Contemporary Philippine Music 3d3b2d

CONTEMPORARY PHILIPPINE MUSIC According to National Artist Ramon Santos, PhD, “contemporary music in the Philippines refers to compositions that have adopted ideas and elements from 20th century art music in the west, as well as the latest trends and musical styles in the entertainment industry.” The modern Filipino repertoire consists of musical pieces that have been written in 20th century idioms that have evolved out of such stylistic movements as impressionism, expressionism, neo-classicism, as well as avant garde and new music. New music are compositions which are improvisational works 20th CENTURY TRADITIONAL COMPOSERS With Spain and then America having colonized the Philippines from the early 1500s to the late 1800s, it was unavoidable that Western compositional techniques found their way into the works of Filipino composers. Yet, even 20th century Filipino composers have managed to retain some traditional elements in their assimilation of Western techniques. In fact, they have become the strongest foundations of what we now know as Philippine music. FRANCISCO B. BUENCAMINO SR. (1883 – 1952) Francisco Beltran Buencamino Sr. was born on November 5, 1883 in Bulacan. He was the son of a musically inclined couple. His father was Fortunato Buencamino, a church organist and band master. His mother was Luisa Beltran, a noted singer. He studied music composition and harmony at Liceo de Manila. Unfortunately, he was not able to finish. He taught at the Ateneo de Manila, and at Centro Escolar de Señoritas whose Conservatory of Music he founded. He also created the Buencamino Music Academy in 1930 where Nicanor Abelardo was one of his students. Expanding his career, he ventured into musical directing and scoring, and composing film music for Sampaguita Pictures, LVN, and Excelsior. Buencamino’s compositions include Harana, Pandanggo ni Neneng, Collar de Sampaguita, Dulces las Horas, Mayon (Fantasia de Concierto), My Soul’s Lament, Larawan, Mazurka, Boholana, Mi Bandera, Princesa ng Kumintang, Maligayang Bati, Ang Bukang Liwayway, Pandanggo ni Neneng, Ang Bagong Balitaw, Himig ng Nayon, Damdamin (Romance), and Pizzicato Caprice. Many of his piano works have become a staple part of the Philippine repertoire of today’s young students, especiallyMayon, Larawan, and Maligayang Bati. He also wrote several zarzuelas and kundimans. He ed away on October 16, 1952 after which a posthumous award honored him with the title “Outstanding Composer.” FRANCISCO SANTIAGO (1889 – 1947) Francisco Santiago is known as the “Father of the Kundiman” and belongs to the “Triumvirate of Filipino Composers.” He finished his music specialization at the American Conservatory of Music in Chicago, where he obtained his Doctorate Degree in 1924. Santiago’s music was Romantic in style, incorporating Western forms and techniques with folk materials. He composed several works such as kundiman, symphonies, piano concertos, and other music pieces for the piano, violin, and voice. Among his famous works are Pakiusap, Madaling Araw, Sakali Man, Hibik ng Pilipinas, Ano Kaya ang Kapalaran, and Kundiman (Anak Dalita). This piece was sung before the Royal Court of Spain upon the request of King Alfonso II. He was also a musical director for films. Among the films whose music he supervised are Kundiman, Leron Leron Sinta, Madaling Araw, Manileña, and the movie inspired by his own composition Pakiusap. He became the first Filipino Director of the UP Conservatory of Music. NICANOR ABELARDO (1893 – 1934) Nicanor Abelardo is one of the “Triumvirate of Filipino Composers” which includes Antonio Molina and Francisco Santiago. He studied music at the Chicago Music College and was influenced by the musical styles of Schoenberg, Hindemith and Stravinsky. Abelardo developed a style that combined European romanticism with chromaticism. His compositions contain hazy tones, dissonance and unusual chordal combinations found in such works as Cinderella Overture, Panoramas, and a violin sonata. Although a 20th century modern composer in style, he is also considered a composer in the Romantic style. His best-known compositions includeMutya ng Pasig, Nasaan Ka Irog, Cavatina for Violoncello, and Magbalik Ka Hirang. ANTONIO J. MOLINA (1894 – 1980) National Artist for Music Antonio Molina, the first National Artist for Music, is considered one of the “Triumvirate of Filipino Composers” which includes Nicanor Abelardo and Francisco Santiago. He began his music career as an orchestral soloist at the Manila Grand Opera House. He served as Dean of the Centro Escolar University Conservatory of Music from 1948 to 1970. He was also a faculty member of the University of the Philippines’ Conservatory (now College) of Music. Molina was a product of both the Romantic and Impressionist schools of thought. He was fascinated by the dynamics and harmonies of Debussy, but retained much of the Romantic style in his melody. A characteristically impressionist work is his piano work Malikmata (Transfiguration). The

