Rosalina Abejo's Guerrilla Symphony

 

Rosalina Abejo conducting an Orchestra

    Rosalina Abejo, a Filipino composer and a nun, was one of the more forgotten Philippine composers today. Her music aren't played by any orchestra or musicians ever since her death - I have no knowledge of any of her works being played in the country in the past few decades, except probably a few performances of her Tartanilla Race for solo piano in private concerts or recitals. Perhaps this is partly because of her political affiliations and connections. Fortunately for us, Abejo was one of the very few classical Filipino composers whose works are commercially recorded and preserved. About three LPs of a few of her large scale works were made, as well as a song from the 1979 LP album Pagdiriwang.

    She was a prolific composer - she composed a large body of orchestral music, particularly symphonies (i have counted at least 14 of them.) and several concertos and chamber pieces. Being a nun, religion was a big influence in her output. Ballets, Symphonies, cantatas, and songs based on religious themes and stories contribute to a large chunk of her works. She also composed the first Filipino Oratorio: Pagtutubos. As usual of a Filipino Composer at this time, she also composed several works based on Filipino history and stories - like the one I'm going to talk about today: Guerrilla Symphony.

    The Guerrilla Symphony, written in 1972, is a one-movement Symphony for Orchestra (Though it is more of a Symphonic Poem than a Symphony.) It depicts the events of the 2nd World War through nearly 15 minutes of music. The work seems to be cast in loose Arch form, but it being program music, the form prefers to be guided by the program behind it.

The liner note explains the work as follows:

"The Guerrilla Symphony" faintly portrays in musical sounds the heroic life led by the Filipino during the anguished years of World War II. In company with half-prepared but brave soldiers, many a Filipino roamed the Philippine mountains and unknown forests, plotting strategies resisting unexpected assaults.

While fighting a hopeless contest, they remained undaunted. Humbled by defeat, they bore oppressions and atrocities of the enemy with admirable dignity. Loyal to the end and hopeful for brighter days, they gazed at whatever ray of hope was visible until the sweet days of liberation.

A very peaceful atmosphere starts the composition with the the strings entering tremulously in subdued tones to allow a suggestive theme, "Bahay Kubo," to emerge from the horn. Twittering birds join the quintet while waves toss and rush and echo in arpeggio from the harp.

Suddenly airplanes roar! Bombs explode! Muffled drums suggest the approach of the enemy. Rattles of machine guns reverberate. The brasses entone the theme of the Star Spangled Banner while the woodwinds answer with the theme of the Philippine National Anthem. The fragmentary themes chase each other rushing almost in consternation. Bombings are heard. Explosions!

The enemy finally conquers. The Kamigayo is entoned by the bassoon joined by the winds and brasses. It is the era of the Occupation. Sorrow, suffering and oppression fill the atmosphere as the violins sing melodies of pathos.

Landing in Leyte! Liberation at last! A Balitaw air suggests the restoration of the joyful and peaceful life of the people. The full orchestra majestically entones a fragment of the Philippine National Anthem as it comes close to a sudden climax.

Thus the one movement symphony closes.

    The work, in my opinion, is a pretty good and a well-constructed example of Program Music. Excellent use of tone painting  and various Motifs and themes are remarkably used to depict what's happening in the work. From Loud Trumpet calls and low string rumblings depicting airplane engines to the use of National Anthems, Abejo utilized these techniques very effectively. 

    Her usage of National Anthems and folk themes aren't straightforward nor direct quotations. She took fragments of them and transforms and develops them into something unique while at the same time still recognizable to the listener. It is reminiscent of Lucio San Pedro's style of writing.

    Her orchestration and sense of drama are audible here as well. No part sounds awkward or too dramatic; every note is balanced. You can listen and still understand the work too even without looking at the program notes because of her great motivic writing.

    Rosalina Abejo is a great orchestral composer. Through the few available recordings of her orchestral works, these show a remarkably talented composer. Perhaps it is long overdue for a revival of these compositions? However, it doesn't help that her music were entangled in politics. The Guerrilla Symphony was dedicated to the late president Ferdinand Marcos. But does this change the quality of her compositions? On a purely musical perspective, Abejo definitely needs to be heard again in concert halls.