Lost Philippine Musical Masterpieces

"Listen to the polytonalism of Abelardo in his Panoramas; to the orientalism of Hernandez in his Scherzo; to the alla bravura of Santiago in his Concierto; and to the alla Ravel of Molina in his Clouds, and you will conclude that they are but first-class products of a superb mind... These modernistic touches did not flow from their hearts, but were formulated from their heads. The real Abelardo, Hernandez, Santiago, and Molina are best portrayed by Nasaan ka Irog, Maria Clara, Madaling Araw, and Hating-gabi respectively."

    These are the words of Filipino composer Hilarion Rubio regarding the "modern" compositions of his fellow colleagues. As you can see, he didn't particularly approve of the newer style of music his older colleagues were doing. He agreed that they are musical masterpieces, but they are only academic - devoid of the passion of their 'hearts' when compared to their older, traditionally written compositions.

    This quotation show how progressive compositions in pre-war Philippines lacked appreciation. I guess it's no surprise that, out of all works Rubio has pointed out, only one (Abelardo's Panoramas) survives to this day. The rest were lost or destroyed during World War 2. All our basis for most of these lost works are the accounts of people who heard them, and that's what we're gonna discuss today.

For this, we will mainly look at two composers' writings: Felipe Padilla de Leon and Antonio Molina's writings. Felipe de Leon's column for The Tribune Musical Corner describes the Philippine musical scene at the time of its writing. Antonio Molina, on the other hand, provides us with detailed analyses of works as well as providing us with history and insight on these pieces. Equally important sources are surviving souvenir programs, reviews, advertisements, and other newspaper articles. 

Francisco Santiago: Piano Concerto and Taga-ilog Symphony

Most of Francisco Santiago's works were unfortunately lost on February 5th, 1945 during the Liberation of Manila. Two of these works are considered to be his masterpieces: The Piano Concerto in B-flat minor of 1924 and the Taga-ilog Symphony of 1939.

Piano Concerto in B-flat Minor

Francisco Santiago in Chicago, 1924

    The Piano Concerto was his doctoral dissertation while he was studying at Chicago Musical College in America. Written in 1924, it was premiered in June of the same year with himself as soloist and his teacher, Heniot Levy, assisting him by playing the accompaniment. The Manila premiere took place a year later.

By all accounts, both premieres were a "triumph." His teachers and critics highly thought of his recital and the Piano Concerto, thus strengthening his already-famous reputation as a pianist-composer even more, both internationally and locally. The concerto was the most performed Filipino Concerto, with several performances reported from its premiere until 1943.

The Concerto was cast in three movements, with each movement using folk songs as its theme:

I. Moderato e Maestoso (based on Balitaw)

II.  Andante Amoroso (based on the Kundiman and Awit)

III. Allegro Scherzando - Allegretto - Piu mosso

(based on Leron Leron Sinta and Condansoy)

The last performance that I am aware of is in 1943, with Juan Bañez as soloist, and Ariston Avelino conducting the New Philippines Symphony Orchestra. 2 years later, the work was destroyed.

Fortunately for us, Juan Bañez, who performed the work several times, called for a project reconstructing his piano teacher Santiago's works in 1952. Among them was the 3rd movement of the Concerto and, through the help of various colleagues and friends, they succeeded at reconstructing the late master's work and by September 1952, the reconstructed third movement of the concerto was performed. 

However we don't know how accurate the reconstruction is. The piano part is quite simple - in the sense that the left hand is just doubling the right hand most of the time. The accompaniment is mainly homophonic in texture as well. These, in my opinion, are contradictions to what critics have said to the work, so I'm casting some doubts to the reconstruction. Still, this effort brought us a snippet of the lost masterwork - A work we can't unfortunately hear in its original form.

Listen to the 3rd movement reconstruction here.

"Taga-ilog" Symphony in D Major

Francisco Santiago with the New Philippines Symphony Orchestra after a performance of his Taga-ilog Symphony. 1942.

The Taga-ilog Symphony was him in his most experimental and also his masterpiece, according to Molina and E. Arsenio Manuel. The four movement work includes 'native' percussive instruments such as the gangsa and sulibaw and a blend of multiple folk songs from different regions. This work comes in multiple versions starting in 1936. First named "Luvizmin," it was later changed to "Taga-ilog."

1936 Version:

    The first version seems to have been finished around August 1936 because of a report by Felipe de Leon in the Musical Corner. Antonio Molina provided a descriptive analysis of this work. This version is only the first movement. It was premiered Nov. 19, 1936 at Villamor Hall with the composer conducting the Conservatory Symphony Orchestra.