mysteriously exotic chords of this piece gradually lead to a lyrical melody, with the traditional harmonies abruptly returning to the initial mood. Molina wrote several compositions for piano, violin, and voice as well as a Spanish-style opera form known as the zarzuela. He is best known for his poignantly romantic serenade for violin and piano Hatinggabi. Subsequent transcriptions of this piece were written for the cello, flute, piano, and guitar. Other works by Molina include orchestral music –Misa Antoniana Grand Festival Mass, Ang Batingaw, Kundiman-Kundangan; chamber music - String Quartet, Kung sa Iyong Gunita, Pandangguhan; and vocal music - Amihan, Awit ni Maria Clara, and Larawan Nitong Pilipinas. He received the National Artist for Music award in 1973. He ed away on January 29, 1980. HILARION RUBIO Y FRANCISCO (1902 – 1985) Hilarion Rubio was born on October 21, 1902 in Bacoor, Cavite. A composer, music teacher, conductor, and clarinetist, he created substantial works for the orchestra. He served as conductor for opera, ballet, dance recitals, and movie music. His early interest in music came from the influence of his uncle who was then playing with the Bacoor Band. His first music lessons in music theory and clarinet were with Fr. Amando Buencamino who taught himsolfeggio and some musical instruments. When he was eight years old, he was accepted as a member of the Bacoor Band as a clarinetist. At that time, he made his first composition Unang Katas for his concert with the band.In his high school years at the North High School (now Arellano High School), Rubio became a member of several orchestras. He performed with various movie house bands and orchestras. He was also a member of the Lyric Theater Orchestra, Trozo Band in Benavides Street, and the Band Moderna in Tondo. After he graduated from high school in 1930, he cofounded the Anak Zapote Band. He later became a bandleader and conductor of the ROTC Band of the Conservatory of Music, University of the Philippines (UP) and played the violin and timpani with the UP Junior Symphony Orchestra. After his student years, Rubio became a conductor of opera at the Manila Music School in 1936. He became the choirmaster and choral conductor of the Choir Islanders. Also, he assumed the position of instructor at the Conservatory of Music, University of the Philippines. He was also a lecturer at the Buencamino Music Academy, La Concordia College, College of the Holy Spirit, Santa Isabel College, Laperal Music Academy, Manila Music School, St. Theresa’s College, and the Valencia Academy of Music. He became full professor of the UP Conservatory of Music from 1936-1937. He was appointed director of the Conservatory of Music, Centro Escolar University in 1944-1945. During the Second World War, Rubio composed and arranged many works and conducted many military and civilian brass bands. After the war, he was appointed conductor of the Manila Municipal Symphony Orchestra. He held various positions, including as Vice President of the PASAMBAP (Pambansang Samahan ng mga Banda sa Pilipinas), the National Band Association, board and charter member of the League of Filipino composers, and the first President of the Philippine Bandmaster’s Association. He was conductor of the National Opera Company for 23 years from 1937 to 1960. Rubio’s compositions include: Bulaklaken, Theme and Variations for Band, Dance of the Nymphs Rondo, Florente at Laura (overture), Halik, Danza, Unang Katas, Twopart Invention (piano), Ang Konsyerto (ballet), Ang Magsasaka, Bukang Liwayway, Concertino in C (marimba and piano), Filipinas Kong Mahal, Hatulan Mo Ako, Ginintuang Araw, In a Tropical Sea, Light, Narra, Mutya ng Silangan, To the Filipino Youth, Nela, National Heroes Day Hymn, and Salamisim. He ed away on December 28, 1985. COL. ANTONINO BUENAVENTURA (1904 – 1996) National Artist for Music Col. Antonino Ramirez Buenaventura was a renowned composer, conductor, and teacher. His father Lucio was the chief musician of the Spanish artillery band in Intramuros and founder of Banda Buenaventura. As a young boy, he had already demonstrated a ion for music while learning the rudiments of music and solfeggio and becoming a proficient clarinet player. Col. Buenaventura further developed his musical abilities at the Conservatory of Music, University of the Philippines (UP) at the age of 19. He received a Teacher’s Diploma in Science and Composition at UP. Nicanor Abelardo and Francisco Santiago were among his famous mentors. At the University, Buenaventura led the UP ROTC Band and established the UP Junior Orchestra which was the first collegiate orchestra in the country. He pursued further studies at the Institute of International Education in New York. He was also awarded a study grant by the UNESCO in 1949. He was a delegate to the general assembly of the International Society for Music Education held in Montreux, Switzerland in 1976. He represented the country at the general meetings of the International Music Council (IMC) in Rome (1962) and Hamburg (1964). Buenaventura was actively involved with the various military bands which ultimately earned him his military rank of Colonel. He was a music instructor and band conductor of the Philippine Military Academy (PMA). Later, he restored the Philippine Constabulary Band in 1945, which was reputedly likened to a symphony orchestra. It was considered

