! performance (Ratia's benefit) at the "Teatro Universal de Kawit" , where was staged "El reloj de Lu cerna". All her public appearances on the stage have proven her extraordinary ability and dazzling talents specially when she appeared in "La, Gran Via", "Como esta la Sociedad", and "EI Barberillo de Lavapies."

Suzara diedJ in the year 1903, leaving a very prominent place in tre musical stage. RIel' voice, her genuine pubiic performan'ces, a.nd her admirable character-all of these will make her memory alive. As an artist who succeeded in giving impression on the minds of her audience and tiS a vocalist of rare ability, Suzara should be reckoned as a leading Filipina artist during the Spanish times.

52

II

PRAXEDES JULIA FERNANDEZ A model artist was Praxedes Julia Fernandez, who was born in Sta. Cruz, Manila on the 21st of July, 187l.

At about seven, she took part in the Compania Infantil directed by Franch;co Jabellana in the ancient T'eCLt?¡oci?'co of Bilibid. She studied singing under Elisea Raguer at about 16. Before this, she learned the various kinds of dancing as the "jotas" and "fandangos", which she used to perform at the 'Icanillos". Ramon Mulet was the manager of the Company that performed in San Nicolas, Binondo. where her teacher in singing was Pedro CastanE'da while Juan Barbero, her director. Cubero's company in Manila composed mainly of native artists usually gave performances at the Teatro Portatil Fernandez, which later became the Filipino theater and then the Empire theater of to-day_ A company directed by Navarro de Onis, known as Cl'Impaiiia Fernandez had SUCCE'ssful performances at the Tondo theater at the same epoch.

In Manila, a "scene" was organized and directed by Jose Carvajal. It was known as "Las trell ninas" composed of Fernandez, Suzara, and Tagaroma.

Appreciating Yeyeng's work (Fernandez) in the various benefits ~he rendered, the Army (Ejercito) orga~ nized one for her, on Sept. 30, 1891. "Yeyeng March" composed by her fornner teacher, Pedro Castaneda, ' was executed on that occasion by the artillery band directed by the autor. On that same day, she also received many presents, one of which was a silver crown with the inscriptions. "EI Ejercito Espanol Agradecido a la Eminente Artista Filipina Senorita Praxedes J. Fernandez, 30, Septiembre de 1891."

Her bewitching voice and ideal beauty were also noticed by the Gov'e rnor Gen. Despujol, when she was seen acting in a zarzuela "Chateau Margaux" and in the comedy, "La Casa de Campo".

53

54 In 1893 she had engagements in Iloilo and Negros with Compania Fernandez composed of Sa usa (D. and R.), Tagarona, J . Carvajal, Ratia, Lamadrid, Molinero,.

Rochel, Ortiz, and others. The oftener they appeared, the more popular t hey became.

Then on Aug. 18, 1894, Fernandez was married to Ricardo Pastor y P'anades, a prafessor of the " Escuela de Artes y Oficios" of Iloilo. They went to Iloilo staying there until March, 1899, on which date they sailed for Spain. In 1902 they returned to the Philippines.

On July 28, 1902, she had a benefit patronized by Gregoria Roman de Cobarrubias. Then she went to Cebu with the company 'composed of Sausa (D. and R.) Molinero, Torrente, Torra s, Martinez (Macario) , Panadez, Ruiz, and Madariaga, and other s, rendering marvelous performances.

Fernandez also went to Hongkong and Macao, returning to her native country in Aug ust , 1908. As a singer and actress her ability was a marvelous one. The plays where she had important role were " Marina" , "EI Anillo de Hierro" , "La Mascota", " E! Conde de Luxemburgo", "La ¡Casa de Dios", and, "La Viuda Alegre" . As has been observed the performances were h eld at differ ent theaters in the city, of which Taft theater (afterward'3 Balintawak cine) in Teodora Alonso ; "Teatro Cine del Oriente", in Dorado St., (Quiapo), Cervantes theater ; and Colon theater in Iloilo, were the ~ost popular.

On Aug. 22, 1919, she died and her necrological program was held at the Zorrilla theater on the evening of Nov. 27, 1919. Selected musilcal \com;positions were interpreted, of which J. Hernandez's hymn " In pa~e" sung by a chorus of young men and women accompanied by the orch estra; "No has muerto", music by Buencamino with words by Alberto Campos, sung by t he Centro Escolar girls; and Beethoven's descriptive musi c executed by the Molina orchestra directed by professor Abdo!l. wer e noted ThJe program cornmJittee was .composed of Martin OC3jlTlPO, Severino Reyes, Pat ricio M:!riano, Julio Gonza-

55

les, Amadeo de Romaiiach, Jose del Rosario, and Bonifacio Abdon, while the committee on decoration, of Eulogio Garcia Velarde, Petronilo del Rosario, Amadeo de Itomaiiach, and! Serafin Martinez.

She is gone to another life! Yet her artistic achievements will remain fresh in our memories, crystalIine liKe the morning dews on the grass, and sweet as the ilang-ilang.

III MARIA CARPEN A Y lEV ANGELISTA Maria Carpena, a native of Biiiang, Laguna, was born in Oct., 1887. Her to\ilsome life grew with sorrows and hardships. But it was her artistic genius that shaped her future career. She stayed in the Sta. Rosa College thru charity, helping the Mothers in their works in embroidery and singing. The Mothers have observed her "irreproachable" conduct as well as bel' genius in vocal music.

In 1901 Carpena began her first debut, singing a concert piece at tbe Zorrilla theater. Formerly, she was a member of Severino Reyes' Tagalog Zarzuela Company, and then of the Oriental Company. Of Reyes' Company, she was the first cantatrice having important role particularly in "Walang Sugat", "iMinda", "Lukso ng Dugo", and "La Confianza mata al hombre", in all of whi1ch she lavished all the treasures of her art. The audience was always entranced by her grace and wonderful and flexible voice at any theatrical performance.

Caring much for her profession and neglecting her health, she soon met h~r untimely death at the San Juan de Dios Hospital on the night of March 8, 1915. It was the date of the pa.tron Saint of the hospital, San Juan de Dios, and Jose Carrion, a cam.t01¡, the son of the cantor of Quiapo church, Balbino Carrion, was invited to sing during the mass celebrated that morning. When he saw her that morning, she was already in a delirious stat e. Then on the morning of March 14, her funeral ceremonies and burial were held.

While her corpse was in the "F'uneraria Nacional," the Oriental orchestra executed the Requiem mass and Chopin's funeral march, under the direction of Prof. Antonio Garcia and Jose E stella respectively; and at the Binondo Ca~holir cemetery. before her corpse was buried, Adonay's Liberame was executed under his direction and the Solo

56

was mournfully sung by Victorino Carrion. Dominador Gomez, Hermogenes I1agan, and Patricio Mariano were the principal speakers.' "Just .as the Filipino flag with its three stars is still hidden in the dark corner, so is Maria Carpena, the fourth star to be buried", said G~ez.

Carpena is gone but her accomplishments remain. Her physical beauty, her magnetic personality, and her bewitching voice, made her a dist inguished artist. She feels what she says and sings, a characteristic rarely found among artists, and she became prominent amidst difficulties and sorrows.

IV THE EARLY SIGNS OF TAGALOG LITERATURE The expanded discussion of Tagalog literature should occupy a separate book; but to give the public and particularly the strangers a succint idea of Tagalog literature, here it is briefly discussed. Pardo de Tavera, Epifanio de los Santos, Calderon, Ponce, and Paterno are among the known Filipno historians.

The Filipinos as a distinct race, inhabiting the islands named after King Philip II of Spain, have music, literature, and history of their own. They have duplo, leUr ragOJtan, daLit, c01"ridos, aw it, w a1'song (kumi ntang), love song (kundiman), boat song (suliranin) , p1'ove1'bs (salawikain) , 1-iddles (bugtong), legend\s, and etc.

DupLo, is a farce usually performed on the ninth day of the pasiam, a nine-day praying done at night in honor of a dead member of a family. In order to be a good du.. p Le1'o (one versed in duplo) one should r eason and.J..!peak

well in poetic verses. The nu.ml>er of syllables is I not limited. A king is selected among the partakers (vi1lacos and villacas) of the duplo, to maintain peace and order while the action is going on. The theme of the discussion may be war, love, appeal for justice, or what not.

Sometim'es the duplo lasts for more than one day. This is an amus~ent which will develop our minds in verse making and spontaneous thinking. Now, it is seldom practiced, except in some provinces ; and its place ras been taken by a new game known as Juego de prendas (game of forfeits) .

Kamgatan is also a farce but erotic 'in character. It it is also performed during the pasiam. A row of young men sits opposite a row of young women .. The game is begun by a young man who throws a handkerchief at a lady sitting opposite him, he making some preliminary amatory expressions. Then the drama continues.

Dalit is an epicdithyrambical tale sung duril1g the pasiam. It is passionate and eulogistic.

58

59

Corrido8 are legendary and religious poems in octosyl. labi:: verSes. Awit is a heroic poem l'ead with a peculiar tune at leisure hours. It is written in dodecasyllabic verses, as the Florante and Laura of Balagtas, and accompanied by the kU1ni ntang.

P"overbs (salawikain) are short ~ ayings teaching some moral lessons, as: 1. When the sea is calm, it is deep. This means that when a person is silent, he is sup¡ posed to possess knowledge. 2. Keep bread for May. This means that we should keep some money for future use.

A r ;ddle (bugtong) is a sent'ence, the hidden meaning of which, is to be guessed, as: 1. Two balls of thread reach the sky. (eyes). 2. A deep well is so full of blades. (mouth.)

A lengend is a romantic or marvelous tale. The Fi¡ lipinos are rich with legends. The story related by Rizal about the cave of Dna. Geronima is an interesting native legend. : Th~ poets of northern Spain and Italy and of southern France who wrote in the langue d'oc from the 12th to the 14th century were known as troubadours. This tenn came from the word: t"oba?', which means to find, or to invent.

Troubadourn are class, of minstrels who composed improvised lyric verses, amatory in character, and who roam through the land, singing under the windows of ladies. But the medieval poets of northern and central France who wrote in the langue d'oil or langue d'0'U1, are called trouve'res. This tenn also mean~ to find, or to invent. Those trouveres lived in the 12th-13th century and their poetry was described as more dialectical rather than emotional.

Those poets were classified as "pedants and attorneys of fantastic tribunal of sentiments".

The Philippines then as tbe countries of Europe gave birth to poets who may be called troubadours. As has been said, lierenading was a common nocturnal amusement of the natives, performed under ladies' windows. On this OCC8.Sion, as, the aim Is to soften or win the heart of

60 the girl 01' of the parents, a man who can sing improvised verses is invited. 'I1he lover usually tells the man the m,otive or theme to be developed. Among the FilipinoS" who may be regarded as troubadours were Manuel Rodriguez and a person popularly called as blind FeJjx, who stayed in Pandacan. As Rodriguez, upon his guitar, could sing improvised poetic songs, he was always invited in every serenade. During our revolution, he as a captain of Filipino engineers at the revolutionary camps, was ordered to be shot by one of our generals. Felix, a~ Rodriguez, had influenced! the people of ?andacan by his IIrtistic ability.

CHAPTER IV.

FAMOUS FILIPINO MUSIGIANS I MARCELO ADONAY One of the most notable figures in the history of musical Philippines is Marcelo Adonay, church composer and organi s t who devoted much. of his time to the studying an~ writing of religious music and who is interested to cultivate this sublime art in this country. His simple life is very unique; in the afternoon, he takes a walk in his garden· where trees and flowering plants· are found. In one of the rooms of his house, there is an altar MARCELO ADONAY where the portrait of Saint Cecilia will invite visitor's attention.

In conversation he is thoughtfur and can talk for many · hours especially when the subject of conversation is about ; 61 .. i '

62 music, or religion. He is familiar with the history of ancient conservatories and with the lives of European virtuosi. .Regarding the present faculty members of the Con servatory of Music, University of the Philippines, hfl said that to acquire a much wider understanding of music and to acquaint the Filipinos with the educational ,methods of European virtuosi, the government should import professors from foreign lands; such as, Italy, Germany, and France, to const,itute the faculty; of our newly established conservatory of music at Manila. Sad it is to recollect, that during the Spanish time, we did not have a like institution. Howeve,r, many music professors then tried to' organize one but the idea was a failure. Yet despite the fact that in times remote, we dJid not have similar instiJ tutions where we could train our young boys and girls along the line of nrusic, stiU we are proud to mention one of our p'lpular ~~sicians; namely, Ma,rcelo Adonay who, hke Bach, did not acquire any conservatory rducation but nâ&#x201A;Ź:vertheless became a musicain of high standing.

Born in PalOl, Laguna Province, of poor family, OIl January 16, 1848, Marcelo Adonay, when about eight years of age, was sent to the convent of Saint Agostine to be g choir-boy, At an early youth, he ~h'Owed a true love for music. With little help and by diligent study, he learned har;m,ony within his few years' stay in the convent.

That at an early period, it must be known, the con J vent already possessed an organ. Because of his I!UrrepJ .titious studies and inborn g~nius, his artistic tho.u~t was developed under the illfluence of an environment so jlb!lrming and peaceful, a place where the singing of maY~irdS was the onTy noise heard. .,t Then late in the nineteenth century, Adonay, being a studious mUsician, was appointed "Maestro di cappella'" and organist 0$ the Saint Augustil)e chuxch, which position he held until 1914. In the convent about toe year 1870, he founded and directed an orchestra band 'composed nearJ ly of twenty and jIve members. Like the Cathedral orchestra, fuis organizati~ should participate in any religious ceremonies of the Saint Augustine church. The J

63

Saint Augustine orchestra had weekly practice under him; thus it became popular in the city as a disciplined musical organization.

In the ~onvent in his leisure hours, Adonay's creative genius made him compose several church compositions, . some of which that were brilliant were copied by some Au- . gustinian Friars and brought to Madirid where Rev. Fr. Manuel Arostegui saw and examined them critically. From 째 this exa;mination, he learned U:.at the author already un- 째 derstood harmony which is an essential element of musical composition. To show his appreciation of Andonay's work, instead of sending him a book on harmony, he sent him one that treats on counterpoint and fugue. On the second ,page of the book, Aro3tegui's hand writing of his signature can be seen. Adonay's reputation then spread not only in the city of Manila but also in Madrid.

About the same epoch, mus:'c-Iovers of t he city sought Adonay'ls 째instrucfficms. 'I!he children of IF'l1ancisco L. Roxas became his noted pupils. During his frequent visits to Roxas' house, he had composed a "tanda de valse".

Florencia, the idea of which came frQlTl Roxas. Adonay only wrote its principal part in musical notation and later Antonio Garcia composed its piano part.

At this time instrumental and vocal concerts were often held in the city by foreij!'ll and native artists. As organist. violinist, and conductor, Adonay has appeared before the public at several occasions, taking part not only in the public concerts but also in masses sung in the city, where he displayed his true mu~ical abilitv. In AUl/.'ust.

1887, Beethoven's grand mass in D, Op. 123, was sung for. the first time in Saint Augustine church. In its rehearsals only a very limited time 째had been spent; it was so splendidly performed, however, due to Adonay's own efforts. Again on the 28th of August, 1891, the solemn mass of Reparaz was executed by the Saint Augustine orchestra in the same church under Adonay's own oer~onal '0 direction. In this Pardo and Gonzales took part. Then , in March, 1893. the IM iserere of Eslava was beatiful\y sung, with orchestra, altetrnated with the chorus and Ado-

64 nay's Benedictus. This was an occasion in which his original work was executed; and the public began to recognize him as an accomplished! church composer. Seven years after this, on the serene morning of June 13th, was sung in the Quiapo church a solemn mass in honor of Saint Antonio. This w.as Adonay's mass, Who then directed the famous San Juan del' Monte orchestra. The mass being over, Adonay received from Eustacio Muyot a fine "baton" made of ebony, decorated with silver, and inclosed in a case, with the inscription oIf Adonay's own name on the outside.