Programs printed on newspapers have provided an outline of the movement:

Introduction: a motive from ancient "Awit" [Adagio]

1st Theme: "Balitaw," (Episode, Moro rhythm "Sugayaw" and a motive of "Chua-ay") [Moderato]

2nd Theme: "Lulay," with a moro rhythm an "Katsutsa" as counterpoint.

Development: Including "Tiasan" a Moro song.

Finale: Tingyan scale and grandioso, with the Moro "recitative" ending with a typical gesture of the Moro at the end of their dance; a sudden sharp defying shake of the arm simultaneous with the tramping of the feet upon the flood.

1939 Version:

    After one further performance of the first version in Feb. 1937 Santiago composed the three remaining movements in order to expand the work into its grandest symphonic form. It was premiered October 16, 1939 with the composer conducting the U.P. Conservatory Symphony Orchestra at the Ateneo de Manila Auditorium. This version is typically considered as the truly finished version, so the work was dated 1939 in catalogs and biographies.

    The movements are as follows:

I. [Adagio -] Moderato Tropical

II. Andante Sentimental

III. Allegretto Scherzando

IV. Allegro Rustico

1942 Version:

    The last performance of this piece happened at the Inaugural Concert of the New Philippines Symphony Orchestra at July 26, 1942 at Metropolitan Theater, with the composer conducting. The radio station KZRH broadcasted the concert live. I assume the composer took further revisions to the work due to the inner movements being swapped and most movements renamed:

I. Adagio, Moderato assai

II. Allegretto Scherzando

III. Andante amoroso

IV. Allegro Grotesco

    Based on the timestamps the radio broadcast schedule had listed, the work is estimated to have a run time of about 40-50 minutes. 

    A review of the performance was published on the newspaper "The Tribune" by Francisco B. Icasiano. Here is the description of the movements as described by him:

        "The first movement was of the four, the most beautiful, the most elaborate in development, artistically the most balanced. The picturesque 2nd movement was cheerful and reminiscent of country fiestas. The 3rd movement, proving, by virtue of the languid kundiman in characteristic minor key, musically effective and emotionally appealing. The last movement offers an adequate recapitulation of the themes, representing a harmonious blending of tribal elements and Philippine cultures."

This is the last performance of the work. After this the only copy of the Full Score and Parts were stored in Francisco Santiago's personal collection at his house. This, along with the Concerto and most manuscripts of the composer were destroyed in a fire during the Liberation of Manila in February 5th, 1945. Among the other lost compositions are the Sonata Filipina in D-flat, Philippine Overture for Orchestra, and String Quartet in G.

Juan de Sahagun Hernandez: Scherzo in A minor for Orchestra

Juan de Sahagun Hernandez, c. 1910

    Juan de Sahagun Hernandez is, in my opinion, a severely underrated composer. He is one of the most creative and innovative composers of his generation. He first wrote sarswelas starting in 1904 with "Minda Mora" being an instant hit. His other zarzuelas became popular, with the exception of the 1906 "Lukso ng Dugo" which was negatively received due to the music being too advanced. The music to "Ang Puso ng Isang Filipina" was reportedly Severino Reyes (the librettist of many popular zaruzelas) favorite among his zarzuelas. He is now mostly known from his song "Canto Patriotico de Maria Clara" which was a setting of Rizal's poem of the same name.

The Scherzo in A minor was among the pieces Hilarion Rubio mentioned in the quote. The Scherzo is innovative as it was the first work to contain a native instrument: The Gabbang, or a wooden xylophone used by the Tausug people. This composition for orchestra and native instrument was written in 1935, beating Francisco Santiago's previously mentioned Symphony which also included native instruments.

Antonio J. Molina has provided us with a very detailed analysis of the work, of which I will reproduce here in its entirety:

    Both the Scherzo in A minor and the Rondo, also in the same key, of the distinguished composer Juan S. Hernandez, represent the nationalistic tendencies of the present day musical styles. For the first time, the composer has conceived, and subsequently elaborated them for a modern and complete symphony orchestra.

Two Philippine folk songs not yet treated by any other composer, the "Panilan" of the Negritos of Zambales and the "Bunkaka" of the Tangayans of Abra, faithfully reproduced throughout the works, serve as the two main themes of the newly written "Scherzo in A Minor."