as “one of the best military bands in the world.” It would later be renamed the Philippine Army Band. He also founded the San Pablo Music Academy in Laguna. Buenaventura was a faculty member of the UP Conservatory of Music. Later, he became the music director of the Conservatory of Music, University of Santo Tomas (UST) in 1961. After retiring from the military, he became the music director at the School of Music and Arts, University of the East (UE) in 1964. He promoted Philippine music through his extensive use of folk materials which he had recorded around the country with Ramon Tolentino and National Artist for Dance Francisca Reyes Aquino. Buenaventura composed the music and folk dance notations for the dance researches of Aquino. As a multi-awarded musician, he composed Minuet, Mindanao Sketches, Divertimento for Piano and Orchestra, Variations and Fugue, and Greetings based on Philippine folk music. Pandanggo sa Ilaw, one of his most popular compositions, remains a favorite performance repertoire of many folk dance companies. He was declared National Artist for Music in 1988 and ed away in 1996. RODOLFO S. CORNEJO (1909 – 1991) R o d o l f o S . C o r n e j o was born on May 15, 1909 in Singalong, Manila. Inspired by his mother’s genuine , the young Cornejo started formal music lessons at the age of six. He performed on stage after only two years of music studies. During this time, he was also invited as organist of the Pasay Catholic Church. His first composition at age 10 was a piano piece entitled Glissando Waltz. It was followed three years later by a military march entitled Salute. At the age of 14, 26 of Cornejo’s compositions were already listed by the United Publishing Company Inc. Cornejo graduated with a Teacher’s Diploma in Pianoforte and a Teacher’s Diploma in Science and Composition at the Conservatory of Music, University of the Philippines (UP) in 1930. He received his Bachelor of Music degree major in piano and theory from the Chicago Musical College of Roosevelt University, USA in 1932. He received a Master of Music degree major in composition and conducting at the Chicago Musical College of Roosevelt University, USA in 1933. He was conferred a Doctor of Music degree honoris causa in 1954. He received his Doctor of Philosophy degree major in composition from the Neotarian College of Philosophy in Kansas City, USA in 1947. Cornejo taught at the UP Conservatory of Music and became the researcher and official composer of the Philippine government-in-exile. He was appointed by then President Manuel L. Quezon. He was commissioned to write a symphony and an opera and compose the music for the documentary film on President Quezon’s funeral. He served as pianistdirector of a USO concert unit that entertained the Allied Forces at the E.T.O., the Marianas, and the Hawaiian Islands during World War II. Cornejo was the soloist of the Manila Symphony Orchestra, Filipinas Youth Symphony Orchestra, and UP Symphony Orchestra. Later on, he became the musical director of the Sampaguita and Vera-Perez Movie Companies. Since 1978, he held concerts in the United States. He appeared as composer-conductor at the Seattle Opera House and the Seattle Playhouse. He is listed in “The International Who’s Who in Music.” Cornejo was also known for his extemporaneous thematic improvisations based on the letters of people’s names. His compositional output includes A la Juventud Filipina, Bailes de Ayer, Caprice on a Folksong, Cello Sonata, Ibong Adarna, Kandingan, Malakas at Maganda, Overture, Okaka, Oriental Fantasy, Ibong Adarna, Piano Concerto Nos. 1,2,3, Ruby, and Song of the Miners. He ed away on August 11, 1991. FELIPE PADILLA DE LEON SR. (1912 – 1992) National Artist for Music Felipe Padilla de Leon was born on May 1, 1912 in Barrio Papaya (now General Tinio) in Penaranda, Nueva Ecija. He is the son of Juan de Leon and Natalia Padilla. Felipe de Leon married pianist Iluminada Mendoza with whom he had six children. Bayani and Felipe Jr., are two of his children. Bayani is a well-known composer, and Felipe Jr. is a writer and the chairman of the National Commission for Culture and the Arts (NCCA). De Leon’s talent in painting and drawing was discovered during his school days and ired by his uncle, peers. People asked him to make illustrations and sketches and was paid for them. When he was studying at the Nueva Ecija High School, he went on trips with his hometown band and wrote short pieces for them. He took up Fine Arts at the University of the Philippines in 1927, but he had to stop schooling in order to make a living. He played the trombone in dance orchestras which performed in cabarets, circuses and bodabil (vaudeville). Then, he worked as an assistant conductor of the Nueva Ecija High School Orchestra where he started doing musical arrangements. Later on, he wrote music for the zarzuela. He decided to study formally and enrolled at the Conservatory of Music, University of the Philippines, where he studied under National Artists Col. Antonio Buenaventura and Antonio Molina. He contributed articles to the school paper and vernacular magazines. Later, he wrote music columns for the Manila Times (then known as Manila Tribune) and Taliba. He graduated with a music teacher's diploma, major in conducting in 1939. Much later, he took advanced studies in composition under Vittorio Giannini of the Julliard School of Music in New York, USA. De Leon received many awards, such as Composer of the Year (1949), Manila Music Lovers Society, Musician of the Year (1958), UP Conservatory of Music, and others. He was conferred an honorary degree, doctor of philosophy in the humanities, by the University of the Philippines in 1991.