On May 28, 1903, wmile 'Adonay was celebrating at the Sta. Cruz church the 22nd anniversary of the death of Luisa Formentos, a sad news that his friend, Father Manuel : A:r6stegui, died in - the 'historic convent of Saint Augustine, reached him. Knowing the news, indeed, he was very sorry; and when the .nt,ass was over, he transferred at his own cost, his harmonium and piano from the Sta. Cruz ohurch to the chapel of Paco cemetery. Besides these, th~re was a violin and a violoncello. At five in the evening, the Requiem mass was sung; his wife, two daughters, and he himself formed a quartet which played his own funeral march. Furthermore, his Liberame Domine for baritone was alluringly sung. That day every one was sad and the mournful ;music increased the solemnity of the evening.

Another important mass in which Adonay's own mass was once- more sung, was that one held at Pasig. It so happened that. the' day following the arrival of the Virgin of Antipolp, was the day of the patron Saint of that town"La Purisima ¡. Concepci6n." At 'seven o'clock in the cool morning of December, 1904, the Catholic church of Pasig was crowded with¡ people; and at about eight, the :pontifical high mass was begun. That was Adonay's mass which was interpreted by the well-known Rizal Orchestra under his own direction.

Now then, speaking of society, I believe that he is also a social man who joined several musical societies organized in Manila. One of these societies was known as

~

65

"Union Artistico Musical" . initiated by Garrido and Sa co del Valle in 1885. Don Pedro Gruet was its president and Marcelo Adonay its record-keeper. And as teacher of solfeggio, harmony, and composition, of the "Centro de Bellas Artes", Adonay \\18S elected in 1902. Then on the 7th of January, 1912, another mass meeting was held by Filipino artists at Pablo Ocampo's residence. Of this organization called the "As-xiation Musical de Filipinas", he was a me.mber of an important commitee. In spite of the fact that much efforts had been spent by the musiclovers of bhe city to sustain the life of the~e different 01'ganizations, yet all of them Were short-lived.

As popular musician, he \\1!lS often appointed member of a jury for sevel\31 musical contests in the city at various occasions. The carnival music-committee for February, 1908, appointed him a member of a jury of a musical contest in one of the carn'ival days; and on the 4th of July, 1911, he again won a similar position.

As composer he is known thru his numerous selected works, lik,e his poetical, descriptive composition composed in December, 1911. About two weeks before the end of that year, Hon. Pablo Ocampo, then the manager of the Rizal Day celebration, went to Adonay's residence in Malate and asked him to COmpose a descriptive music to lie played on December 30th. The theme j!'iven was Riza! Glolifiecl which was already assigned to Silos Who perhaps to his inability or illness, left the \\fork undone. Adonay at first was unwilling to accept the work. saying that he had no time; but still Hon. Ocampo asked him to acckpt it. Thus he acceded to the request and after a ' few days,_ the music wa~ soon finished and ready to be played at the Manila r;rand Operll House on the night of Dec. 30th, 1911. . He directed thp orchestra himself. The composition was dramatic in its nature as well as poetic imd romantic. It 'fas one of the seven fragments composed ,for th~, occasion. These different fragments taken as a whole, de~­ cribe the laborious life of our hero from his birth until .,is death on Bagu.mbayan. That precious night was so charming, so solemn, and so inspiring that the audience on

66 hearing his music seemed to witness the sad morning when Rizal met his heroic death and seemed to feel the Luneta breeze that had kissed the golden brow of Rizal.

His com,position began with the reveille, depicting the stillness of the morning while everything was at rest and while Rizal was still confined in Fort Santiago. This Wias followed by the ,march of Cadiz, which was then followed by a funeral march expressing the seriousness and sadness of the occasion. After this was heard the sounds resemi;lling the noise of the bullets that destroyed the cranium of Rizal. Then a solemn and mournful music came nex-t, showing the attitude of a person when placed under such a critical situation. Again the march of Cadiz was executed, and lastly a Heroic Hymn was played, a melodious and sober music.

Adonay as composer, is considered, a musical poet.

Other Filipino musicians go to his house only for the revision of their works. Once his friends after hearing the composition of Jose Canseco, w~ich won a prize of a gold medal in 1882, went to the Saint Augustine convent to congratulate him; for they thought that it was his work.

But it was not; it only l'esembled Adonay's work.

In his religious works noted for their originality, freshness of melody, lyrical expression, and pathetic sentiment, Adonay has shown that he had, mastered orchestration and composition-w'riting. He wrote about four funeral marches,-a Funeral March for mandoline and guitar; Moments of.., a septet; His Sons Before the Tomb and C sharp-minor, quartets for violin, violencello, harmonium, and piano; and Sad Hours, No. 1 and No.2. In addition to these he Wlrote: A Grand Mass for full orchestra; Te Deum for full orchestra; Invitatory for the Nativity; Benedicr tus, the Chant of Zacarias for voices and string quartet (1869); Liberame DOmine, for solo voices with doublebass accompaniment (1869); Offertorium of Saint Augustin mass; detached Benedictus for full orchestra with an English horn and an harp accompaniment, dedicated to Jose Pardo, a Spanish tenor; a Solemn Mass on motives from Gregorian Chant, for orchestra and voice; detached

67

Dies Irae for orchestra; Farewell to the Virgin written in E natural.,minor and in F 'natural-minor for orchestra; Farewell to the Virgin in C sharp-minor for string quartet; a Romance to the Virgin, with' words of Fernando Ma, Guerrero; Gozos to the Consolacion Virgin and to Saint Roque; Ave Maria; The Tarumba of Pakil, a descriptive composition for band and voices; To Obando, a descriptive music; Filipino Airs; and etc. These works until now are not yet published.

Among his talented pupils were Pedro Navarro, Baltazar Castueras and Jose Vallejo. Now he is in his peaceful home, taking care of his garden and domestic animals, and seldom or never takes part in public concerts. In 1921, W. H. Loving went to his house and, asked him for an original composition for organ. He then gave him a "Tocata" in D sharp.,minor, which the latter brought to the United States. Now above all, Adonay is among the best' known and amiable Filipino composers of religious works, , works of everlasting value. It may not be omiss were I to close this brief sketch of his by calling him as the "Wizard" of Filipino religious music.

II JOSE CANSECO, Jr. Jose Canseco, a liberal teacher of harmony and musical composition and at the same time a was theoretician, born in Intramuro ~, Manila, in the year 1843 and was baptized at the Manila Cathedral. His parents were Jose Canseco, and Ce::;ilia Rivera del Poso. In his tender years, he entered the Saint Augustin convent as a choirboy. Here he was found to be a talented lad.

Some of the Augustinian Friars at JOSE CANSECO, Jr. that time often visited !locos Norte. There they brought young Canseco whom they asked to marry a young girl, after their short stay in the town. But in order to be safe, he escaped and hid himself in tl:e top of a mango tree. Then one night, he met a friend of his from the band of the Spanish Regiment No.8, Wlhere he finally decided to join, staying there for about eight months. However, when Canseco reached Manila, his mother, knowing that be had entered the band, at once went to the Captain-General at the palace and asked for the dii3m;ssal of her son from the regi68

69 ment which he entered without parental consent. At last her son was honorably dimissed. In Manila, with tpe reputation as a gifted musician, he became a tenor singer of the Manila Cathedral. ' During the earthquakes of 1863, he was nearly killed inside the Cathedral; yet, what happened to him he did not mind but r emembered his neVor pair of shoes to be worn the next day, the "Corpus Christi Day".

Long before October 15 of the year 1882, while a te-' nor singer of the Manila Cathedral, he submitted an original hymn entitled "Sta. Teresa doctora, sed mi protectora" to the jury of a musical contest in honor ' of Saint Theresa of Jesus. Not knowing that it was the work of a Filipino, the judges in the contest, after scrutinizing the composition said that it was probably a work of a Spaniard and that it should receive the first prize. TtJe program' for prize distribution was held at the Archbishop's palace on the 15th of October of the same year. The governor general and other leading men of the city had witnessed the event. The jury in the contest was cc,mposed of experienced men in music: Camps, Ruiz, and Villemer. His Excellency, Marques de Estella ardently congratulated Can~ seco, after giving him the prize of gold medal, for his success under such a conflicting circumstance. In this contest. BIas Echegoyen, a music professor, received only the. second prize of silver medal. ' ; On June 14, 1886 at Pandacan church, WJlS ~ung in' full orchestra and voices the Kyries and Gloria of Fauennier, during the High Mass, under the skqlful anrl personal direction of Jose Canseco. As a band conductor, he went to Ilocos Norte, with his second wife Francisca Espiritu whom he had R"iven ~everal lessons in singing and¡ whom he married in 1881. There wlas born his dauS!'htel' Josefina, now a wlidcw of Alejandro Amorsolo. When t.hey came back to Manila in 1891, the child was only abou't three moriths of age.

Then Garrido visited him and said that the examination for band-masters would soon take place in the city' and therefore, he wished him to submit his applir.at io.n at

70

once. At first, he was unwilling but as Garrido greatly urged him to take, at length he agreed. Garrido, Villapol, Meras, and Gali were the members of the examining board. The aspirants were to pass thl'ee kinds of examinations; the first consisted of a piano composition from which the aspirants should derive the parts feir other instruments of the band. The next one was a comp03ition for a base, froon which a "Pas redouble" was to be composed.

The last exercise was a composition full of errors, which :,;hould be distributed among the members of the band and which should be corrected by the aspirants, who were also to conduct the band. In the second exercise, Canseco after examining -the given composition, at once stood up. complaining that it had some errors and that he would derive a "Pas redouble" from it without beauty. Analyticaly, he proved and showed the errors before the examining board. Without any difficulty, he passed the three tests and consequently, he was chosen as a band-master of the regiment No. 71. Then he brought his family to Zamboanga and Iligan, Mindanao, where some of his children were born. In 1894 while in Mindanao, he constructed an apparatus which was named "Tonopsis mecanica" by the Jesuit Fathers of the Ateneo de Manila, and which was presented at the "Exposicion Regional" at Manila, in 1895. Though that apparatus was the product of his astoundinR and prolific genius, yet it did not received any prize. F'athi!r Saqret of the Ateneo de Manila said that the Manila public had failed to appreciate the superiority and value of that newly invented apparatus.

On the 20th of March of that same year, he had a public conference 1 before a selected audience compolled mostly of officials and learned musicians. He explained to them the correct use of the apparatus, by giving illustrations and examples on a blackboard. As it is a graphical apparatus demonstrative of one of those theories which comprise the study of harmony accord¡ing to Eslava, students of harmony will find that that machine will be a 1

El Comereio, Mareh 21, 1895.

71

helper as well as an adviser. This conference attested CanHeco's mastery of musical th1!ory.

In Iligan, Mindanao, being suspected to be a cwnpanion of Rosalio Silos as a leader of the revolutionary movement in that island, he, who was then a band-master, was put in jail for about forty-five days in the year 1898.

One day whil<e his wife Francisca was away, their l:ouse was ~earched and all the music papers for band were taken.

Then when she came home, she noticed the disorder in the house; and so, she went away at once and asked for a permision to talk with her husband in the jail. To him she reported what had happened in her house. He then told her that all those music papers that Wlere taken were his own and that she ,must see the colonel and complain. At last she bravely went to the colonel and said that all the music papers that were tak<en were their own property. The kind colonel then ordered the immediate return of the same papers.

In December, 28 of the same year, he left Iligan and went to Cagayan de Misamis, the capital of the province of the same name; for he was gumllTloned by the provincial revolutionary government to go there. Then in 1899, he was commissioned by thafbody to go to the revolutionary camps of Luzon to give General Aguinaldo the sum of 1*100,000 for the maintenance of the Filipino forces. But seein~ that the American forces were on the strict vigilance over the FiIioino forces of Luzon. he did not advanced any further. Without delay, he went back to Cagayan de Misamis, and returned the same amount to the treasurer of that province. For his very nobl¡e work, he was considered as the adopted son of that province. Later Manila was captured by the Americans and a notice reached Mindanao demending for the evacuation of the island b~' the Spaniards. So he and his familv went to Cebu and then to Manila where he continued to teach solfeggio, harmony, and composition until before his death which took place on June 12, 1902. Some of his noted pupils were Julio paz and Leon Ignacio.

72

In 1904, his family presented his "Ton6psis mecamca" at the St. Louis Exposition where it won a prize of a gold medal.

As comnose-r, Jose Canseco was also a gifted musician whose knowledge in musical composition and harmony was ' the product of his oWln untiring interest in the E,tudy of this art. Most of his works were church composition's, the most noted of which were: "Salve a la Sma. Virgen"; "Letania a la Sma. Virgen"; "Liberame responso"; "Plegaria a la Dolorosa"; and two hymns to "Ntra.

Sra: de Guia". His other works w',ere: "La despedida", a song dedicated to Miss Juanita Mako, with words by Lorenzo Guerrero'; "La Ausencia";' dedicat3d to his second wlife before their marriage; and "Flor de Maria": (1) "Vepid y vamos todos", (2) "Traed a Maria" and (3) "EI P e~cador". He also wrote "the music to a Spanish zarzuela. "La Muerte de Lucrecia". These works were in manuscripts and some of the.m were brought to Spain by Remigio Calahorra.

The death of Canseco was felt by his countrymen especially by the lovers of the music of Orpheus. Canseco \vas fortunate to be one of those Filipino best musicians \v:ho became great by thefr constant, self-study of this art. the only art that can express the sweet desires and palpitation of human hearts. '

III

ANDRES DANCEL The Philippines, like the countries of Europe, have produced men whose names are worthy of mention in the history of musical art. One ()f them was Andres Dancel: who received his early musical education only from private teachers and yet by his assiduous study, the musical PhjJjppines consider him as an unrivalled virtuoso of his time.

Andres Dancel, a noted violinist and a brimant scholar, was born in San Pedro Macate, Rizal Province, in the year 1870. which was also the date when a celebrated Europian violinist, Charles Augustus de Beriot died. leaving to the future generation the golden products of his artistic genius.

At about three. Dancel was brought to Manila wh~re he spent the rest of his fruitful life. At an early age he ha.d shown an intense love for music. How he behaved one night of January when he went with his brother Silvino and with his uncle Ildefonso Quesaila to the Quiapo church to see the annual fair, sho~ld be remembered. Dancel wao only about five years of age then; as they wandered in the churchyard, a small violin hanging in one of the booths caught Dancel's attention. At once he faced his uncle and said that he wtanted to have that little violin. But his uncle for certain reasons failed to buy the violin but promised to do so the next day, provided that Dancel would attend the morning mass. However, as young Dancel wanted very much to possess the violin, he still cried at home during that night, disturbing his parent's sleep even though his uncle had already made a promise.

At length the next morning came and he and his uncle went to Quiapo church to hear mass. The mass being over, they approached the booth and bought the little violin. So happy Dancel was, that with the new violin, he !tid not know what to do: in the street he tried to play ()n 73

74 the instrument, the strings of wh~ch, however, were all E strings.