Typical Rhythm and Native Instruments

    The Introduction consists of two notes in a bare fifth sounded by two Bassoons accompanied by the characteristics rhythm of the "Panilan" played by the Kettledrum. The "Gabbang" a native xylophone in Sulu, enunciates the first theme (Panilan) over the given accompaniment of the Bassoons and the Kettledrums. This theme is repeated by the Second Violin with a curious contrapuntal accompanied in the Violin and the Violoncello; then another elaboration of it, with unexpected changes of key, accompanied by the same contrapuntal design of the Violin and the Violoncello, is sonorously reinforced by the woodwind instruments.

Echo Effects and the Drone of the Bees

    A new melody molded upon the same rhythm full of interesting variations, serves as a modulatory passage.

The reappearance of the first theme is preceded by a "Tutti Grandioso", accompanied by the same melody in contrary motion by the Contrabasses and the Trombones. From time to time, however, a suave smooth imitation of a certain portion of the melody, like a charming gecko heard from afar, is sounded by the Flute, the Oboe, and the other wind instruments.

    A peculiar melodic passage, monotonous in character, possibly depiction the drone of the bees, is heard as a Violin solo, over which the principal theme is mysteriously uttered by the French Horn.

Two Different "Crescendo" Passages

    A long "crescendo", impressive and powerful, is suddenly ended in a "forte-piano": that is, one single note is played "forte" immediately followed by a soft, quiet, "piano" passage, wherein the "Gabbang" again intones the first theme. As a special effect the composer has successfully caught the true spirit, the percussive quality of the theme, by doubling it in the strings, playing "col legno" that is, using the bow-stick instead of the bow-hair.

Another long and sonorous "crescendo" prepares the spectacular and tumultuous climax, bringing the first section to a temporary but fitting close.

An Unusual Climax

    The middle part is marked "Moderato non Troppo", wherein the second theme (Bunkaka) is brilliantly treated with the variety of resources that the modern technique of orchestration offers. It is appropriately prepared by a suggestive Introduction consisting of a rhythmical passage in the primitive drum, the "Sulibaw" (A hollow wooden drum in use among the Ibaloi Igorots) and a wild discordant chord sustained by the horn. After four bars, the Clarinet gives out an unusual passage monotonously rhythmical, thus paving the wat for the second theme, (the Bunkaka) softly sung by the Oboe, and floating over the flowing harmonies of the string instruments.

    The same theme with a new accompaniment in the form of an "Arpeggio" in the Harp, the Second Violin, the Viola, and the Violoncello, becomes what may be considered as a modulatory passage of the second section. At the same time it gradually prepares the impending climax, but not the common, the ordinary climax usually in "fortissimo". Here the composer has wisely chosen a "mezzo forte" culmination, not majestic but melancholy in character and preserving the rhythmical feature, the exquisite rusticity of the theme.

The Festive Finale

    Scarcely after three bars, the return of the first section is heard, in which part of the elaboration of the first theme is given again. A "Tutti grandioso" marked "poco piu mosso" based upon the same theme (Panilan) leads the Coda or closing section to weird, dissonant chord abruptly roared our by the whole orchestra and immediately followed by an engaging "bravura" passage - a novel "glissando" in the rare whole-tone scale - twangled by the Harp.

    The same theme brilliantly elaborated and now given a rejoicing and exultant character is for the last time proclaimed with all the dor, thus bringing the whole work to a jubilant and festive "Finale"; a Finale, so jubilant and so festive that it can only be better described with the following, masterful words of Washington Irving: "...It grows more and more dense, and powerful - it fills the cast pile, and seems to jar the very walls, the ear is stunned, the senses are overwhelmed. And now it is winding up in a full jubilee, it is rising from earth to heaven, the very soul seems rapt away and flowing upwards on this swelling tide of harmony".

November 11, 1935. Antonio J. Molina

    Unfortunately, just like Francisco Santiago, most of Hernandez's output were also burned during the war. Even more unfortunate, war claimed the life of the composer himself - Juan Hernandez died from a bomb blast while escaping the city on February 10th 1945, during the bloody Liberation of Manila.

Fulgencio Tolentino: Walang Sugat

Severino Reyes (librettist) and Fulgencio Tolentino (music)

    I already talked about the music of this zarzuela in detail in my previous blog post (plus a further analysis on the reconstructed music of it) Below is the first three paragraphs of my post about this work:

    Walang Sugat is probably the most popular zarzuela to ever grace Philippine Theater. The words of the zarzuela was written by the legendary Severino Reyes, popularly known as "Lola Basyang," and the music was written by the composer Fulgencio Tolentino. It was performed in 1902 at Teatro Libertad in Manila. Subsequent performances by the tandem of soprano Maria Carpena and tenor Victorino Carrion were immensely popular and made the zarzuela into a phenomenal success. three film adaptations were made on the zarzuela: A silent film on 1913, and feature films on 1939 and 1957.