De Leon wrote piano compositions, hymns, marches, art songs, chamber music, symphonic poems, overtures, band muic, school songs, orchestral works, operas, kundiman, and zarzuelas. He was known as a nationalist composer who expressed the Philippines' cultural identity through his compositions. Two operas which are considered his masterpieces are the Noli Me Tangere (1957) and El Filibusterismo (1970). These two operas have been staged in the Philippines and abroad. He also wrote a march during the Japanese regime entitled Tindig, Aking Inang Bayan, and another march Bagong Lipunan during the martial law. He wrote the popular Christmas carols Payapang Daigdig (1946), Noche Buena, and Pasko Na Naman, both in 1965. Felipe de Leon received a posthumous award as National Artist for Music in 1997. He died on December 5, 1992. LUCIO SAN PEDRO (1913 – 2002) National Artist for Music Lucio San Pedrowas born on February 11, 1913 inAngono, Rizal. Since his elementary days, he started composing. He studied the banjo which inspired him to become a serious musician.He later pursued his music degree at theUniversity of the Philippines and the Juilliard School in New York, USA. Upon returning to the Philippines, he became a professor of theory and composition at the University of the Philippines’ College of Music. San Pedro is known as a “romantic nationalist.” He incorporated Philippine folk elements in his compositions with Western forms and harmony. His chords have a rich expressive tonality, as represented in his well-loved Sa Ugoy ng Duyan, a lullaby melody sung by his mother. His orchestral compositions are best represented by the Suite Pastorale (1956), a poetic aural description of his hometown Angono, and his nationalistic symphonic poemLahing Kayumanggi (1962). Other compositions include songs, pieces for violin, cello, and chorus. His works for the symphonic band was where he was most prolific and productive both as composer and conductor. His musical prowess was internationally recognized when he was invited to be a judge at the prestigious Van Cliburn International Piano Competition in 1980. He was declared National Artist for Music in 1991 and ed away on March 31, 2002. ROSENDO E. SANTOS JR. (1922 – 1994) R o s e n d o E . S a n t o s J r . was born on September 3, 1922 in Cavite City. At age 11, he started composing band marches, instrumental, and vocal scores, as well as music for Catholic masses. He studied in Cavite schools and later graduated from the UP Conservatory of Music where he eventually became a faculty member. He also pursued a Master of Music degree in theory and composition from the Catholic University of America in Washington, D.C. After which, he also served on its faculty as well as in West Virginia University and Howard University. As a UNESCO scholar, Santos was awarded the “Philippine Composer of the Century” after receiving the “Composer of the Year Award” in Manila in 1956 and 1957. He ed the faculty at Wilkes University, Pennsylvania in 1968. He performed as timpanist, pianist, and conductor with several orchestral groups. He conducted church choirs in Maryland, New Jersey, Lehman, Huntsville, and Shavertown United Methodist Churches in Pennsylvania, USA. He composed the background music for J. Arthur Rank Films at Pinewood Studios in London, England, where he worked with British composers Malcolm Arnold and Muir Mathieson. Among Santos’ teachers were famous composers Aaron Copland, Irving Fine, Humphrey Searle, and conductor Norman Del Mar. A prolific composer, he had composed several piano concerti, sonatas, symphonies, symphonic poems, five operas in Filipino, numerous band overtures, and more than 200 marches. He had also written 50 masses in Latin and 20 in English. He has more than 1,000 musical compositions in the library of the University of the Philippines. Santos’ last musical work and only ballet composition, Melinda’s Masquerade, was performed in 1995, a year after his death. Santos ed away on November 4, 1994 in Swoyersville, Pennsylvania, USA. ALFREDO BUENAVENTURA (1929 – ) Dr. Alfredo Santos Buenaventura, composer, conductor and teacher, was born in Sta. Maria, Bulacan on October 14, 1929. He grew up in a musical environment and became a band member in his hometown at a young age. He was drawn by his fascination with trumpets and trombones and became one of its arrangers and conductors. He was one of twenty boy sopranos of Tiples at Sto. Domingo Church from where he received his first significant musical training. At that time, he also wrote his first composition, Danza. A prolific composer, Buenaventura has composed over 50 major works including five full-length operas, operettas, dance dramas, cantatas, symphonies, concertos, ballets, overtures, prelude, fugues, and chamber music. His compositions and other creative works have transcended territorial, racial, and language barriers as these have been performed abroad by international virtuosi and religious groups. Many of his compositions are based on Filipino heroes, legends, and epics. He uses native songs, both tribal and folk, as themes of his music compositions. A number of his compositions are accompanied by Filipino indigenous instruments. Some of his major works include the operas Maria Makiling (1961), Diego Silang (1966), Prinsesa Urduha (1969), cantatas Ang Ating Watawat (1965), Pasko ng Barangay (1964), three piano concertos subtitled Celebration, Determination, and Exultation, and symphonies such as Dakilang Lahi (1971), Gomburza (1981),

