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| Lucio San Pedro, the composer |
One of my favorite Filipino pieces, Lucio San Pedro's symphonic poem was written in between 1961-1962 for Concert Band as a commission by the Music Promotion Foundation of the Philippines. Later arranged for orchestra, this piece won the hearts of the audience and critics who first heard the piece at the premiere and in subsequent performances. This was evident with the piece receiving the Republic Cultural Heritage Award in 1962.
Here I made a quick analysis of the work, describing the piece in detail. This will hopefully make the listener appreciate and understand the work better.
Listen to the piece here: (recording by Gerard Salonga conducting the Global Studio Orchestra - with a summarized description of the piece in the description)
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| The two Kumintang Rhythms |
The first section is a slow introductory section that uses the rhythmic motifs of the "Kumintang" - a Philippine song and dance form thought to be originated well before the Spanish conquered the Philippines. San Pedro took two rhythmic variants of the Kumintang and transformed them into 2 separate themes:
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| 1st Kumintang Theme |
The first theme is first played by the Clarinets and Horns in B minor, before being played by the oboes and strings with slight variation.
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| 2nd Kumintang Theme |
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| Dabakan |
The 2nd theme, which uses a more popular variant of Kumintang, was first played by the flute. The rhythm was eventually played by a Filipino percussion instrument called Dabakan (or a tom-tom) against countersubjects derived from the Kumintang played by several other instruments. This builds up until a loud Allegro Vivace section in 6/8 where it transitions to the to the main body of the work (Allegro Animato).
The main body of the work was based on the first four notes of the folk song "Bahay Kubo":
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| Bahay Kubo theme |
Here, San Pedro's nickname as a "Creative Nationalist" is best shown. The composer didn't believe that literally using folk songs would represent his nationality or the Filipino people. Instead he would take fragments of the said folk melodies and elaborated upon them thus making new, original themes that subtly evoked the Philippine spirit.
In this piece, he uses the folk song "Bakay Kubo." He didn't use the song in its entirety. Instead, he took the first four notes of the song, then transformed it into distinct themes, with each having a different character and mood from each other. Such themes will be discussed in the next paragraphs:
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| The 1st theme |
The first section has a swaying theme in B minor first played by the violins before being picked up by the whole orchestra with much vigor and intensity. After a brief quotation of the first Kumintang motif, the first Bahay Kubo theme was once again played by the full orchestra before dwindling down in intensity to give way to the lighter, more relaxed 2nd section.
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| The 2nd theme |
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| 2nd theme variant |
This section has a theme in E major, and is essentially a slowed down variant of the first theme. First played by the oboe, this tranquil section crescendos into a fortissimo climax in F# Major marked "Maestoso Allargando" where the theme was slightly transformed once again. This section closes softly.
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| The 3rd theme |
The third section introduces a graceful F# major theme played by the violins marked "Allegretto mas Eleganza". Here San Pedro played with the theme by giving it to several instruments in stretto. After some careful modulation, the orchestra builds up into another climax as the horns restate the theme into a new, hopeful key of E major backed by the whole orchestra. Afterwards, a brief Alla Marcia section appears, with the horns playing the Bahay Kubo theme in its unchanged form for the first and only time:
The Alla Marcia section slowly builds in intensity before fiercely going back to the vigorous first section by the full orchestra. However, the return of the first section was short as it segued into the next section shortly after (Tranquillo Solemne)
The previous section is suddenly interrupted by a B major chord played in triplets by the winds in cut time. This introduces a new solemn theme played by the horns against tremolo strings. Afterwards, the orchestra gradually intensifies into a glorious Brucknerian brass chorale. The piece ends in a brilliant and triumphant conclusion in B major.
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The piece can be interpreted as a musical representation of the history of the Philippines from its pre-colonial history to the struggles of independence from colonialism.
The first part uses the Kumintang - a song and dance form thought to be originated well before the Spanish conquered the Philippines. This section can be interpreted as the pre-colonial chapter of the country, before the Spanish invasion.
The 2nd main section, with its different sub-sections, can represent by events and sceneries of Spanish-influenced Philippines, starting with the vigorous Allegro Animato representing the early conflict against the invaders, the Lento ma non troppo depicting pastoral imagery of the country is then followed by the Allegretto mas Eleganza section evoking the cheerful celebrations and life in the countryside. Finally, the Alla Marcia section (with the reprise of the Allegro Animato section) represents the final struggle of Filipinos to achieve independence.
The final Tranquilo Solemne section achieves repose after the prior section's tumultuousness, signifying freedom and liberty of the Filipino people.
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