Much as discovered and learned from listening to our very own composers or reading the program notes on them. Many have acquired a measure of recognition abroad. For instance, while Nicanor Abelardo was on a study grant in Chicago, he ran out of funds. Forthwith, he entered his Cinderella Overture – heard in last week’s concert – in a competition. It won, thus enabling him to continue his postgraduate studies.
The Overture was a successful early attempt at atonality. Yet at home, Abelardo’s approach to modern music did not draw hearty response, this leading to his depression and early death. But his melodious kundi-mans, e.g., Nasaan Ka Irog and Magbabalik Ka Hirang among others are classics. The naming of the CCP auditorium after him is an enduring honor.
Francisco Santiago’s Concerto in B Flat Minor for Piano and Orchestra was previously performed at the Chicago Music School where he received his doctorate in 1924. Angel Peña is listed in the International Who’s Who, and is a member of the American Society of Composers, Authors and Publishers. Rodolfo Cornejo, who gave concerts in the US and appeared as conductor-composer, is likewise listed in the International Who’s Who.
Ramon Tapales’ Mindanao Orchids and Peña’s ethnic Igorot Rhapsody strongly retain their ethnic flavor through their themes fascinating use of native instruments. Both works were lustily applauded and Peña acknowledged the hearty approbation. Yatco, impressed with the Rhapsody, played it at the PPO’s inaugural concert in 1982. Like his other works, Antonio Molina’s Hating Gabi was flowing and exquisitely lyrical. Jose Estella’s likewise melodious coloratura aria Ang Maya was finely interpreted by soprano Joan Cano, Francisco Santiago’s Madaling Araw, by tenor Andrei Jose.
Antonio Buenaventura’s tone poem By the Hillside evokes peace and serenity, and suggests vast expanse, then turmoil, returning to solitude once more. Francisco Buecamino’s Mayon, A Fantasy, which falls back on folk tunes like Leron Leron Sinta and Dandansoy, momentarily conveys the eruption of Mayon with abrupt chords and furious note clusters, ending in its former lyrical vein to denote calm.
Reynaldo Reyes, a poor annotator who could hardly be heard or understood, was an excellent piano interpreter in Mayon and in Cornejo’s Concerto for Piano No. 1 in B Minor. Reyes, in his program notes, writes: "The concerto is definitely comparable to any standard concerto of the western world. It’s amazing that it is being performed after 40 years of rest. Why?"
Reyes certainly made up for its long neglect with his virtuosic performance, rendering diabolically demanding passages, powerful densities of chordal sounds, swiftly rippling runs. Tremendously impressed, the listeners gave him a standing ovation.
Immense credit belongs to Yatco for conceptualizing the program, and sensitively delineating the composers’ individual strengths and characteristics. Through his masterfully eloquent conveyance of the works’ substance and meaning, the audience gained new respect and admiration for their very own composers.