and Rizal, the Great Malayan Antagonist (1990). His minor works numbering more than 50 cover mostly religious songs and hymns for specific celebrations such as the Sixteenth Centenary of St. Augustine, Mass for the 400th Year of the Augustinian Recollect, and the PhilippineMusic Festival. His other creative musical works have been commissioned by the Cultural Center of the Philippines, Metropolitan Theater, and the National Music Competitions for Young Artists (NAMCYA). Buenaventura’s compositional style rests mainly on his own set of musical ideas, wherein he creates a combination of contemporary and conventional materials. He keeps his melodies simple and understandable but with contemporary harmonies that enhance their complexity. He became an official organist of the Manila Cathedral in 1960. He became the Dean of the College of Music, Centro Escolar University. He is a member of the League of Filipino Composers. He received a number of awards in the music industry. He was twice an awardee of the Republic Cultural Heritage Award and the The Outstanding Filipino Award (TOFIL) for Music in 1995. CIPRIANO “RYAN” CAYABYAB (1954 – ) Ryan Cayabyab is a popular contemporary composer who also has classical compositions to his credit, such as Misa, Four Poems for Soprano and Piano, and Te Deum. His compositional style makes much use of syncopation, extended chords, and chromatic harmony. Among his numerous compositions are the awardwinning Kay Ganda ng Ating Musika (1978), as well as the modern zarzuela Alikabok (2003), the opera Spoliarium with libretto by Fides Cuyugan-Asensio, and a variety of choral pieces and song cycles. He also produced a number of recordings, including the memorable album One, where he personally sang the unaccompanied songs on different tracks to produce 16 voices. Cayabyab was born on May 4, 1954 in Manila. He obtained his Bachelor of Music degree at the University of the Philippines’ College of Music. After which, he became a faculty member for Composition at the same University. He also served as the Executive and Artistic Director of the San Miguel Foundation for the Performing Arts, which oversaw the operations and programming of the San Miguel Philharmonic Orchestra and the San Miguel Master Chorale. At present, he continues to be a much sought-after professor, musical director, composer, arranger, and conductor in the Philippine concert and recording scenes. NEW MUSIC COMPOSERS JOSE MACEDA (1917 – 2004) National Artist for Music Jose Maceda was born in Manila on January 17, 1917. He started his music studies at the Academy of Music in Manila. Later, he went to Paris to study with Alfred Cortot. He eventually pursued advanced studies in the USA with E. Robert Schmitz and earned a Doctorate Degree in Ethnomusicology from UCLA. Maceda’s musical style changed when he encountered the music of the indigenous tribes of Mindoro in 1953.He then embarked on his life’s work, dedicated to the understanding and preservation of Filipino traditional music. His extensive research and fieldwork resulted in an immense collection of recorded music taken from the remote mountain villages and far-flung inland communities in the Philippines. Although his compositional approach tended to be Western in style, Maceda combined sounds of the environment with ethnic instruments His compositions were usually for large groups of musicians. Among his works are Ugma-Ugma (1963), a work for voice and ethnic instruments; Agungan (1975), a piece for six gong families; Pagsamba (1968), a musical ritual for a circular auditorium using several ethnic percussion instruments; Cassettes 100 (1971), a composition for 100 cassette tape recorders; and Ugnayan (1974), an ethnic piece played at the same time over several radio stations. Considered as the first Filipino avant garde composer, he also worked at a recording studio in Paris in 1958 which specialized in musique concrète. During this period, he met Pierre Boulez, Karlheinz Stockhausen, and Iannis Xenakis, considered the musical giants of this musical genre.Maceda served as Professor of Piano and Musicology at the College of Music, University of the Philippines from 1952 to 1990. He was appointed Executive Director of its Center for Ethnomusicology in 1997. In the same year, he