Not long after the purchase of this instrument, hi s uncle Ildefonso Qu¡esada who had observed his early musical inclination, placed him under the direction of a private violin teacher with whom he studied for about one year and then he gave up. Before he commenced his study, his teacher changed the original strings of the violin, placing the correct strings (G, D, A, E). At that time. however, there liv¡ed another very popular violin teacher Whose nme was Ignacio Morales. Knowing the greatness of this man as a teacher, Dancel chose him as his next teacher under whcm he had finished Alard1s violin method after about four years of diligent study. Then "maestro" Morales, having nothing more to teach him, told I:im to find another teacher. Then to broaden his musical education, Dancel studied under Professor Manuel Garrido, a celebrated virtuoso who returned to Spain in 1892. How long he studied under this professor is uncertai~. Y~t when Garrido left him, he had already overcome the difficulties of bowing and hence, he began his artistic debut in the year 1882 when he played at the University of Sto. Tomas the concert piece of Monasterio, with other artists.

In 1884, Garrido's concert was held at the Tondo theater w.here a &extet com,posed of Dancel, violin; Garcia, violoncello: Valdes, viola; Carreras, contra-bass; Gore, piano; and Garrido, violin, played a polonaise concert of Marques .~and a fantasia on ,motives from "Roberto el Diablo", with emotional and colorful execution.

Through these different programs attended by Daneel, the public began to recognize his genius as an executanto He, after studying with Garrido, did not attempt t o study further with other professors. But the year 1886 was alw.ays remembered in connection with Danrel's artistic life. On the 14th of September of that same year, a famous Hungarian concertmeister, Eduardo Remenyi, arrived in Manila to giye pUblic concerts. He was a c!ose friel'd of Bnihms and to him, Brahms dedicated all his Hungarian Dances written for the violin. - Dancel, then, to see

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Remenyi's greatness as a violinist, attended h;s very first Manila concert held at the Filipino theater, on the day following his arrival. Then a few days later, after having SEen the performance of Remenyi, Dancel began to study upde" him. Remenyi gave him several lessons and soon found him to be a fast learner and a man of genius. So highly was Dancel appreciated by Remenyi that when the latter's date of departure was drawing near, he told Daneel's mother that he wished to bring her son Dancel to Europe where he w'ould let him study under great professors and where they would give public concerts. Dancel's mother on hearing this, cried, and was not willing to see her son go away. So wr.en Remenyi sailed for Singapore, Dancel was left; it was on the first of November that he bagan hi!! journey. From this time forward, as Dancel had acquired a suprising proficiency on the violin, he took part in thz programs given at the University of Sto. Tomas, CasinG Espanol, and Malacanang Pa"lace and in the concerts prepared by Rasori, Muezo, Mrs. Pagano, and the Musical Society of Saint Cecilia" It was on the morning of August 28th, 1887 that Beethoven's solemn mass for four voices and chorus was sung at the Saint Augustine church in honor of the pa-" tron saint of the same name. The most culminating and difficult part of the mass was the "Benedictus", a solo" written in the 6th and 7th positions, which Dancel interpreted with careful reading and delicacy. On that solemn occasion, great was his success through his life-like exe~u­ iion. Two years after this, an attractive program was held at the University of Sto. Tomas, before an appreciative lIudience. The program commenced with the reading of the Saint Oecilia Symphony, by the Sam Juan del Monte orchestra under the personal direction of Dancel. Then after a duet, the orchestra nlayed the "Sto. Tomas Hymn" again under Dancel's direction. He was the author of the hy;mn and J. J. Guiterrez, of the words. In the second part of the program, Dancel executed on the violin Beriot's 7th concert while Echegoyen on the piano. His emotional exeeution created a great sensation to the audience lind

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hence for him the following paragraph was written: "Precise was his execution; there were moments in which Mr. Dancel would make us remember Remenyi. Certainly, he controls the violin with utmO$t ease and plays with extraordinary lucidness that a prolonged applause of the auditorium awardedl his rich execution."

On the 15th of October of the same yea I' (1889), a selected program was held at the Malacaiiang Palace in honor of the birthday of Her Excellency Mrs. Marquesa de Tenerife. Distinguished audience honored the occasion in which Dancel executed Beriot's "Air Varie" on the violin while Echegoyen on the piano. Besides this, at the intervals of the two acts, Beriot's 9th concert was also executed. Both playings had received an enthusiastic applause of the audience. Again his heartfelt execution was seen on his participation at the program held at the Tondo theater under the 'auspices of the "Casino Espanol" on the 22nd of June 1890 in honor of Gayarre and for the benefit of a famous poet. Here his tasteful rendition of a fantasia on motives from Trovador was very much applauded.

In all his concerts, Dancel's unequalled execution was largely influenced by Garrido lI>nd' Remenyi ,plus his own musical genius. He mastered violin technique and could play ,e ven with only one string as Remenyi. And in conn,ectioI) with his former teacher, Garrido, the following was interesting as related by his brother Silvino: Garrido often gave concerts in which he would play 3,000 notes within a minute. But on one occasion he became ill and was unable to appear at a concert to be hC'ld a t the Tondo theater, and so, in order to continue the performance, he a.ppointed Dance! to take his place. Dancel then practiced "Paganini'g. Perpetuum mobile", the piece to be played by Garrido. In. spjte of the limited time he employed in pra.cticing the piece, he showed before the audience his ingenious and applausive execution. He was hj ghly esteemed for he never appreared before on a similar occasion in which he captured an unprecedented sucness.

Dancel always astonished the enthugiastic audience by

77 the human voice produced by his delicate fingers on his violin. As a conductor, he also conducted several difficult masses held at the Sta. Cruz church. On the 16th of October, 1887, he magnificently directed the San Juan del Mont e orchestra and the "capilla" of the Sta. Cruz church exe(!uting the famous Pacini mass. Again in October, 1891. he conducted the "capilla' of Calahorra in the same church.

Pardo and Gonzales sang, besides three religious Augustinians and Recol\ects.

As CQITlPoser, Dancel wrote but very few musical compositions during his studious life. "Danzas" were his favorite works which he and his friends and pupils often played in serenading maidens. One of his beautiful danzag was entitled "Danza Trining" dedicated to his sweetheart. Miss Trinidad Paterno, a then distinguiShed maid of Manila. The piece was melodious conveying the affections. of the author. Then besides that hymn writen by him. which I already mentioned, he also wrote another which was sung at the St a. Cruz church on the 12th October, 1896. The words of the hymtn WI8S witten by Father Swpere.

After all, aside from his career as a virtuoso, Dancel was also a man of'science and of letters. In San Juan de Letran College, it was said he had some failures due to his frequent participation in public concerts; yet his primary aim was to finish his career. In March, 1899, he completed his secondary course in San Jua.n de Letran Co\le.lte and from thp acad'emic year 1891-1892 And 1897-1898 inclusive, he took ,m edicine in the Universitv of Sto. Tomas. being approved in the preparatory course plus four years of the six years required in the study of medicine. in t he University. But he met his death too early.

In October, 1897, it happened that the tenor who was to sing at the Sta. Cruz church during the High Mass WaR unable to attend the masg. D.'lncel then took his place: and when the maS1\ was over . he at once drank cold water. What he did that morning led to his untimely death on the 29th of January. 1898 in his 27th year. His death was felt by all his classmates and profeยงOrs of the University of Sto.

'i8 Tomas. Thus, the "Cronica de Ciencias Medicas de Filipinas" published the following paragraph in March, 1898: . " ....... 0UI" good friend left to us an empty space; and his loss means very much in Art and Letters. Besides bEing a brilliant student who honored our Faculty, he wag the most intelligent and expert violinist that we ever had in this capital; who played the violin with such perfection an d glor.y that nobody could excell him. But music to our good friend was only a secondary element; for what he aspired, was to finish his career to which had he sufficient time to -devote his attention and 'clear talent, . . . he doubtlessly might have gained an enviabl~ reputation.

"May' our affectionate friend Fest in ' peace."

There lie his ,r emains in the Sta. Cru~ church. Had he a longer Hfe, perhaps the future¡ generation wquld bebenefited by IUs liberal teachings. . However, during his short but productive life, he had a number of pupils among whom Primo Literte and Leon Ignacio are the most noted.

Dancel was' a Severe teacher; for he would give no new lessons to his pupils so long as there was a slight error.

At the San ¡Juan de Letran College he also had taught .music and during' the time of Father Mamerto of the Sta. Cruz church, be organized an orchestra band.

The life' of ANDRES DANCEL should be imitated by every ambitious boy or girl. His life was short but full of a chievementS. He was a scholar and at the samE' time a violinist.

IV

.

~

..,

ANTONIO GARCIA A finished and ,~ inr telligent virtuoso w.as Antonio Garcia w)19 had mastered the ,se;-. cret of piano playing., He was a self-taught:,: industrious, and diligent student not only ,. of music but also of music-history, He ~ could play at sight and ' had overcome' ' . the most complicated fingel'mg of a compo. sition. His numerous ani! success.ful performances had won distinction for himself and his country.

Born at Sta Oruz.

Manila, 13th June, ANTONIO GA'RCIA 1865, Antonio Garcia was th.e son of Ca. lixto Garcia and .Eusebia del Rosario.

In November, 1874, seeing ,the musical genius of his son, Calixto , Garcia .brought young . Anto.nio, to the "Colegio de Niftos Tiples" of the Manila Cathedral, then on Anda St.. Intramuros, . where he studied (1) Singing, and Vocalization, (2) . Solfeggio, (3) Harmony and Composition.

(4) Piano, (5) Violin and Violoncello, under M. R; P . Luis Calpe, BIas Echegoyen, Oscar Camps, Luis Vicente Arche, and Ramon Valdes, respectively . . During his stay in this institution, he showed an extraordinary ta.1ent in music; thus about foul', years later, he began to participate. in the 79

80 public concerts held in the city, his first public appearance beinl!' in the year 1878. In November, 1879, the famous Lyceum in Manila known as Liceo Cientifico Artistico-Literario opened a musical contest in honor of Saint Cecilia. Young Garcia was among the competitors who, for his masterful and emotional playing on the violoncello, won the second (l,ccesit. The prize distribution took place at the Variedades theater on the 29th of the same month. 'I1he president of the jury was Francisco de Marcaida while Oscar Camps, Luis Vicente Arehe, Laureano Carreras, and Rafael Cascarosa composed the jury of t.he musical section.

Then in 1881, Garcia's musical studies ended, and known as an intelligent musidan, he became the organist of the "Parroquia del Sagrario" of the Manila Cathedral.

The succeeding years were noted for his ascending fame as pianist and violoncellist. He bEcame a quartet and duet player and appeared at nearly every program given at the Royal and Pontifical University of Sto. Tomas, at the Ma1acaiiang Palace, or at tr.e Casino EflPafiol; or at every concert initiated by Garrido, Mrs. Cecilia Poloni¡ Coppa, Remenyi, Rasory, and Friedenthal; or given under the auspices of the Liceo Cientifico Artistico-Literario, and the "Socierlad Musical Filipina de Sta. Cecilia."

One of thrse programs was that one held under the auspices of the Licee Cientlfko Artistico-Literario on Jan. 19, 1882. The most inspiring number of the program was a duet of the flute and piano by Rosalio Silos and Antonio Garcia, respectively. executing a fanta:;ia on motives from Norma, transcribed by Barbrao purposely for flute and piano. The part of the piece for the piano was rather difficult but as a talented pianist. Garcia overcame these difficulties. Then in December, 1884, Mrs. Cecilia Poloni Coppa with the co-operation of Carreras, Challet, Garrido, and Garcia had a concert at the Filipino theater. There was a duo for the violin and piano by Garrido and, Garcia respectively; and then, a quartl't composed of Carreras, har'monium'; Coppa, piano; Garcia. violoncel1o; and Garrido. 'violin. Beriot's third concert and Durand's Meditation, a quartet, were brilliantly executed.

81 But so far as Garcia's public appearances were concerned, the year 1886 was very significant. This memorable year saw Remenyi, a Hungarian , coneeJ;1;meister\, in Manila, giving several selected concerts in which Filipino artists took part, especially in his farewell concerts held at the Filipino theater and at tne Sta. Isabel College. At the former, the concert was held on the 11th of October of the same year. Besides Remenyi. the quartet was composed of Filipino artists, like Muezo, Solis, and Garcia ; they played Mozart's quartet in D-minor, on the violin, viola, and violoncello respectively. As after their unusual anlI' brilliant' rendition of the piece they Were called back on the' stage by the incessant public applause, Remenyi presented these three Filipino artists before the audience and said that the latter were the ones who undoubtedly deserved till! applause. , During his stay in Manila, Remenyi' soon oecame aequainted' with the most talented Filipino ,musicians and appredated very particularly young Danc!!l and Garcia for their musical genius. He greatly \vished to see these hopeful youths pension by the Philippine government to ' study in Europe wbere eminent professors would guide their artistic inclination through a rosy road , His writing oi an article published in the "El Comercio" sh~wed his love for , Garcill a~ a promising piilnist. This artiele is as follows :"I examined young Garcia very scrupulously, made him read ,at first sight very difficult compositions and afterwards made him transpose into a very different key ~n andahte of one of Beethoven's sonatas . . Then he played at the plano difficult passages, having well mastered the intervalg with utmost ease. Then he accompanied me at the pia,no and finally I let him play upon the violin and the violoncello.

"Well then, he played very well upon those instr!Jments and above all. very musically. But this is worthless a d I shall be indifferent if I do not take into consideration to make known the musical 'genius' of Garcia. And it'in' Europe. he is pla,ced under the direction of an able teacher. who will guide properly his inborn genius, then I predict that this boy will honor the Philippine Islands as a musicaf

82 composer, in the same way as they had been honored by Luna and Resurreccion in painting.

"The money to be spent in completing his artistic education will be well employed and will give a marvelous result".

The following year, however, Beethoven's grand mass was sung for the first time at the St. Augustine church one morning of August. Although Garcia had no time to attend the rechearsals, yet he performed the "organ obligato" with great mastery and charms, at first sight, showing that he had the spirit of a genial performer. This was an occasion that gave him an opportunity to reveal his musical ability as a master of musical technique. Again another solmn mass was held on the 22ndJ of November.

1889 at the Quiapo church, by the "Sociedad Musical Filipina de Sta. Cecilia". Gounod' ~ mass. "St. Cecilia", was sung and Garcia was one of the first violins of the orchestra directed by Echegoyen.

Garcia's numerous and succâ&#x201A;Ź'ssful performances had given him a prominent place among his contemporary musicianlj, as an intelligent pianist and ,,-ise conductor, who had conducted the "San Juan del Monte" and "Gruet's orchestra bands on several occasions.

In the year 1892, another iJrnportant man visited Manila, arriving on January 4th 1892. He was Friendenthal. a German pianist, who shortly after his arrival, went to 'Mr. Domingo's residence in Tanduav St. to engage a ,few members of his San Juan del Monte oro:,Aestra. At the samE' time he asked 'for the house of Antonio Garcia. the Filipino pianist, whose name while in Europe, he already hard.

But Mr. Domingo's reply was that Garcia could be found at the Ateneo de Manila where he was teaching. So early the next morning both Mr. Druninll:o and Flriedenthal went to the Ateneo de Manila. There they arrived too early and Garcia was not yet there. Fathf'r Sauret after knowing the purpose of Friedenthal's coming. suggested to him to get some Spanish professors like Echegoyen or Massaguer. Howeve'r , Friedenthal renlied that even in Europe, Garcia's name was recommended to 'him by those virtuosi

83 returning from the Philippines. Then after a few minutes, Garda arrived and Mr. Domingo at once introduced Friedenthal to him and said the object of their visit. Friendental then asked him to be his conductor in his first COflcert to be rendered at the Filipino theater. At first he was unwilling to accept the position; but giving great consideration to the coming of Friedenthal to the Ateneo de Manila for that purpose, he at last agreed to the offer.

The first rehearsal was held at the concert hall 'of the Atel'ec de Manila and the second, at the Filipino theater. In these rechearsals, Garcia was found to be an able and alert conductor.