    Much attention was given to the text of the work, but the musical side of the zarzuela has been unjustly neglected. The text has been published numerous times beginning in 1898, but the music stayed in manuscript form. The manuscripts of the text and music were deposited at the National Library until World War 2, where it was burned due to bombings. Because of previous publications, the text survived the war. But the same cannot be said to the music where the only copy, the manuscript, was burned along with the Library.

    The original music was neglected until the 70s when Dr. Herminio Velarde Jr. organized a team of researchers to research on the music of the work for the first post-war performance of the Zarzuela. Several people who saw or took part in the original 1902 performance or the early film adaptations were interviewed and were tasked to sing the songs as they remembered it. The research was successful and the Zarzuela was presented for the first time since World War 2 in 1971 at the Cultural Center of the Philippines.

Nicanor Abelardo: Requiem and others

Portrait of Nicanor Abelardo, undated.

    Nicanor Abelardo was a lucky composer unlike that of Santiago and Hernandez - Most of Abelardo's unpublished works were untouched by war and, because of this, we know to what extent his creativity and genius mind has produced.

    His "serious" works such as his early Academic Overture and Piano Concerto and the Chicago era Cinderella Overture, Violin Sonata, Sinfonietta, and the aformentioned Panoramas all survived and thus can be analyzed and performed. However some of his works are still missing or have yet to be located. Here are some works that are considered lost or missing:

Requiem for Chorus and Orchestra

    This Requiem was found in Gramonte and Manuel's catalogs of Abelardo's works. It was written in memory of the late composer Marcelo Adonay. The date of composition was generally listed as 1934. That's the extent of my knowledge about the work. There are no records of it in UP Library, nor is it mentioned anywhere else. Assuming the piece was written at the end of his life, it would be his final large composition.

Piano Sonatas and others

    In contrast to the large Requiem, these are his early compositions. In 1921, his graduation year as Bachelor of Music, he produced three Piano Sonatas: Sonata no. 1 in G Major (first sonata in the Philippines), no. 2 in C Major, and no. 3 in four movements (key unknown). So far, only the 2nd one was discovered. It was found at an archive at an American University and was only recently bought to attention.

    There are also his String Quartet in F Major, Valse in D-flat for piano, Three Pieces for the Pianoforte (Nocturne, Valse Caprice, Fantasie-Impromptu (only 3rd piece survived)), and Mountain Scenes for Orchestra whose locations are currently unknown.

Unfinished Works

Abelardo's unfinished Violin Concerto, completed by Antonio Molina. 1943.

    Manuel's catalog listed at least three unfinished works: A Symphony, an Opera, and a Violin Concerto. The locations of these are still unknown with the exception of the Violin Concerto.

    The Symphony was written in 1932. In his letters he described it as his "First Symphony on filipino folk themes" It was intended to be his graduate composition but he abandoned it and submitted his Panoramas instead. The locations of the sketches are currently unknown.

    The Opera was titled "Florante at Laura" but it never came to fruition. The compositional date is unknown and no sketches can be found as well. There is no further information about the work.

    The Violin Concerto was written at around 1920. Although the only known score doesn't give its compositional date, I based my estimate by analyzing the content of the work. It sounded very "academic" and strictly adheres to the rules, similar to the Piano Sonata in C and other works from this period. Only the first movement was completed and arranged for Violin and Orchestra by Antonio Molina in 1943. It was premiered in September 1944 by the New Philippines Symphony Orchestra. I accidentally found a piano reduction score of this piece while looking deep at the archives of the CCP Library last year. You can't imagine the excitement I felt at that moment!

Conclusion

    World War 2 has deprived us not only of these Musical Masterworks, but a whole plethora of Cultural, Historical, and Important objects that showed the History and the Creativeness of the Filipino. From Architecture, Music, Literature, and all other forms of art. Add to that artifacts and heirlooms and important documents, not to mention the people themselves - war claims everyone in its path.

    Reading these analyses and reviews and descriptions of these lost works - one can imagine on what they sounded like. The Hernandez Scherzo, with its tribal and rhythmic intensity it might sound like one of Akira Ifukube's Orchestral works! The Santiago Symphony, too. Even though it's impossible now to hear the composer's original work (unless a Deus Ex Machina happened,) with detailed analyses thanks to Antonio Molina, one creative mind may create an original work based on the descriptions, and quite possibly "resurrect" these lost works! 

    Lastly, if you know any whereabouts or further information of the works mentioned here, it would be a big contribution to the Filipino classical music scene if you share with us previously unknown sources or manuscripts.