was conferred the honor of National Artist for Music. He ed away in Manila on May 5, 2004. LUCRECIA R. KASILAG (1918 – 2008) National Artist for Music Lucrecia R. Kasilag was born in San Fernando, La Union on August 31, 1918. She went to Manila to pursue a degree in Music at the Philippine Women’s University. She then obtained herMaster’s degree from the Eastman School of Music in New York, USA. Her compositions were influenced by her professors Irving McHose and Wayne Barlow. Kasilag’s compositions demonstrated a fusion of Eastern and Western styles in using instruments,melody, harmony, and rhythm. She is particularly known for incorporating indigenous Filipino instruments into orchestral productions. Among Kasilag’s many compositions are Toccata for Percussion and Winds (1959), composed for indigenous Muslim instruments and Western instruments; The Legend of the Sarimanok (1963), composed for

chamber orchestra and Philippine ethnic instruments; Divertissement and Concertante (1960), compositions for piano and orchestra combining Western and Eastern forms, harmonies, and intervals; and Dularawan (1969), a musical drama combining a dance solo with a chorus and an ethnic orchestra. Her other works include compositions for piano, instrumental ensemble, and chorus. She was equally ired in the academe as a former Dean of the College of Music and Fine Arts, Philippine Women’s University. In the cultural field, she was the President of the Cultural Center of the Philippines. In the dance circles, she was the President and Music Director of the Bayanihan Dance Company. She also served as Chairman of the Asian Composers’ League and the League of Filipino Composers. She is credited for having written more than 200 musical works, ranging from folksongs to opera to orchestral works, which she continued to compose for the rest of her life. For all these outstanding achievements, she was conferred the title of National Artist for Music in 1989. She ed away in Manila in August 2008. RAMON P. SANTOS (1941 – ) National Artist for Music Ramon P. Santos was born in Pasig on February 25, 1941. He completed his Bachelor of Music degree at the College of Music, University of the Philippines. He finished his Master of Music degree at Indiana University, USA. He received his Doctor of Philosophy degree in Composition at the State University of New York, USA. He had also pursued graduate studies in Ethnomusicology at the University of Illinois, USA. Santos’ compositional style features chromaticism, music seria, and electronic components, combined with indigenous Philippine music elements. His works includeDing Ding Nga Diyawa, Nabasag na Banga at Iba’t iba pang Pinag-ugpong-ugpong na Pananalita sa Wikang Pilipino para sa Labing Anim na Tinig, and L’BAD. He had done extensive research on the gamelan music of Java as well as the traditional music of the Ibaloi, Maranao, Mansaka, Bontoc, Yakan, and Boholano tribes in the Philippines. Santos held the position of Dean of the UP College of Music from 1978 to 1988. At present, he is the head of the UP Center of Ethnomusicology and was appointed Professor Emeritus of the same institution. He was conferred the title of National Artist for Music in 2014. FR. MANUEL MARAMBA, OSB (1936 – ) Fr. Manuel Perez Maramba, OSB is one of the most accomplished musicians and liturgists in the Philippines emerging during the second half of the 20th century. He was born on July 4, 1936 in Pangasinan. When he was 11 years old, he gave his first public performance at the Bamboo Organ in Las Piñas. He became the official accompanist of the Las Piñas Boys Choir at 14 years old. He was the youngest finalist to participate in the National Music Competitions for Young Artists (NAMCYA) piano competition in 1978. Immediately after high school, he was sent on full scholarship to the University for Music and Performing Arts in Graz, Austria. There, he earned with distinction the degree of Master of Arts in Church Music. He also received a Teacher’s Certificate in Organ. His musical career led him to the United States, where he performed at Carnegie Hall at the age of 19. After finishing his Bachelor of Music degree major in Piano at the Conservatory of Music, University of Sto. Tomas (UST), Fr. Maramba pursued his studies abroad where he received his Master of Music degree, Artist Diploma, Bachelor of Music degree in Composition, and Teacher’s Certificate in Theory from the Peabody Conservatory of Johns Hopkins University, USA. He received a Master’s degree of Musical Arts in Performance from Yale University’s School of Music, USA. He also studied sacred music at the Kirchenmusikschule in Regensburg, . He took further lessons in piano, organ, and the harpsichord at the Hochschule fur Musik in Vienna, Austria. Fr Maramba is a monk at Our Lady of Montserrat Abbey in Manila. He was the former director of the Paul VI Institute of Liturgy in