The thst concert was rendered on January 7, 1892 at the FiI;pino theater, when Verdi's Concerstiick was :r.!Iayed bv the San Juan del Monte orchestra under Garcia's unrivaled personal direction. Furthermore, he also hali conducted orchestra bands at the Malacafiang Palace and at the Casino Espafiol.

One midnight of 1892, it was related, the nephe\" of Gov-ernor General Despujol went ' to Mr. Domingo's residence at Sta. Mesa, Sampalok, to hire the San Juan del Monte orchestra to play at the Malacafiang Palace. He accepted the offer and his .orchestra b-egan to practice under 'Garcia's direction. The las rehearsal was 'held at the residence of Francisco L. Roxas whose own va Is!!, "Florenda". was executed. It wa, always the wish of the b-ers of the orchestra to practice there because Roxas often roasted a pig for them. At length the day' arrived that the orchestra played at the Palace. The orchestra furnished the most selected pieces for the evening, thus winning the public admiration. Then on January ,of the same yeah Garria had directed' the liame orchestra at the grand ba1f held at the Casino Espafiol; and on May 2nd, 1892, the Gruet's orchestra which accompanied Manuel Garrido in his farewell concert rendered at the Filipino theater, who executed Beriot's 7th concert.

Now, Garcia's important performances have already been discussed; what wil! follow is a brief account of hi3 active participation in some of the musical organizations in

mem-

84 the city. He had won high positions while being a member of the different institutions organized both during the Spanish administration and the Americans. But in general, these institutions did not ~ave a lasting existe¡nce. Gar. cia, in connection with these organized bodies, is carefully described as a member, in section 1, Chapter 11 of¡ thi/i volume. Furthermore, in the year 1908, the Carnival Co~mittee on music appointed Garcia to be the president of a jury for .the band competition, and in 1911, he was a member of a jury for another musical contest for the fourth of July.

Finally. after a long and toilsome years, Garcia, admired by all his contempor.aries, died in Manila, in April, }919. ¡The interment was made in the "Cemeterio del Norte". His contemporary artist~. on hearing his sad death, caned a meeting; Adonay was elected pl1esident while B. A.bdon, Joaquin Reyes, Francisco Buencamino, and others were members. Through the effort of these men, a solemn Requiem mass was celebrated at the Quiapo church on the morning of May 6th, 1919, where his obsequies took place. Verdi's Requiem mass was executed by the orchestras under Abdon's personal direction and Adonay's Libllrame, Domine and F. M. Albani's Vigilias . "Parce IPihi Domine", were sung under Adonay's direction. On that very solemn occasion, there were abcut seventy voices composing the chorus, besides the Constabulary Symphony orchestra, Oriental, Ilaya, Molina, and others.

This - sa.me mass, Verdi's Requiem, it was said. was Itssigned to Garci~'s direction many years ago by a distinguished family in the city, to be sung when the remains of -i member of that family were to be transfered to Quiapo church. Garcia tried to practice it at first l?ut la.ter, for s9ffie reasons, he neglected its performance on the day designated. . Thus the lift' of o~r greatest nianoforte virtuo~o and violoncellist is ended and everv arti~t mourned at his death.

H;e was Illuded both by his countrvrnen and by the strangers.

Only a man of genius could have done the achievement which 4e had accomplished.. As a learned piano professor and con-

85 ductor he was highly esteemed. He had many pupils and taught music at the Ateneo de Manila, at the San Juan de Letran College, and at other private schools. Many times President Villamor of the University of the Philippines went to his residence, persuading him to accept the position of director of the new Conservatory of Music, a branch of the University. Nevertheless, he refused to accept the promising offer. In this way, I think, he resembeled Carl Friedrich Weitzmann, a German violinist and composer, after whose death, Tappert wrote:~ "He needed neither office nor preferment, sought neither honors nor renown."

President Villamor knew very well Garcia's deep talent and broad experience in music for the latter 'already had captjvated the sympathy of the musical public.

As composer, Garcia did not compose much, save his few compositions that may be considered his ,m asterpieces.

A few is kept by the Ateneo de Manila where he had taught.

One of his famous melodies was entitled "Para Hoy" which was performed at the program held ' on January 9, 1892, nnder the auspice .of the Liceo Cientifico Artistico-Litp.rario. With noble thought, the composition was w.ritten.

A hvrnn to San Estanislao for three voices and orchestra was ' his otber wQrk. Oscar Camps, an eminent writer and pianist, said that Garcia was a consumate "solfista", an appreciable pianist, and a meritorious violoncellist.

Mav Garcia's memory dW1e1l in the minds of his countrymen; and may his achievements be the themes of public conversation so far as music is concerned. None of the Hving Filipino pianists or violoncellist at present can excel Gafcia as a' true in'terpreter of cIa.sical compositions and by far the learned' Filipino piano-forte virtuoso.

v CAYETANO JACOBE

I

Ab0ut the end of the nineteenth century, an important tigure in the history of Philippine musi<~ was born. Just as Napoleon . was the bravest general, ~o is Jacobe the bravest modern Filipino violfnist. I say that he is brave be~use without any fear, he can execute difficult compositions eve'! before a great audf.. ence ; his performance is, hu-Never, far better than when he is alone in a room¡ Jacobe and his faCAYETANO JACOBE mily have been living in Sampalok fo.a . long time. In his sleep ing room, he has an altar where we can see his own slint's image, Saint Cayetano.

On the walls of his room, different pictures are hung and to him I had given the crayon portraits of Paganini, Beriot, and Sarasate, which I have drawn in 1919.

Born on the 7th of August, 1876, in Lumbang, Laguna, Cayetano Jacobe, the son of Juan Jacobe and Cecilia Dimaranan, is one of the most popular virtuosi that the Philippines ever producelI. In his native town, he became , J acobe's life is here written in detail . by the author.

86

87 a choir-boy in the convent and by "ear" he could pla.y the violin. Then he came to Manila and at the age of eight studied the v; o~n under his uncle Gbaldo Jacobe, a band-master of the 7th Spanish Regiment band. From him he learned the different forms of bowing; such as, martele; ~altillo, staccato, and arpeggio. His progress during the following years ,was rapid. To have more practice, he as a first violinist, joined the Gruet's orchestra directed 'by " Ramon Valdes, a professor of piano at the "Colegio de Ninos Tiples" of the Manila Cathedral. With this organiza..' : tion, Jacobe stayed for several years. Here he gained much practice in violin playing but not in composition-writing. Therefore, to have a thorough knowledge of musical ~ composition he, in the year 1896, studied under Ciro Cavalieri, an Italian professor of music. In March, 190fJ; , he began his artistic d'ebut, executing the fantasia of Lu-' da di Lammermoor, with great master y. One night of ' December of the same year, he had a benefit patronized by Mrs. Nieves Covarrubias de Rey,es and held at Zorrilla theater. He colorfullv executed a piece entitled Lucia di Lam- ' mermoor and De Beriot's 11th concert. That day the Rizal orcrestra was conducted by Jose Estrella, also a good com-- poser.

Then in the year 1901, a few days after Jacobe's own benefit, a most sorrowful thing happened. He being suspected as a partaker of our revolution, WIllS put into jail which was at Postigo St. There, Lichauco, ViHareal, and ' Limjap were serne of his companions, most of whom rad contributed a sum of money for his family. Then they were transfered to Fort Santiago. Finally, they were released from the jail.

On December 11. 1903. a selected c')ncert in honor of Wm. H. Taft, was held at the Zorrilla theater. On that !'~cl\sion. he executed a fantasia of Ernani.

Besides this ' he has attended several other concertsuntil finally he decided to go to the United Shtoo to give concerts and to ~e(! the country. ' So in the year 1909. hearinR' that thp. Philippine Constabulary band would visit the United States, he became a

88 member of the band, staying for about three years. fn the United States he took part in sev¡e ral concerts worthy of mention; and one o,f the leading dajly papers there commented as follows: "Antonius Stradivarius, the monnch cf his art, the< Raphael of his violin, it was l:e who gave it the sweet. rich, full, and melodious tone and general finish that has made that nveetest of all musical instruments so enchanting.

And it has been my pleasure to place such an instru.ment in the hands of Cayetano Jacobe, the admirable little Filipino Virtuoso, whose command and artistry of the most difficult of all instruments has merited our sincere applause".

In the year 1915, he was no long~r a member of th", Philippine Constabulary band il nd on the 17th of October of the salIDe year, the "Fiesta de la POoda" was celebrated at the ZorlilIa theater, where most of the prominent men of the city were present. One of themost briUiilnt' numbers of the prog,ram' was the execution of Jacobe's fantasia on motives from the Spanish Royal March, by the orchestra directed by himself. This part of the program added, b~~ideg fam~ g,randeur and solemnity to tne occasion. Again, on the 21th of April, 1917, the Spanish Opera Company had a periOl'JIllabce-at.the Manila Gran Opera House, in which Jacobe was much applauded'; His name being announced, s ' tumultuous a.ppJause filled the theater and did not cease until he was ready to' begin his 'solo. His violin seemed to "sing and laugh'''; he interpreted every measure with deliCMY, accuracy, and, ,IlUIstery. The composition he played was theo"Sitxh Concert" of De Beriot. His execution was followed by a very long applause which did not cease until he- was ready to begin another sol'o, the title of which was not 1announced. The performance being over, a lover of muf'lc said, "Jacobe- must have been born with his violin".

When he played the "Marseillaise Hymn" at the program under the auspices of t.he French residents of Manila, he was also applauded and ~ome one had said, "Genius can only be interpreted by otlier genius."

A few y.ea1S after the establishment of the AmericaIr

89 Military government, there followed the founding of different musical organ,izations, among which was the "Centl e de Bellas Artes" in 1902 in which he was appointed teaeher of violin. But later, a bigger and stabler institition was established-the Conservatory of Music of the University of the Philippines. Of this institution, he ,was chosen as the first instructor of violin since 1916. The way he was chosen to be included as a member of the faculty, is briefly discussed in section IV, Chapter II of this book.

Jacobe had conducted the bands and orchestras of Pagsanjan and Kawit. For about seven years he taught vi'llin at the San Juan de Letran College. In his spare hours he has spent his moments in writing musical compositions, one of which was "The Three Maids". He composed the music for Tagalog dram.as; such as " Mabuhay ang Pilipinas" and " Tationg Maria". Some of his most favorjte pieces are those composed by Paganini, Sarasate, aNd Beriot. _ One of Jacobe's intelligent pupils was Servillano CastiIlejos, who, as a soloist, is now recognized by the public, He is a violin teacher in San Beda and La Salle colleges and the future generations, I think, will surely be benefited by his libera,l teachings, A master of art as Jacobe will not be forgotten by his people. As I have said, he is brave as a violinist just as Napoleon was brave as a general. His inborn genius and his sound ambition will contribute much to his future greatness as a 'Filipino virtuoso.

I

VI MANUEL LUNA Y NOVICIO During the Spanish domination of the islands, the most inviable violin virtuoso was the Filipino Manuel Luna, who like Rizal had visited Europe t o ~tudy and see the nations' progress in arts.

Despite th e condition theh existing in t his country, that public education was far from being universal, he became a violinist of unsurpassed ability.

Born in Badoc, llocos Norte, on t he island of Luzon, in the year 1858, Manuel Luna y Novicio was hr ought to Manila about the age of five and began his early studies at the Spanish Nautical School MANUEL LUNA Y NOVICIO where he, being a brilliant student, had completed his course in the year 1875, with first honors. Ambitious as he was, I;e studied violin in his leisure hours with a teacher known as Nicasio. Following this, he stUdied the same instrument under a Spanish professor of violin, Remigio Calahorra. But stilI he was not satisfied from the training he had received from these teachers. So to cultivate further his artistic education, he decided to have a tour in Europe, like his brother Juan Luna, the famous painter.

Hence, in the year 1877, he sailed, for Spain, where he entered the Conservatory of Madrid, in which he was ad-

90

91 mitted to be a member of the fourth year class; for his previous training while in Manila was unquestionably approved.

From the Conservatory he won many diplomas; and the most precious title he received and signed by the director of the Conservatory, Emilio Arneta, was that of "Professore di Violino." The most celebrated man of Spain in musical art, whom I must not fail to mention was Jesus Monasterio, Manuel Luna's music professor and admirer of his brilliant execution.

There in Madrid, Pedro Alejandro Paterno, who happened to be one of the companions of Manuel Luna, had an attractive residence, a museum of Oriental arts. In one of the concerts there held. Paterno asked Luna to execute a difficuult masterpiece of Beethoven, which Liszt entitled "Une fleur entre deux abismes." Seeing that Luna was ready to begin his solo, the aU'dience crowded around him.

Then when his execution was over, they were surprised to see that he performed very successfully such a difficult composition which was purposely written only for the piano. Inspired by his excellent execution, some one in strong excitement exclaimed: "Perhaps the soul of Beethoven is vitalized, under the bow of Manuel Luna."

Then to ~ee the most famous virtuosi of the neighboring countries of Spain, Luna went to France and Italy. at the !lame time studying on his favorite instrument until he finally became a consumate violinist. There, showing that the Philippines is the Italy of the Orient, he won reputation and glory for himself and his country.

Though he was traveling in Europe, his motherland he never forgot; he never forgot her charms and her pleasures. In his heart was still a Filipino no matter where he was. Therefore, toward the end of the year 1879, he sailed for the Philippines, where he continued his artistic performances by taking part in the various instrumental and vocal concerts given under the auspices of the "Liceo Cientifico Artistico-Literalio", or by Garrido, Coppa, and Arche who we.re music professor residing in Manila.

Shortly after his arrival in Manila, he became a member of the "Liceo Cientifico Artistico-Literario". He at-

92 tended one of its selected concerts held at the Variedades theater on the 22nd of December, 1879, a benefit for the unfortunate provinces as Alicante, Murcia, and Almeria.

That day he executed a work of De Beriot entitled "scena di balleto" on the violin and Luis Vicente Arche at the piano. The Manila papers said of his execution:"Mr. Luna played with brillancy, delicacy, sentiment, and purity of intonation, thus giving honor to Monasterio, his former professor."

On January 17, 1880, the same Lyceum rendered another concert. The program ended with the exquisite reading of the Hymn of St. Cecilia executed at the piano, harmonium, and violin, by Carrel's, Arche and Luna respectively. Luna's execution was neat and majestic.

Now<, as conductor, Luna was among the best dllrin!:! his time. He had been a leader of big choruses and full orchestras executing masses of famous composers. On the 12th of December, 1880, he took part in a, concert under the auspices of the Liceo Cientifico Artistico-Literario. conducting the orchestra that played with precision the"Mirtos de oro" of Fahrbach, which was a concert valse. Moreover his real genius was seen one morning of Saturday, January 8, 1881, when he conducted a grand chorus of about eighty voices with the members of the orchestra of the Manila Cathedral, Gruet, and the famous Artillery Band. On that 'd ay the fine church of PP. Recoletos was once more inaugurated and the celebrated mass of "Ni'e dermeyer", of which the "Gloria" and the "Credo" were the climax, was splendidly sung. Luna's participation on that solemn day was a proof of his dexterity as conductor.

On the 23rd of December of the same year, at nine o'clock in the evening, a concert patronized by Coppa was held at the Variedades theater, when Luna executed the "Adios a la Alhambra" and De Beriot's "air varie", with a wonderful execution. On Dec. 25, 1881, the following paragraphs were published in the "La Oceania Espanola", a leading Spanish newspaper:-

"El Sr. Luna nos dej6 oi1' ~tna 'Cantiga morisca' de Monasterio que nos transp01¡t6 a los jardines del Generalife

93 y en un momento nos hizo recon'e1' toda la Alhamb1'a, con cuentos y 8m h~toriM, 8m leyendas, fantasias, y dramas innumembles, y f1'ancamente, la composicion tiene muchos de aqueUos a1'COS festoneados, de aquellas filig1'anas y

$US

alicatados arabescos; perc el Sr, Luna poniendose el alma en las ?nanos, no sabemos que, SUpo comunicu1'le a su 'Iliolin, que V'imos como pm' arte de encuntamiento el patio de los Leones, como si est1wiesemos sentados, en una noche de luna, sob1'e aquellas baldosas, iestigos de tantas ascenr. de am01' y felicidad," "El Dozado concierto de Beriot, fue ejecutado con aqueIta segu1'idad notm-m en este aplicado a1't~ta; y C1'eo que :;i no 1'e$onaron durante los diversos tiempos nui1-idos bra1; ol', fui porqlle no que1-la, perde1'se la ultima vib1'aci6n de aquf./las notas a1Tancadas con tanta suavidad y con tanta eX1n'esi6n; pm' esto fue mas nutrido el aplauso con q'JUl el final ~'() 1Ii6 premiado pOI' el inteligente COncJl~1 'SO", The following are the English versions of these paragraphs:"Mr, Luna made us hear a Moorish song of Monasterio, transferring us into the gardens of Generalife, and in s. moment, reminding us of the entire Alhambra with it~ stories and histories; and with its legends and innumerable dramas, Frankly, the composition possesed much of those festooned bowings and of those filigranes and rich arabesques, But Mr, Luna, putting the soul in his hands, knew how to make us see thru his violin, the Court of Lions, as thouJrh we were sitting over those pavements, during one moonlight evening, witnessing the fountain of love and felicity", "De Beriot's twelfth ai1' va1'ie was executed with that fearless certainty by this ~.tudious artist; and, I believe that if no tumultuous applause was heard at different times, it was because he did not want at first to loose the last vibration of those notes he executed with much tenderness and with much expression, Thus, much louder and incessant was the applause with which his playinj!' was rewarded at the E'nd by that well-informed gathering," The concert patronized by Archp. in honor of his departure for Spain, and held at the Variedades theater, on

94 Friday evening, February 3rd, 1882, was the last one attended by Luna while in Manila. There were about sixty persons composing the orchestra under Arche's direction.

The program was mad'e up of three selected part~. Luna . upon the violin and Coppa at the piano, excuted the "SOIlvenir d' Amerique". Of Luna's execution, the "EI Comer¡ cio" said :"Mr. Lui1a has inspiration; he has the heart of a true musician for he feels what he plays. With this, enough it is to understand that if his enthusiasm does not decline, and if he studies as Lrue artists always do, he will occupy a distinguished place in his career."

In Manila he did not stay very long but soon went to Agoo, La Union, to bid farewell to his parents for he intended to visit Europe once more. But unfortunately, OlT July 15, 1883, a victim of an accute disease, he closed his eyes forever and was buried ,vithin a short time after his death.

Very early he met his untimely death, it is true: yet his achievements will not be forgotten . As a violiniet a1'cf conductor, he had won a lasting fame not only in Manila but also in Europe.

He had many brothers who also became distinguished men in their studies. Juan Luna was a celebrated painter ; Jose Luna, a famous doctor and an excellent surgeon; Joaquin Luna, an amiable senator. Manuel Luna's violin a J. B. Vuillaume (1799-1875), used ill his concert was in th~ possession of his brotber, Joaquin. Besides brothers, Manuel Luna had one sister named Numeriana who was the wife ot Urbano Ramirez and who was a highly educated lady in her time. She was a noted pianist and could fluently speak Spanish as well as English and French.

Of Luna's pupils a~d musical compositions, nothing is recorded during his very short but toilsome life. If he t had lived longer, he ;might have done a still greater work for his native country; he might have written musical compositions to benefit the .future generations. But his life was short; it is ended!

1

By the author, Manuel Luna's life is here written in detaIls.

VII BIBIANO MORALES Whenever the na.me of Bibiano Morales is mentioneCl, the portrait of Chopin I seem to see; for like Chopin, Morales has had few¡ public performances and hates to be a.mong crowds. Both of them were timid. ' Their timidity was also true to Lambert ¡ Joseph Massart who abandoned his public performances but decided to be a pro- . fessor of violin, for which position he was appointed at the Paris Conservatory in 1843. Interesting it is to know that the personal character of Morales has a great influence upon his execution which is very sentimental. Due lllBIANO MORALES to hls great genius as a teacher, so popular he is, that to .him go pupils from different parts of the Philippines only to study music. Many have ' b~e~ in- . fluenced ,by his teaching, .like Pilar Reuto and Rosario Santos.

When playing before a great audience, he loses his self-control, no matter how well he masters the compo'sition he is to execute. On the othel' hand, when alone in a room, he can handle well hi~ violin, thus exposing th-e hidden meanings of th~ co;mposition.

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96 Bibiano M orale~, the son of Ignacio Moreles who was a popular teacher of music and conductor during the Spanish times, was born at Manila, on the 2nd of December, 1872, He came from a long line of musicians on his father's side, His father as I have said, had been always the 01'~hestra conductor of the Spanish Opela Company in t his city. On March 1, 1884, he was given a benefit at the Filipino theater. Seeing the true ability of Morales as a teacher, Gore, an Italian music professor, wrote the words of the drama to be staged for his benefit. Ignacio Morales directed the orchestra that evening and when the program was over, Mrs. Raguer, in the name of Gore, handed him a fine case containing a baton with gold decorations.

Ignacio Morales did not contribute much to the musical education of his son. And I think it is but natural that we do not learn much when our parents are our own teachers. However, Bibiano Morales had received from his fa:'" ther his very early musical education. Not long after, he became a diligent and most zealous pupil of Antonio Garcia, a celebrated pianist and eellist, under whom he studied 'violin fer about two years. During this period of constant study, he almost finished the violin method by Delphin Alard. Then he did not study any further but began to teach and conduct orchestras.

In 1899, he was the conductor of the orchestra of the Spanish Opera Company at the Calderon theater on Calle Tanduay and of the Sociedad Lirico-Dramatico, "Apollo."

Again on the 30th of December of the same year, he executed Beriot's "tremolo" on the violin, while Maximo Narciso at the piano. The scene of the program which was in honor of Rizal's death was the Libertad theater.

Like other musicians, he also has joined several musical organizations in Manila, the most famous of which were, though absolutely short-lived, the "Centro de Bellas Artes" in 1902 and the "Asociaci6n Musical" in 1907. Of the former he was made the instructor of viola and violin; and of the latter, a member.

97 In 1903, he went to Java with an Italian Opera Company directed by Balzofiore, staying there about eight months. He was their c<mcerhneiste1'; Numeriano Ciria Cruz, the cellist; and Teodoro Trinidad, the cornettist.

Morales' favorite pieces are those composed by Beriot.

Daily he practices at lE\asf three hours. He inherited his violin, which was manufactured in the Philippines, from his father who had inherited the same from his grandfather. A part of his time he devotes to writing musical compositions. The music for HAng Pagpapalayao ng Magulang sa Anak", "Ang Pag-ibig ng Babae", and "Ang Paglililo ng Asawa" were written by him,. while the words WHe written by Corcuera, a Filipino dramatist. These are all one-act Tagalog dramas which were performed at the Libertad theater on the 20th Of July. 1902.

Morales has been a professor of violin at the Ateneo de Manila and for many years he is teaching at the "Colegio de Niiios Tiples" of the Manila Cathedral.

VIII. PEDRO B. NAVARRO, Jr, Bo.rn o.n the 29th o.f June, 1879, in Tagudin, Mo.untain Pro.vince, Pedro. B.Navarro., the so.n o.f Pedro. Navano. and Barto.la Bravo., entered at an early age the co.nvent o.f his native to.wn as a cho.ir-bo.y. There was no. regular teacher o.f music then; but nevertheless, he was taught "canto. llano." vio.lin, and flute: Displaying great interest in the learning o.f music, he was acco.mpanied to. Manila by the Reverend Father Mariano. Ortiz o.f his native to.wn and allo.wed to. enter the co.nvent o.f Saint Augustine again as a cho.ir-bo.y. Here he received a fal' adPEDRO NAVARRO, Jr. vanced instructio.n in music fro,m then a no.ted "Maestro. di cappella", Marcelo. Ado.nay, under who.m he studied so.lfeggio., harmo.ny, and vio.lin fro.m 1894 to. 1898 inclusive. Then fro.m 1908 to. 1911, he had further instructio.n in musical co.mpo.sitio.n fro.m Jo.se Masllo.vet. a Spanish vio.lin pro.fesso1'. Besides this, he to.o.k musichisto.rv o.f vario.us autho.rs, such as, Ritcher, Dannhauser. and Felipe Pedrel. Then no.t lo.ng after the o.utbreak o.f the Philippine Revo.lutio.n o.r befo.re the year 1900, he left the Saint Augustine co.nvent and jo.ined several musical o.rganizatio.ns in Manila.

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In 1899, one of these organizations of which Naval',· ro was a member was named Philippine Band which was organized and personally directed by Charles Mindt, an American music profes~or. , This band intended to make concert-tour in the United States. 'Following this Navarro entered the 29th U. S. Volunteer band, then the 6th U. S. Artillery band, and the 30th U. S·, Infantry band. In the last one, he did not stay long but soon in 1903, enlisted himself in the Philippine Constabulary band in which his favorite instrument was the piccolo. In 1907 he succeeded, Pedro Cruz as an assistant band conductor; but his appointment as a permanent conductor took place in the year 1915' when Maj. Loving went to the United· States. His appointment being heard, his friends gree~ed him by forwarding congratulations letters, one of which was from Mr. Luciano de 'la Rosa, an assemblyman, who in his letter ~aid that he congratulated Capt. Navarro by being nominated conductor of the band and that that nom 'nation was only ,a just recompense for his Ion I{ and meritoriouf. service in connection with the ban~ . ,He further stated that with confidence and hope, he wished to see tr.e band maintain its prestige for which it has been famous not only in Manila but also in other parts of the world,. Anotber letter was received by Capt, Navarr,o from Lieut. Col. P. C., R. W, jones,· on [\lay of' the same year, which follows in part:"You may be sure I am glad to see you conductor of the band. I should have felt very bad if an outsider had' been appointed".

As conductor, Capt. Navarro was the first FHipino under whose leadershio the Philippine Constabnlary band won its widest fame all over the world. As an efficient and able conductor. Maj. LoVing transfered to him hiR full power over the band-his right and leadershjp. On matter which concerns band leadership, I believe MaL Loving to be the right judl1:Q. The musical public knew that great prol1:reas was achieved by the band durin!!' the leader~hin of Maj, Loving and that this progress woulll be seriously mai~­ tained under the wise direction of the new conductor, Pe-

100 dro Navarro. In examining men to become new members of the band, Navarro was very particular for he understands. musical science. In the rehearsals he was very strict: he would at once correct the slightest mistake. He posse3ses a good " musical ear", every bod\)' knows. He is acquainted almost with all kinds of instruments; such as, piccolo. violin, and brass or reed instruments. A thorough knowledge of different instruments, will make him a successful conductor and composer.

However, in the year 1917 an outsider, Mr. Jose Silos. was appointed to take Navarro's place who was pitifully transfered to the line. This was a new work for him (Navarro), wt.o was then destined at different places,Indang, Cavite; Balanga, Bataan; IMasbate; ' Daet; and Baguio. He spent his time to the study of military science; but as a musician by nature, music he never forgot. With him, he used to bring his violin and SQlTle staved papers where to write his new musical compositions; and because of his productive and keen mind, he had composed several compositions while being ~tat,ion ed at the different places mentioned. But to compose was not his only pastime; he also had taken part in some of the local entertllinments.

On the night of December 30th, 1919, a Hterary and musi('al program was held in Baguio, in honor of our hero, Dr. Jose Rizal. On this solemn occasion, the most salient figures were Capt. 'Navarro and Miss Leny Lopez. ~ Navarro's musical works in manuscripts written in Bata~n were : General Cramer, a military march for band; The Hero, a funeral march for band; Virginia, a caprice for pianoforte; Balanga Maids and Miss Consuelo Gayoso, fox-trots for orchestra and pianoforte; and National, a mar('h introducing the Philippine National Anthem. Those written in Daet were: a "Danza" dedicated to Miss Amparo Mendoza and written for th", pianoforte, In the Hours of Solitude, a descriptive piece for string quartet. And those written in Baguio were: Solitude, a caprice for pianoforte; "1919-1920 Baguio Academy Cadets", a military band march. His other brilliant works are: Generlll Herman Hall, march; Poniard of Gold" a descriptive piece fOI' band;

101 Ti Mangyuna, a triumphal march; The Enchantress and Rosalind, valses; Terpsichore, a valse; Guadaven, a foxtrot dedicated to one of the most charming gi.rls of Zambales; "Suit de Valses" dedicated to his da!lghters,- Nena, Doring, and Orang, "The Ilocano League" played on Jan. 17, 1916, "Ilocano Popular Songs" written on the occasion of Burgos, Zamora, and Gomez Day; and Enharmonic Chromatics brought by his former music professor, Jose Masllovet, to Spain Wihere it was played at Barcelona.

On the latter part of January, 1920, he returned to Manila and visited his former teacher, Marcelo Adonay, of Malate and his other friends. On the eve of his departure to Iba, Zambales, he bade good-bye to his friend, Maj. Loving, then residing at Ermita. ~ only stayed in Manila one week.

As military officer, Capt. Navarro is able, winning two badges as a carbine and revolver expert during the target season of 1920; and as genuine musician he is praised by the public, being a Filipino learned conductor of rare endowments who won prizes while the Philippine Constabu! lary band was touring the United States, where foreign music professors admired his musical talents.

Here, I wrote his . 'life briefly because in connection with the history of the Philippine Constabulary band also written in this volume, his other achievements are fully discussed, thus giving the public a more comprehensive knowledge about him.

IX. HIPOLITO RIVERA Hipolito Rivera wa's born in Tacloban, Leyte, in 1866.

At the age of four, he came to Manila and then studied at the Spanish Normal School until he reached the "clase superior". At that time the institution was under Father Joaquin Quintana.

The ,p resent site of San Jo~e College was then the Normal Scho:J1.

One day while walking and playing 1I10ng the street, he entered the door of the "Colegio de Ninos 'Iliples" "of the Manila Cathedral, then at Anda St. At once the janitor, Eduardo. called him and asked him where HIPOLITO RIVERA he was going. "Up slair," he answered.

Th<ere he met the director of the institution, Luis Ignacio, who asked him if he knew how to sing. As he said that he knew, he was allowed to sing with Simplicio Solis already at the institution. His voice was finally found to be good; and so the director told him to tell his uncle, Cirilo Rivera. to let him stay in the institution. At length in 1875. he entered the institution to study music. His professors were the same as those of Garcia and Solis.

With General Morione ~ . some of the students of thp school took a vacation at the province of Cavite. Some of

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103 those who went were Antonio Garcia, Jose Muezo, Julian Chauco, Jose Marquez, Mariano Herrera, Pedro Raymundo, Simplicio Solis, and hi,rnself. There they all stayed in the convent of the Recollects. Then from Cavite, starting at 4 o'clock in the afternoon, they reached Cawit at 9 o'clock in the evening. As the convent' was already closed, they sang at its door the "Jota Aragonesa.;' The~ the door was opened and they were asked to come up. They stayed there about two days. Uuring their short stay, it so happened that one of the feet of Muezo was pierced by a nail.

Seeing this, Garcia said that the oil of the Virgin of Cawit would be the best medicine. So Muezo used the oil as medicine and to their surprise, his feet was cured. After a few days they went to Imus in a "calesa". On their way there were many mango trees, of which they tried' to pick some of the hanging fruit. They reached Imus at 11 o'clock in the evening and they stayed there only for about eight days.

On Aug. 6, 1881, leaving the institution, he became the organist of Antipolo church, taking the place of Pedro Raymundo. He stayed there for four months and from 1882 to 1889 he won the position of organist at Limery, Batangas. From 1889 to 1893 he was the orchestra director and music teacher in Lucban, Tayabas; and in 1893-1896, he was also a music teacher at San Juan de Letran College, In 1894, he became the director !)f the Municipal band of Sta. Cruz. the capital of Laguna, where he stayed about four months. Then he came back to Manila to assume his position as a teacher o'f the San Juan de Letran College.

From 1894 to 1900, he was the organist of the "Capuchinos" church; from 1900, a music teacher of the "Colegio de Niiios Tiples" of the Manila Cathedral; since 1905. a teacher at the Ateneo de Manila; and from 1911 to 1912, a music teacher at San Beda and La Salle Colleges.

Hipolito Rivera is fond of reading musical histories and dramas. While in the Ateneo de Manila, he has composed several noted compositions, one of which was entitled "De Mindanao Ii Jolo", a trio for two violins and piano.

The piano accompaniment ;)f my song, entitled "My Last

104 Thought", was composed by him in the year H,21, within a short time only. The accompaniment is mournful and serious. The words of the song are the last two stanzas of Rizal's poem, entitled "My Last Thought."

Professor Hipolito Rivera is a composer of religious music. At present, he has many pupils in the city of Manila and the "Colegio. de Nifios Tiples "of the Manila Cathedral is proud to say that he has been a pupil of that institution.

x.

SIMPLICIO SOLIS Simplicio Solis, one of the greatest Filipino musical composers, was born in Paombong, Bulacan, on March 2nd, 1864, and baptized as Simplicio Solis Geronimo. Juan Solis was his father; and Maria Gonzales, his mother.

At an early period, many young boys of Paombong hail entered the "Colegio de Nifios Tiples" of the Manila Cathedral. It was in April of 1872 that Manuel Tanghal born in Paombong in 1855 completed his musical studies in this institution where he was enrolled in May, 1864 with Julian Umale. In 1866 Venancio Galang and Jorge Kapulong of the same town succeeded them in the same college.

In Paombong, one afternoon, in the yeat¡ 1872, Manuel Tanghal, then a young man of seventeen, was wandering in a place there called "Malumot" when he met a man whom he did not know but who perhaps knew him since before. This man was Simplicio's father. After their greeting, he requested Manuel Tanghal ' to accompany his son, Simplicio, to the <'Colegio de Niil0s Tiples" of the Manila Cathedral. But Tanghal's reply was that he would first t est the qualitv df his son's voice and see r\~hether he had any inclinl\tion to music. To see the boy Manuel went with him (father) to his house. Entering the house, they found young Simplicio Solis lying on a bamboo bed while playing on his bamboo flute, his only favorite toy.

Thill flute was made of "bujo", a kind of bamboo, which grew abundantly in the Philippines, and Simplicio Solis was the maker himself. In making this flute, he would select the best stem of a "bujo" tree and then bore holes with proper sizes and !\t proper distances. But before he could secceed in producing a good flute, he had to destroy a number of "bujo" stems. He used to keep this flute in 1

According to Natividad Solis as related to her by her mother her father Simplicio Solis when young, climBed a sampalok t ree ';'hile Manuel Tanghal was calling him in order to have a short talk with him. It was the time that Solis' father was intending to let :dr. Tanghal bring his (Solis) son to Manila.

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106 an invisible ,place in his house that nobody could perchance see and play on it. This was his most favorite toy which he always brought with him wherever he went. In the morning as soon as he was awake, he would play on his flute until near breakfast time. He never descended from his house except when invited by SQIlle of his friends to play outside; but when alone, he stayed' at home, playing on his flute.

Then as soon as Mr. Tanghal entered the room, he examined Simplicio's voice which he found to be sweet and high. So a few days later he accompanied him to Manila and presented him to the "Colegio de Niiios Tiples" of the ManUa Cathedral, in April, 1872. When they reached Manila, poor Simplicio brought no extra clothes except what he wore which was only a black "camisa de chino"; thus, his companion, Mr. Tanghal, paid for him all the travelling expenses. But in spite of Simplicio's poverty and humble appearance, he was heartly admitted by the director of the institution who had found' that he possessed a sweet, highpitched voice and that with utmost ease, he could follow the notes of th'e scale even though sung at different intervals. due to his very sharp "musical ear."

In this institution Simplicio Solis was placed under competent music professors ,: Apolinar Calahorra taught him Solfeggio; Luis Vicente Arche, Harmony and Organ ; Ramon Valdes, Violin and Violoncello; and BIas Echegoyen, Piano. He was a diligent and industl"ious ~tudent showing an unusual ability in the study of music that he was greatly admired by Father Joaquin Calpe, the director and professor of singing and vocalization of the institution.

While yet a student, he was appointed first violinist of the "Capilla de Musica" of the Manila Cathedral; and in the year 1879. he left the institution for he was to teach solfeggio and piano at the Ateneo de Manila and at other colleges in the city. Moreover, he often participated at the public concerts celebrated at Manila, winning the sympathy and pI¡aise of the public.

1

La Oceania Espanola, AUlrIlst 17, 1886.

107 In 1882 he appeared in a commendable concert under the auspices of the "Liceo Artistico Literario". His Excellency Marques de Estella and other distinguished families attended this solemn occasion. Solis was one of the first violinists and Echegoyen, the pianist of the quintet which gave a vital interpretation of an overture. Following this, in October, 1886, Solis and other Filipino popular musicians had a share with the farewell concerts of Remenyi at the Filipino theater and at the Sta. ¡Isabel College. They made a colorful rendition of Mozart's famous quartet before a selected assemblage in which the Governor General was present. Knowing the hospitality of the natives and their natural bending to music, Remenyi soon won their hearts and consequently allowed them to take part in his most entertaining concerts. Then on November, 1889, a famolls society in Manila known as the "Sociedad Musical Filipina de Sta. Cecilia" celebrated a solemn mass at Quiapo church in honor of Saint Cecilia, Gounod's mass being sung and played by the orchestra under Echegoyen's own personal direction. At this memorable occasion, S~li s was amonv the first violinist~ .

At this same period, a native violinist of Spanish descent often gave entertaining concerts before the Manila public. He was Manuel Gar¡rido who studied law in the University of Sto. Tomas of Manila. On the 2nd May, 1892 he had a farewelI concert at the Filipino theate>r where Rossini's "La Caridad" was tastefully executed on the violin, piano, ILnd harmonium by him, Garcia, and Solis, respectively. Again on the 12th of October of the same year, the "Ntra. Sra. del Pilar College" had a concert in honoF of the "Ntra. Sra. del Pilar" and Christopher Columbus.

On the violin, 'Solis performed with animation and triumph Alard's fantasia, "Los Puritanos", while Jose Abello on the piano; and then Verdi's opera Aida, which was a fantasia of J. R. Singelee was marvelously interpreted on the piano

by Solis and on the violin by Miss Pilar Abello. And thl' rest of the program WIllS warmly applauded.

On the night of October 14, 1893, a pompous program was given under the auspices of the "Casino Espanol".

108 where both Solis on the piano and Dancel on the violin executed Beriot's 12th concert. Their wonderful rendition of the c<ÂĽTlposition was followed by an enthusiastic applause of the audience. The Governor General- honored the evening by his presence. At length in 1896, Jose Muezo's farewell concer t patronized by the "Sociedad Musical Filipina de St a. Cecilia" took place, and Solis and other Filipino musicians increa5ed the solemnity and grandeur of the occasion by their hearty co-operation.

As conductor Solis was highly looked! upon as great and he won the admiration and sympathy of strangers.

There wer e serious occasions in which he had opportunities t o condu ct the execution of the most difficult ,masterpieces of European composers. In November, 1900, was sung Pacini'f, mass at the Quiapo church in honor of Saint Cecilia. under the auspices of the music academy, " El Provenir".

Fulgencio Tolentino was the baritone; Atanacio Adonay . the tenor; E stella, the base; Hipolito Rivera, pianist; and Gavino Carleun , organist. The High Mass was ingeniously sung under the careful direction of Solis.

Like other virtuosi, Solis had won the recognition of t he public not only as a wrile composer and wise conductor but also as an accomplished music teacher . He had many t alen ted pupils, most of whom are noW lawyers and doctors, like Norberto Romualdez and Dr. Mariano Galian. As a composer, he had composed several remarkable works during his life time, which were noted for their fine harro om¡. novelty of conception, and originality. His greatlless a~ a composer was manifested by the prizes he won in the musical contests held in the city.

One of these contests was that in 1886 when his writing of a triumphal march entitled " Saint Cecilia" f or band. had won a prize. This was presented in the contest opened

by Saco del Valle who nontinated Carreras, Echegoyen, Massaguer, Manzanaque, and Villapol as members of the j ury in the contest. The jury, considering the composition as a well 'w ritten one, at last decided to award to it the prize which. was a fine baton artistically made by the Sta. Cruz "Sociedad de Escultura" and decorated with gold by Leon-

109 cio Alfiler. But Solis did not receive it in time. The contest as we had seen, took place on July (1886) but the prize was received after a few months. Besides this prize, he on other occasion had received a precious golden pen in the form of a feather where his name was carefully engraved

by Gauclines, a noted goldsmith.

Now then, his work in manuscripts are numerous; his daily environment, curiosity, and poetic imagination, greatly influenced his writing of delicate compositions. One cif his imperishable symphonies written in his greatest inspiration was about Limahong, a Chinese pirate, who came to the Philippines; and the title gi ven to this composition was "Limahong" it was said. This was written when his family was residing in Jntramuros at the corner of Sto. Tomas, now Postigo, and of Cabildo streets. Downstair was then a Ci"inese store whe1"(~ at nigh t the Chinese had singing and music from their rude stringed instruments. Solis was so much interested and greately inspiI-ed by their music that every night while the Chinese were having a sort of a "concert" he was listen ing and at the same time wl"iting the music on the staffs.

His other works were: Grateful Indio f or orchestra, '1884; Clioir of Angels for orchestra and piano, 1888; J ubilant Hymn for orchestra, dedicated to His Holiness, Pope Leon XlII, 1903; "Porta-vaga", a symphony for piano and orchestra; "Vincimus", a hymn sung on Mai'ch, 1892 at the San Juan de Letran College ; "los Cruzados", a morning prayer; Farewell to the Virgin: "Plcgaria a la Virgen" for pianoforte, dedicated to Father Calpe ; Oh! Virgin, a motet for three voices and orcpestra; Ave Maria for two voices and organ: "A ve Verum" for two voices; Oh Virgin! Oh Mother! a duet with a quintet of violin, viola, violoncello, piano, and orl1:an; Motets to the Virgin: (a) "0 Salutatoris", a solo (b) "Ave Verum", for th'ee voices (c) Tantum ergo", for three voices and orchesfra ; music to Rizal's Last Farewell, a hymn sung by Miss Magdalena Garcia at the ZorriIla theater in 1901; Elegy, a 11,0mance with Rizal's words. 1899; "Tears", a romatlce; "To My Sister", a romance with words by Jose Maria TaÂŁay.

llIJ

Most <.I f Solis' wln¡ks in manuscripts are found at the Aterreo de Manila.

Furthermore, Solis had set to music several dramas : "ProtecClon Angelica", a one-act melodrama performed at the San Juan de Letran College, in .March, 1893, "Los Cruzados", a two-act melodrama. words by Joaquin Pellicena; "Renegado y Martir, a drama; HEI Martes de Carnaval" a once-act comic play, words by Isidoro D'ÂĽTlinguez, performed. in October, 1892; "Rizal y los Dioses", a Tagalog opera, words by' Aurelio Tolentino; The -M irror of Lave, a Tagalog drama, words by Ro;man Reyes; and "Hating Gabi", a zarzuela Tagala.

In 1902 Simplicio Solis won a position of professor of singing and piano of the-short-lived musical institution, the " Centro de Bellas Artes". In the following year, Hipolito Rivera. his intimate friend, tried to secure help from him in composing the music for the zarzueia "Ang Infierno" of Pantaloon Lopez.

On the night of Oct. 6th of the same year (1903), Solis with his wife and children took a walk to the annual fair at the Sta. Cruz churchyard where there were then many Ian zones sellers. That night they bought so;rne lanzoneawhieh they ate while rambling; and Natividad, hIS d-a ughter of nine years, was the one who ate the most and who even took the few lanzones from his pocket. Then at about ten o'clock they returned home and after a few minutes there came a visitor whom he offered some wine and with whom he also drank. The visitor being gone, they slept.

Then very early the next morning Solis went to caIle Rotonda in Sampalok in order to play a Requiem mass in 11 large building just facing the Carriedo monument. Afterwards he went to the Ateneo de Manila and at ten o'clock he returned home, already weak and pale. He was found to be attacked by cholera; thus ali remedies were done to save his life, but all in vain. At length in the early morning of the next day, October 8th, his peaceful soul crossed the Gpeat Beyond leaving behind, his wife Eustaquia Roxas, with her unborn child, Celestina, and his three children.

111 His marl'iage with Eustaquia was interesting ; it took place a few years before the outbreak of the Philippine Revolution. He won her by the help of the Jesuit Fathers }V'ho persuaded him to marry her after they had seen her in Malolos, Bulacan, where later the nuptial ceremony was held. In all they had only eleven children and three living ones were left after his premature death-Josefa, Natividad, and Bernabe.

Josefa studied in the Philipine Central Institute ; Natividad, the fifth daughter, in Sta. Isabel College and under Hipolito Rivera who taught her music; and Bernabe, in the "Colegio de Niiios Tiples" of the Manila Cathedral.

He went to Asia and United States where he displayed his artistic talent and where he was finally respected as a pianist of great promise in the near future.

Simplicio Solis glorified his own motherland through his numerous and successful performances and through l1is creditable church compo.sitions. In the "Cemeterio del Norte", there lies his grave not known by all that there rest the bones of ¡a great composer. As in the Philippines at present, the people in some countries of Europe forget to honor great men who are masters of music. Hardly any other artist will ever reach the pinnacle of a successful life whi::h VI'lIS the sole r-ecord of this master.

XI RAMON V ALDiES The life of Ramon Valdes is of interest to the public' because he studied mllsic by himself and because man~r IClarned pupils came under him.

Ramon Valdes; according to his brother, was born in the Island of Corregidor.

His father was Basilio Valdes, a marine of war, and his mother was Francisca Salvador.

Ramon Valdes studied pilotage .at the NauticaT Manila: School in and graduated from this institution. Thus he became a sea-captain for a time, although he already had some b:aining in music. Once he went to Vigan, IIocos Sur, RAMON VALDES where he established a music store, in which different kinds of musical instruments were sold_ Then he came back to Manila and devoted his time to the study and teaching of music. He himself learned harmnoy, counter-point, and composition. He could play upon the piano, violin, Chinese violin, and flute. Not only in Manila but also in the provinces he was known as a good music teacher and conductor. He came from a family of musicians; , The birth place of Ramon Valdes is doubtful. can not teU me the definite place.

112

Even his relatives

113

his brothers play piano. In Manila, he became a music professor of the . "Golegio de Ninos Tiples" of the Manila Cathedral, in violin and violoncello. Under him studied Antonio Garcia, Simplicio Solis, Fulgencio Tolentino, HLp~ lito Rivera, and several others. At the San Juan de Letran College and Ateneo de Manila, he also taught music.

As conductor he had conducted. the famous Gruet Orchestra, owned by Don Ped,ro Gruet. In 1872 he was conducting an orchestra band in Sta. Cruz when Father Jose Burgos was executed at the Bagumbayan field, with whom he was then living. As this event happened, that orchestra was dissolved.

In 1898 or in 1899 when the spirit of the Philippine Revolution was still ardent, he with his family went to Pampanga where he was inspired to compose a "pasadoble" dedkated to the revolutionists of (that place. It was only written in ink and distributed among the local musicians.

Besides this . he han several other' compositions, as mazurkas, danzas, and valses. .

On April 30, 1904, a big exposition was opened in St. Louis, Missouri, to celebrate the -Louisian", Purchase. Here the famous musical compositions of Ramon Valdes were presented and at last received a gold medal and a diploma of honor. .

It was on April 13, 1902, that he died of cholera in the city of Manila. He is dead but he is remembered as a distingudshed professor o! the "Colegio de Ninos Tiples" of the Manila Cathedral.

~~~~A-~#$~I2~AA$~ - ~'\\.'l>'Ij).t1,

fI'Ifl'W'i;l'

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~'I.i'

CHAPTER V

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'*''e

I .

OTHER FILlPINO MUSICIANS Besides the musicians already discussed in the preceding chapters, there are many others who must be reccrded in history. Among these is J 0 813 Estella, a noted painist and learl)ed composer, who was born in Escolta, Manila, in the year 1870. HIe was baptized in the Binondo church. In his early years, he was brought to Spain where he received ¡ his musical education from the ConservatorY'of Madrid. Then he came to Manila to teach piano, He spends his time, as a historian, studying the native music of the Philippines. He went to different JOSE ES'f'ELLA provinces to collect and write the interesting folk songs. He went to Cebu and directed the Cebu Municipal Band, which rapidly won fame under his wise guidance. In the City of Manila, he has conducted several orchestras and has joined several musical organizations.

114

115 As composer, Jose Estella has writ ten many musical compositions of value. On the night of Nov. 18, 1899, he rendered a concert at the Filipino theater, with the cooperation of IMrs. F. Jewel, Prof. Francisco de P. Barbat, and about sixty musicians. His valse "Forever and a Day" was sung by Mrs. F. Jewel, and his "La Tagala" was executed. This last one was dedicated to the Germinal tobacco factory, and in 1903, it was presented to the . Library of Congress of the United States of America. His hymn, "Apoteosis a Rizal", was sung by a grand chorus, accompanied by the orchestra, Dec. 30, 1899, at the Libertad theater. His other compositions are: "Gloria a Espana." Amor Humilde (valse) , " Porque no cantan los ruis enores" (romance), and Hymn to Labor sung at the Magellan Carnival, Manila, in the year 1921, and many others. He also has composed the music for some of our Tagalog dramas; such as, "Sangla ni Rita" of Hermogenes IIagan ; " Ang Opera Italiana", "Filipin~ para los Filipinos" , and "La Venta de Filipinas al Japon" of Severino Reyes.

If the whole life of Estella will be written, a larger volume is needed. His wonderful achievements here and ·abroad are enough to attest his ability Il,S composer an'd pianist. To the intrQduction of the jazz represent ation in the Philippines, he is absolutely against: He said that it kills the growth of our native music. As I have said. he devotes most of h'is time to the careful study of the t ypical mus·ic of his native land, the Philippines.

Jose Muezo, a naijve of Sta. Rita, Pampanga, was the son of Jose iMuezo, a native of the Province of Ol'ense in Spain, and Rafaela 'Malo, a native of Ermita in Manila.

In his 12th year of age, he entered the "Colegio de Ninos Tiples" of the Manila Cathedral (Dec. 1878) . Then he became the conductor of the band of the Spanish Regiment No. 73. He taught music in the San 5uan de Letran College, and before he sailed fQr Spain, a benefit patronized by the "Sociedad Musical Filipina de Sta .. Cecilia" was cel~ ebrated <;In March 2, 1896. But unfortunately, after his safe arrival in· Spain, he met his untimely death in the

116 same year. One of his compositions was a hymn which was sung in March, 1891.

Lo,dislao Bom ls was born in Pandacan, Manila in 185'1, and died in the morning of March 28, 1908. At the Filipino Church of Panda can was sung the Requiem mass the next day. In the morning of Jan. 14, 1886, he directed the orchestra at the Pandacan Catholic church, executing the Credo, Sanctus, and Agnus of Nicaucharon. In Hanoy, Siam, he conducted the Arevalo band of Manila, executing his piece entitled "Pasadoble Hanoy", for the first time.

His other works were "Asamblea Filipina" (a triumphal march) ; " Los Diputados" (a pasadoble) ; and "Recuerdos a la Patria" (a song with words by Rizal). He was a selftaught musician.

MU/1/JUel A. Mata, the son of Natalio Mata (July 3, 1833May 15, 1896) and Maria Nakpil, was born on June 13, 1861, in Quiapo, Manila. On his fat her's side he was a sist er to Salud Mata, who is now the organist of the Quiapo church. He died on April I , 1901. He was a noted organist of the Quiapo church and composer, as his father.

In October , 1882, his original composition received a .prize from the Governor General, in a contest held at the Archbishop's palace in honor of Saint Theresa of Jesus.

Juan S . He7'n(J;n(/,~Z was born in Sampalok, Manila, Jan. 12, 1882. Hie studied in the school of Enrique Mendiola (1892-96) and then in the College of San Juan de LetI'an, where he received his degree of Bachelor of Arts (1898). In 1899-02 he studied law in th1! Liceo de Manila. Then he abandoned his literary studies but continued his musical education. He studied composition and harmony under Jose Estella, Rosalio Silos, and Santino Coppa (an Italian).

In the year 1911, he had composed a fragment of a descriptive comoosition. describing the life of Jose Rizal.

It was the fourth fragment, entitled " Rizal crucified by the Country" (Rizal cruzado de la patria) . The compo~ition was epic, energetic, firm, and persistent. It described Rizal's campaigns as a politician. not only in his native country by also in foreign lands. It was religious in characte):, and

117

demonstrated the factors that delayed the progress of our country. Here the airs of the Filipino march and of the Spanish Royal march seemed to tell that the germs of liberty were still alive. His other musical compositions besides those mentioned in Chapter' I are: "In Pace" (a hymn), Maria Clara's Song (a danza), and "Euterpe" (an intermezzo). He has also composed the music for dramas entitled "Lukso ng Dugo", Minda, and "Puso ng isang Filipina", of Severino Reyes. As pianist, he is educated and devotes his time to the writing of the Filipino native airs.

The first fragment of this descriptive composition was composed by Fmncisco Buencamino. It was entitled "Rizal at the Dawn of His Life" (Riial en el alba de la vida).

The music was calm, happy, ingenuous, expressing the cry of Rizal in his infancy.

The second fragment entitled "Rizal under the Robe of Minerva" (Rizal bajo el manto de Minerva) was composed by Crispino Reyes, It was genial, animated, and simple, showing Rizal's belief and aspirations, Crispino Reyes was the son of Rufino Reyes, and Marcela Mijares, He is a native of Sta. Cruz and entere'd the "Colegio de Niiios Tiples" in the year 1884, in his 6th year of age.

He became a member of the different musical organizations in the city. He had com.posed tbe music for the plays, "Ang Bagong Fausto" and "Ang Tatlong Bituin," The third fragment, entitled "Rizal ' on the Pegasus" (Rizal sobre el Pegaso), was composed by Tle-reso Zwpata, a violinist. It was charming, tender, sentimental, and voluptuons, imitating the vibrations of Rizal's erotic lyre in on!' part and insinuating his patriotic achievements in the other.

Zapata is a member of the teaching force of the Conserva~ tory of Music in Manila. As composer. he has several works; such as. "Los Estudiantes" (septet), "Amor sin paY>' (polk), and "Oriental" (a march).

The fifth fral!'lTlent was composed by Gavino Can¡buen.

It was entitl'ed "Rizal in the lonesome Dapitan" (Rizal eh las tristez8s .de Dapitan). It was mournful, nostalgic, and dolol¡OUS. Some of the passages resembled the murmur of the sea and tl:e singing of the breeze fro in the shore'. The

118 music for some Tagalog plays; such as "Ang Karaniuang Ugali" and "Ang Dapat Pangsaquitan" was composed by him. He has also a collection of Filipino airs he entitled "Brisas Filipinas".

Antonio Escamilla was th~ one who composed the sixth fragment, whioh was entitled "Rizal in his last Night" (Ri~al en '50. ultima noche).

It was sad with decisive and resolute passages of religious character, and with passages imitating the nuptial ma.}·ch of the o,!>era, "Lohengrin".

It- also expressed the stillness of the hour in which Rizal wrote ' his last poem, and in which his nuptials took place. Escantilla is a native of Victoria, Negros, and became ·a ti ple of the "Colegio de Ninos Tiples" in 1884, in his seventhy~r , of age.

Boni facio Abdon is, I think, one of our intelligent violinists. He ,has directed several musical organizations, one of whieh .W!as the Rizal Orchestra. In 1902, he was a member of the "Centro de Bellas Artes" and now, of the Musical Association of the Philippines (Asociaoion Musical de Filipinas) . In the last one he works not for the development of the jazz music but for the cultivation of the native music. He has composed several music for our Tagalog zarzuelas among which are "Masamang Kaugalian" and "Deliquent" of Pantaleon Lopez. Hlis other compositions as his Kundiman and "Alaala" are famous. He has many pupils in the city and is now a member of the faculty of the Conservatory of Music, Manila.

Juam Silos is a composer of good reputation. He masters the flute and teaches the piano. In October, 1888. at the concert-hall of the Sto. Tomas University, was held a literI\-ry program, which ended with the fine interpretation of his hymn, the words of which were written by Juan Jose Gutierrez. . In February, 1908, he was a member of a jury for a musical contest and,inJuly, 1911, aga.in a member of another jury for a· musical contest on the 4th of July of that year. On Nov. ,17• .1911. was held at theManila Grand Opera House a benefit in .which his "La Pandereta", a kind of Jota. was executed by the orchestra. His other work is a melody, "Quejas de Amor."

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â&#x20AC;˘ I.

Jose Silos, tl:e brother of Juan Silos, in another composer and guitarrist. In November, 1891, he was elected,as president of the singing department of the Sociedad Musical F1ilipina de Sta. Cecilia; and in July, 1911, one of hj.~ compositions received a prize in a contest held by the Casino E spaiio\. He became the director of the Philippine Constabulary Band and has conducted several string-circles in the city, which became famous under him. His other brothers, Rosalio Silos and Urbano Silos, are also known composers in the city.

Alejandro Francisco, a flutist, was born on May 3, 1855, in Sampalok, Manila. He was the son of Silvino Francisco and Agustina Ignacio. He took part in the performance held at the Zorrilla theater in .the evening of March 23rd, 1895, by an Italian opera company. The har p prelvde, following the introduction of the first act, was executed by him. Miss Maria Cavallini sang the air of the madness of Lucia, and he accompanied her on the flute. It was remarked that her voice and the flute seemed to be one.

Juan die Dios Morales was his contemporary musician.

Whenever the Italian opera company arrived here, he was called upon take part and he showed his skill when the opera Lucia di Larnmermoor was presented at the Tond<, theater.

Marciano D. Aquino was born in Lumbang, Laguna, where he received his early education since 1901. From 1905 to 1907, he studied in the School of Commerce and from 1907 to 1913 he entered business to earn his livp.lihood. In 1913 he left his native land for San Francisco, California. where he studied violin. In 1915 he traveled thru the UnitEjdl States, and in 1916 he again studied music in the Valparaiso Conservatory of Music, Indiana. From the year 1919-1920 he was a' member of the famous St. Louis SymphonY' Orchestra. And as the dean of the Gibb's School of Music, he showed his ability. He is known for his mastery Qf musical technique. .

Bernabe Solis . the son of Simplicio Solis. entered the Colegio de Niiios 'Nples of the Manila Cathedral OR .Tune 11, 1905, in his 8th year of age. But he sailed for Siam

120

without the knowledge of his parents in Manila. The American Amba.s sador at Siam, Mr. Hornybrook, became interested in him as a promising pianist. Solis played at the concert giyen at the Royal Palace of the King of Siam and won great triumph. In Sumatra, jlfter playing in the residence Qf a Dutcl). music-lover, he was surrounded by the company, which drenched him with the wine, to show their admjJ:ation for hi)p. In California, he has shown his artistic talent as pianist that tlJe president of the association known as "Pacific Musical Club" of Oakland, promised to give him his aid ~o that he could continue his artistic education. What Solis accomplished in foreign lands means honor for him and his country . .

Cali.'t to Llamas, a pianist, studied and graduated from the Chicago Conservatory of Music, with high honors.. He has mastered the technique of piano playing and completed the course in harmony, counterpoint, and composition. He began his public appearance in the Pacific an'd Western States and traveled across the Continent, giving excellent concerts before selected audience. Besides the piano, he also know§ the saxophone. He masters it so well that one of. the St,;!,tes papers said:"The performance on the piano was one of the principal features of the evening's program. With the voice of a child but with the temperamental characteristic of a great musician, he entranced the audience with his marvelous dexterity on the saxophone and piano and the extensive range of his selections."

Ramon Corpus. a promising Filipino violinist. began his early education at the Guildhall School of Music in London, England, in Jan., 1911, with Professor Max Mossel. who ~ught him violin. and D>:. Hiamilton Robin~on in Anril of the same year. who taught him harmony. It was said that he also stu'died medicine. On Anril 15, 1912. he left the institution and sailed ¡for the Philippines. Then he went to the United States and studied music under private professors. On Feb. 4, 1-915, he entered the New England ConservatorY of Music. Boston, Massachusetts, taking the advanced violin class. Harmony he studied for two years;

121 theory, one year; and ensemble playing, two years. During his stay in Boston, he became a first violin member of the orchestra and also a member of the quartette class.

Graduating from the institution in the Soloists' Course in Violin, he received his diploma on June 24, 1918. While a student, he often took part in the several concerts given by the school, ,either as soloist, in ensemble, or as soloist with orchestra. The part, having the most delicate execution, wa~ always commended to him.

In other places of the United States. such as in Washington he also app<'ared.

But being not a particular student of composition, he wrote but few pieces which when played are also gladly received by the public. The music for a two-a::t Tagalog drama entitled "Tatlong Babae" was composed by him. While in London on June 22, 1911, he composed a danza which he named "Loleng."

Nicanor Abelardo. our modern composer, knows violin, violoncello, and singing. He first studied music under private teachers and then at the Conservatory of Music, University of the Philippines, where he graduated. Within a short time he can cqmpose. He has composed the music for the University Historical Pageant and at the Adonay Concert held at the Colegio Medico Farmaceutico building on the night of Jan. 18, 1924. he directed his composition entitled "Wedding March", which he composed for the occasion. and which won the first prize.

Fmncisco Santiago is another modern composer who in 1906 at the age of eleven entered the Sto. Domingo convent which he left at the age of sixteen. He has been one of the piano instructors of the Conservatory of Music of the University of the Philippines and has already composed several musical compositions, specially kundiman songs.

Julian Felipe, the author of the FiUpino March, should not be forgotten. The music ¡was 'composed earlier than the words. He has also composed a "Responso" which was sung at the sanctuary of Porta-Vaga in Cavite Province on the morning of Sent. 12. 1898. when a Mass Requiem was sung in honor of the first three victims of Cavite, during the Philippine revolu tion. The Filipino ' March

1:.!2

i3 one which will always. keep alive the spirit of patriotism in our hearts and is one which will make the name of Julian Felipe forever remembered.

During the dark period of our history, Jose Palmu., a know,ll poet, wrote a poem, which afterwards became t~e words of the Filipino March. While a student of the A~eneo de Manila, he left the institution and was not seen within a month. In society he was timid, and love to him was sacred. In the Revista Cat6lica, La Ilustraci6n Filipina, and El Comercio, his poems often appeared. His remains are now in the Aglipayan Cathedral church in Tondo.

Pedn'O Elo1'iaga, a brilliant pianist, is at present a piano professor of the Conservatory of Music of the University of the Philippines. As he has studied the technique of piano execution under different virtuosi who have come to the Philippines, now he is considered as a great piano virtuoso, who like Luna, the painter, will also honor his country in the future , Fathe1' Ped1'o Dandan, Balbino Gan'ion, and Andres

Gi'l'iCIJ G1'UZ were among the famous Filipino teno)'s.

Father Ped1'O Dandan, a presbyter and "Sochant're" of the Manila Cathedral, was a noted teno)' who died at the revolutionary camps in 1897.

Balbino GOIn'iCtYl was the cantor of the Quiapo church, who died in the year 1919. He possessed an extr('melv high voice. After his death, his son, Jose Gar?-ion, took his place in the Quiapo Church as a teno)¡. The latter studied music under Manuel Mata, the late church organist. He understands composition and has a number of pup'i!s in vocal music.

And1'1l8 Ci1'ia C1'UZ of Pandacan was a ca:nt01' of the Manila Cathedral since 1886. He appeared in the Italian opera companies, which staged at the Tondo theater and at the Opera House, and is one of the oldest canto1'S of Pandacan.

II. FILIPINO WOMEN'S PLACE IN MUSIC As the progressive countries of Europe, where music is highly cultivated and appreciated, these fair islands of Magellan, universally known as the Pearl and Italy of the Orient, are the homes of women, whose musical talents require our special attention. The foreign prima donna ~ corning here, have influenced our ,music, for some of them became teachers in singing of some of the natives. Many of the Filipino women play the harp, specially during th~ Spanish times, the piano, and the violin, and they are very fond of singing.

Many years ago, the harp and the guitar ~ere the most favorite musical instruments of young women; but later, the piano or the violin, became the popular instruments of the homes. The harp is a very ancient national instrument of the Egyptians and the Hebrews. Yet it is found also in Ancient Wales, h'eland, and Scotland. At the time of Hector Berlioz and Richard Wagner, it became an orchestral voice. Antonia Cl'istobal, the mother of Mr. Epifanio de los Santos, was a finished player on the harp.

In every town fiesta, it has been observed that the principal singers in the church choirs are females. Church music has greately influenced the music and female musicians of this country. Mrs. Ventura Galvez was one of the most noted piano professors whose talent was revealed in her numerous pupils like Guadalupe Silvestre and Jovita Fuentes. Dolores Reyes, the daughter of Mrs. Galvez, is also a singer and pianist of rare talents. Among the most salient female professional musicians are Emilia Nica sio, Elvira J. ,Momles, Carmen Abella, Jovita Fuentes, and Rosa?io Lopez Quintos.

Born on Sept. 2, 1872, EnLilia Nicasio studied at the Girls' Municipal School in Manila at t,he age qf seven. In 1884 she studied solfeggio and violin under Florencio Lerrna; and later, Jose Marquez taught her violin, piano, and harmony. From. Manuel Ganido, she learned the secrets of violin execution and from Ciro Cavalieri, '!Ihn came to 123

124 the ,Philippines, how to execute the most ¡ difficult compos iti.0ns of famous composers. Her participation in a progra,m held at Limjap's residence in the presence of President Roosevelt's daughter, won for her a wide reputation.

In August, 1912, she died, but her cherished memories will forever linger in the hearts of her countrymen, specially in the recolJections of her own sex.

Elvim J. M 01'ales was born in the district of Sta. Cruz, Manila, June 26, 1875. Her father, Ignacio Morales, gave her her early musical education. She knew vocalization, guitar, and specially violin. As a scholar, she possessed a teacher's title from the Girl's Municipal School of Manila.

Calmen Abella, the daughter of Dr. Luis Abella, had studied music under Ventura Galvez. While young, she went to Et.'!-ope. It was on April 11, 1913 that she showed her musical genius, when she played the D-minor of Mozart, at the concert-hall of the "Palace of Music" (Palacio de MUl' ica ) of Barcelona.

JO'IJita Fuente.~, a noted vocalist, studied vocalizatio1l under Mrs. FOl'llary. an Italia:n, and piano under Mra. Ventura Galvez. Sh(. is from Capiz, in the island of Panay, and was the treasurer of th ~ ~lu~ical Association of the Philippines (Associaci6n Musical de Filipinas) in 192122. At the necrological program held at the ZorriJIa theater (The New Ambassador) in honor of Yeyeng (Fernandez ) on Nov., 27, 1919, she displayed thl' f'e rtility and charms of her voice which was fulJy appreciated by the public.

Rosal'io Lopez Quintos, a post-graduate of piano in the Conservatory of Music. Manila, studied solfeggio with Maria Luisa Reyes. and then under Segunda Revilla, and lastly under Pedro Eloriaga from whom she acquired the technique and' secrets of piano execution.

These are some of our female musicians of whom we are very proud. The Conservatory of Music and other music schools in the city wiII give our women ample opportu: nity to expand their musical knowledge; and the futu re is not f~r, willen we shall have composers' and virtuosi. who are women.

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~~IlIM?#~*~~03*&SM~t~"::: ~'I.J

CHAPTER VI

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ADDENDA I

EARLY VIOLIN-MAKERS As the violin is the most important instrument of the orchestra, I made up ,my mind to write a very brief history of violin-making. That some violins have better quality of tone than others is known to every music-lover. It has been found out that the older the violin the better will be the quality of tone. Based upon the writings of eminent writers on music-history, the foJlo\ving account will furnish the reader a clear idea regarding the antiquity of violin-making.

As to age, the violin is one of the earliest instrumen1ls of the world, that was early developed by men. The harp, the national instru.ment of the Egyptians and of the Hebrews, bP.came a true orchestral voice during the time of Berlioz and Wagner. The pianoforte was im,proved by J .

C. SchrOder of 'Dresden in 1717 and was int roduced to England in 1766 by a German trader. The inventor of the organ is unknown; but its mechanism was known about 200 years B. C. Amongst these instruments the growth and improvements of violin-making are very remarkable.

The violin dated 1449 and signed by Jean Kerlin, a Breton tutor, who lived in Italy in the middle of the 15th century, was the oldest known instrument of the violinfamily. About the same time, born about 1469, Gasparo Duiffoprugcar, was a member of a famou s lute-making family whose members lived in Bologna, Padua, and Venice.

To him were attributed six mstruments \vith violin characteristic "bearing the dates of 1510; 1511, 1515, and 1517.

The early Italian violin-makers were: Gasparo di Salo, the founder of the Brescian school of violin-making; An125

126 drea Amati (1520-1611), the founder of the Cremona School; Antonio (1550-1638) and Hieronymus (1551-1635), both sons of Andrea Amati; Giovani Paolo Maggini (15901640) a successor and pupil of di Salo; Nicolo Amati (15961684) the son of Hieronyrrius Amati; Antonius Stradivarius (Antonio Stradivarius) (1644-1737) taught by Nicholas Amati; Francesco and Omoboni Stradivarius, sons of Antonio Stradivarius; and Guiseppe Guarneri or Joseph Guarneril1s del Gesu, born in CrEmlona in 1683 and died in 1745 . . Most of the violins of Guarnerius were made in prison where he was kept only for debt. The jailer's daughter who fell in love with him, used to bring materials and tools for violin-making. In workmanship, those violins were poor · but possessed sweet and melodious tone. Furthermore, Andreas Guarnerius, uncle to Joseph Guarnerius; Carlo Bergonzi (1712-1750) and Lorenzo Guadagnini (16951740) pupils of Stradivarius; Johannas Baptista Guadagnini (1750-1785) son of Lorenzo Guadagnini; and Alessandro Gagliano, were also famous makers.

Nicholas Lupot (1758-1824), · a follower of Stradiva-· rius, and· J . B. ·Vuillaume (1799-1875) were French violinmakers. ' Jacob Stainer (1621-1683) whose noted violins were called Elector Stainer, was a German violin-maker of Cremona. Having become a widower, he lived in a monastery, where he had made twelve instruments which were given to the twelve Electors of Germany. Stainer's famous pattern was copied by the maKers of England, Tyrol, and Germany until the -middle of the 18th century. Aegidius Klots (1653-1743), Stainer's follower, was another German maker.

The English violin-makers were divided into three groups: (1) Those of the Antique English School, (2) Those iffiitators of Stainer, and· (3) School which studied the Cemona model. In the last one we find· Richard Duke and Benjamin· Banh (1727-1795).

In connection with thpse violin-makers, I have discussed the famous bow-makers of Paris: Franwis Tourte (11 ~ 7-1835). Near tbe ·end of the 18th century he lengthened the bow. It has been said that with the ancient in-

127 struments of Rome, Egypt, or Greece, no bow was used; and perhaps it was first used in Oriental counhies; such as, in India and China.

At present there are many shops in the Philippines, where guitars, violins, and other stringed instruments are manufactured. Mr. Pedro Buencamino was one of the oldest instrument-makers in Manila. He has invented different kinds of moulds for making stringed struments as guitars and violins. Instruments made in the Philippines are made from native woods.

Now, we have seen that Italy was the foremost country in violin-making; violin-makers originated from this country, at an early period. From this place was brought the idea of violin-making to other parts of Europe.

REFERENCES W. J. Baltzell, "A Complete History of Music," Less<)n XXXTV. Wilhelm Langhans, "The History of Music," p. 132.

The Encyclopaedia Britanica, Vol. IV, p. 338 (Bow); Vol XXVIII, p. 102 (History).

II

THE ESSENTIAL QUALITIES OF ORCHIESTRAL PERFlORMANCE AND CHORUS An orchestra is a body of men to perform a most complex piece of musical composition. The success of an orchestral playing depends upon the close adherence to the requirements of good play ing and upon the ability of the conductor. Solidit y , quality and balance of tone, nuancing (li ght It,nd shade), precisi on and u1ULnimtity, fle x ibili ty, and the 7'evelation of the middle v oi ce, are the requirements for a good orchestral performance.

The combination of instrumental sound is solidit l/. A chord played by differznt instruments should ~ol1nd as a single chord played only by one instrument. When the balance of tone is disturbed, and the quality of tone is poor, then there is no solidi ty .. the tone should be vigorous and full of life.

By the quali t y of tone means its smoothness and mellowness. To gain this, the tone mechanism must not be noticed by the audience nor the reed vi,b ration in the throat of t he clairnettist and the scratching of thl' violin bow.

Balance of tone means that one part of an orchestra should not be too loud as to overpower the other; the equilibrium of power among the three choirs (string, woodwind, and brass) must be maintained.

The distribution of force and speed constitute nuancing , which is the element of li ght and shade. By certain signs above or below the staffs, we can show how a musical composition is to' be performed.

The next qaalities to be observed are precision and unanimity. In beginning and ending a composition, the players must be exact. The act of commencing a tone is called the at tack and this should be in a proper t ime so that the tone produced ,viII seem to come out of a single instru. ment onlY. K eeping together in time and force is u1ULn imi t y . The notes of a melody and its harmonies must be played in exactly the same time, by all instruments engaged in their performance, u1ULnimity demands.

128

129 Flexibility is another essential quality of good playing. The musical sound must not be stiff: it must come as a gentle stream of sauna. Of'bad playing and of bad conducting, tpe lack of flexibility is the result.

After this, the value of the middle voice should be alive; the conductor must pay special attention to this point. Composers write parts of counterpoint, melodic fragments , and important phrases, in such a way as to make them prominent to the ear of the audience. These are played by instruments not playing the principal melody.

After all, the players should master the technique of their own instruments: and thru failure to observe this and the essentials of good performance, a band will not be sucessful. Only by the strick observance of these qualities that a band will assume its prominence in the musical world.

Another important musical body is the chorus. 'fhe quaEties of good choral singing .are here to be discussed.

These are the attack, COl"rect intonation, qtuL~itll and bab.nce of tone, pl'ecision, shading, unanimity, phmsing, and co/'l'ect enunciation. As most of these terms are similar to those discussed above, I shall only explain two of them: phrasing and enunciation. The singers should undershnd the section of a melody embracing a group of notes. It is called phrasing. Each section is to be sung in a single flow of the breath; and between the phrases, the singer should take a breath. The literary and musical phrasing coincide in a good! song, I have observed. Enunciation is the correct and clear utterance of 'e ach word of the song.

Now we have read, the important things that good performers should know. The performers' mastery of their instruments and the singers' command of their voice':"":these things alone will help much to their great success.

REFERENCES W. J. Henderson. "The Orchestra and Orchestral Music", Chapter X, p. 124.

W. J. Henderson, "What Is Good Music." Chapter XIII. p. 146 : Chapter XVII, p. 180.

III THE FORMATION ·OF THE CONDUCTOR In the 14th century conductors conducted in a very queer manner, very different from the ways used to-day.

At an early period, the conductor used a long staff to beat the ground and sometimes the musicians, while he was conducting. Heinrich von Meissen, a Minnesinger and a conductor, who died in 1318, used to stand on a· high platform, with a long baton in his left hand. Sometimes he would extend a finger of Us right hand. In Italy, the harpsichordists conducted the early operatic performances. This manner of conducting was followed at · Hamburg, Germany during Reinhard and Handle. These harpsichordists conducted with a nod of the head, with a wave of the hand and seldom with a stamp of the foot. Various way~ of conducting church music were practised during Handle and Bach's time. Only. about the beginning of the 19th century, the conductor is recognized as an independent timebeater; and only after 1800 the baton was used. Weber and Spohr were among the early men to use it; and 'BerIioz and Mendelssohl were considered great conductors.

In a book published in Nuremberg in 1719, .Johann Bahr, a concert-master of Weissenfels said, "One man' conducted with a foot, another with the head, and a third with the hand. Some conducted Wlith both hands; some with a roll of paper, and still others with a piece of stick." The first violin of an orchestra, could also take the place of the conductor. As he plaved, he would lead the others by the motion of his bow or by raising and lowering the neck of his violin. Sometimes, he would cease playing and conduct the orchestra with the violin bow.

In 1820 Ludwig Spohr introduced in .En;?land the modern style of conducting. Standing at a desk, near the stage, he would direct with a baton.

In the 19th c~ntur.v the Philippines also have prllducect noted conductors among whom were Ignacio Morales, An130

131 tonio Garcia, and Jose Muezo. Ignacio Morales often conductad the Italian Opera Company. Other conductors of wide fame at present are Pedro Navarro, Bonifacio Abdon, and Juan Hernandez.

The conductors of the present age have many duties to follow. Some are good conductors but are poor players; others are good players but poor conductors; while still others are both famous players and conductors. The essential duties which any conductor should do are: (1) To study and analyze the new composition before playing it; (2) To know the easiest and best way of ;performance; (3) To train the orchestra in such a way as to gain the requirements of correct orchestration; (4) To prohibit useless talking during the practice; (5) To beat time; (6) To call the players' attention in their points of entrance ; (7) To remind them of what he has told them at the previous rehearsal. Furthermore a conductor must have a good car in music.

REFERENCES Elson, "Music Dictionary."

W. J. Henderson. "The Orchestra and Orchestral Music", Chapters XII, XIII. W. J. Henderson, "What is Good Music?" p. 150.

THE END

NOTE.-On pal(e 56 of this book, in connection with Carpena's life, I have said that she was a native of Biiiang. In this case I mean to say that she was a native of Sta,. Rosa, d. Biiiatng, where she was very popular.