Malaybalay, Bukidnon during which he composed the music for the papal mass. A prominent canon lawyer, he served on the National Appellate Matrimonial Tribunal. He was also a faculty member at the UST Conservatory of Music, St. Scholatica’s College, and Sta. Isabel College. He has composed operas like Aba!, Sto. Nino, La Naval, and Lord Takayama Ukon. His other major compositions are the music for Awakening which was commissioned by Ballet Philippines and music for Philippine Ballet Theater’s production of Seven Mansions; three masses – Papal Mass for World Youth Day, 1995; Mass in Honor of St. Lorenzo Ruiz, and the Mass in Honor of the Sto. Nino; three cantatas – St. Lorenzo Ruiz, St. Benedict, and St. Scholastica; Three Psalms; A hymn in honor of St. Lorenzo Ruiz, and the official hymn of the 1996 National Eucharistic Congress; a zarzuela entitled Ang Sarswela sa San Salvador, and three orchestral works – Pugad Lawin, The Virgin of Naval, and Transfiguration. JERRY DADAP (1935 – ) Jerry Dadap, the first Filipino composer to conduct his own works at the Carnegie Recital Hall in New York City, was born on November 5, 1935 in Hinunangan, Southern Leyte. He earned his Bachelor’s Degree in Music, major in Composition at the Conservatory of Music, University of the Philippines (UP) in 1964. In 1968, he went to the USA on a study-observation grant from the Music Promotion Foundation of the Philippines. While there, he received a full scholarship grant from the United Presbyterian Church of USA from 1969 to 1971. During that time, he obtained his Postgraduate Diploma in Composition at the Mannes College of

Music in New York, USA. Upon his return to the Philippines in 1971, he taught composition, ear training, and orchestration at the Sta. Isabel College of Music in Manila. Dadap started composing when he was still studying at Silliman University in the southern city of Dumaguete. Among his numerous compositions are The ionate and the Wild (1960), Mangamuyo I (1976) and Mangamuyo II (1977), The Redemption (1974), Five Little Fingers (1975), Tubig ng Buhay (1986), Dakilang Pagpapatawad (1986), Andres Bonifacio, Ang Dakilang Anak Pawis, Ang Pag-ibig ng Diyos, Balitaw Nos. 1-7, Lamang Epic, Lorenzo Ruiz, Chorale Symphonic Ode Nos. 1 and 2, Aniway at Tomaneg, Song Cycle, Nos. 1-4, Choral Cycle Nos. 1-3, and Diyos Ama ay Purihin. His major works as composer-conductor were performed at the concert “LAHI” that featured works by local major composers. FRANCISCO F. FELICIANO (1942 – 2014) National Artist for Music Francisco F. Feliciano, avant garde composer and conductor for band and chorus, was born on February 19, 1942 in Morong, Rizal. His first exposure to music was with the Morriz Band, a brass ensemble established and owned by his father, Maximiano Feliciano. He started his music career in the high school band where he had played the cymbals and the clarinet. Feliciano obtained his Teacher’s Diploma in Composition and Conducting at the Conservatory of Music, University of the Philippines (UP) in 1964, and a Bachelor of Music degree major in Composition in 1967. Subsequent degrees include a Master in Music Composition from the University of the Philippines, a Diploma in Music Composition from the Hochschule der Kunst in Berlin, , and a Master of Musical Arts and Doctorate in Music Composition from Yale University School of Music, USA. He studied composition with Jacob Druckman, Isang Yun, H.W. Zimmerman and Krystof Penderecki. Feliciano became the choir conductor and instructor in music fundamentals at St. Andrews Seminary in Quezon City. He became an instructor at the UP Conservatory of Music and conducted the UP Symphony Orchestra. He was the musical director of the movie Ang Bukas ay Atin and provided orchestration for a number of musical productions including My Fair Lady and various Philippine productions. Feliciano composed more than 30 major works, including the musical dramas Sikhay sa Kabila ng Paalam, Ashen Wings, and the monumental three-act opera La Loba Negra (1984). He also wrote music for the orchestra such as Prelude and Toccata (1973), Fragments (1976), Life of Wartime Filipino Hero Jose Abad Santos, and the ballet Yerma (1982). Among his other large works are Transfiguration and Missa Mysterium for orchestra and large chorus. He has composed several prize winning works such as Pokpok Alimpako, (a favorite piece of choirs in international choral competitions), Salimbayan, Umiinog, and Walang Tinag (Perpetuum I mobile) which was premiered at the ISCM Festival in New York City, USA. His latest choral works,Pamugún and Restless, have been performed by Filipino choirs in various choral festivals in Europe. In 1977, he was given a John D. Rockefeller III Award in Music Composition. Feliciano composed hundreds of liturgical pieces, mass settings, hymns, and songs for worship. He founded the Asian Institute for Liturgy and Music (AILM) in Quezon City, a school for church musicians, and supervised the publication of a new Asian hymnal containing mostly works of Asian composers. He was conferred the title of National Artist for Music in 2014. He died on September 19, 2014. JOSEFINO TOLEDO (1959 – ) Josefino “Chino” Toledo is a recognized figure in the Asian contemporary art music scene. He received his Master of Music degree from the Cleveland Institute of Music, USA. Among his awards are the following: “Ten Outstanding Young Men” (TOYM); “International Award for the Arts”; “Civitella Ranieri Fellowship in Italy”; and the “Chancellor Awards for Outstanding Musical Works,” University of the Philippines. Toledo served at the Pangkat Kawayan (a bamboo orchestra) from 1966 to 1979 and the Philippine Youth Orchestra (PYO) in 1977-1978. A principal percussionist of the Manila Symphony Orchestra in 19801983, he later became music director and principal conductor in 1985. He attended the 1984 International Computer Music Conference in . He was the country’s representative to the 1980 Young Composers Conference in HongKong, the ASEAN Composers Forum on Traditional Music in 1989 (Philippines) and 1993 (Singapore), the 1995 ASEAN Composers Workshop (Indonesia), and the 1996 International Composers Workshop (Gaudeamus, Amsterdam). He was also a fellow at the 1990 Pacific Music Festival and Pacific Composers Conference (Japan). Toledo is a Music Professor at the College of Music, University of the Philippines (UP). He is the founding music director of the Metro Manila Community Orchestra, the UP Festival Orchestra, and the Crosswave Symphony Orchestra. He is noted for conducting the premiere performances of the works of Filipino composers as well as other Asian composers. His own music, including works for chorus, orchestra, chamber ensemble, solo instrument, and music theater have been performed by well-known international artists and ensembles. JONAS BAES (1961 – )

Jonas Baes was born in Los Baños, Laguna in 1961. He enrolled at the College of Music, University of the Philippines (UP) in 1977 as a student of Ramon P. Santos.While at UP, he encountered the works of Jose Maceda and attended several seminar-workshops of visiting lecturers. He researched on the music of the IrayaMangyan people of Mindoro, which later became the inspiration for his compositions. From 1992- 1994, he studied with Mathias Spahlinger in Freiburg, . Baes is known for writing music utilizing unorthodox musical instruments such as beanpod rattles, leaves, iron nail chimes, and various Asian instruments such as bamboo scrapers, bamboo flutes, and vocal music using Asian vocal techniques. His early works in the 1980s were influenced by Maceda in the use of large numbers of performers. In the 1990s, he experimented with various methods by which the audience became integral in the performance. It was also typical for social theory to influence the work of Baes who has made a mark on contemporary music and cultural politics in the Asian region. Some of Baes’ musical compositions include: Imagined Community, after Benedict Anderson for four bamboo scrapers, bamui trail caller, sarunai for oboe, khaen for mouth organ, and about a hundred iron nail chimes distributed among the audience; 1997/2001; WALA (Nothingness) for seven or hundreds of men’s voices 1997/2001; DALUY (Flow)interval music for five animator-percussionists and about a hundred bird whistles distributed among the audience, 1994; IBO-IBON (birdwoman) for dancer wearing small bells, two large wind chimes ed around the audience, four animator callers, and iron nail chimes played by the audience (1996); SALAYSAY, for solo voice, three percussionists, and pairs of pebbles distributed among the audience; PATANGISBUWAYA (and the crocodile weeps) for four sub-contrabass recorders or any blown instruments 2003; PANTAWAG (music for calling people) for 15 bamboo scrapers, 15 palm leaves, and 20 muffled “forest” voices 1981; and BASBASAN (blessing) for 20 bean-pod rattles and 20 muffled men’s voices 1983. Baes received the Gawad Chancellor para sa Pinakamakusay na Mananaliksik (Hall of Fame, 2003) from the University of the Philippines. He is currently an Associate Professor in Composition and Theory at the UP College of Music as well as an ethnomusicologist, cultural activist, and writer. SONG COMPOSERS LEVI CELERIO (1910 – 2002) National Artist for Literature and Music Prolific lyricist and composer Levi Celerio was named National Artist for Music and Literature in 1997. Also a violinist, he had written the lyrics for over 4,000 songs in his lifetime, including many for film. A great number of kundimans and Filipino love songs have lyrics written by him, most notable of which are Dahil sa Iyo, Buhat, and Ang Pasko ay Sumapit. Celerio was known for creating music with a mouth-blown leaf Celerio was born in Tondo on April 30, 1910. He studied at the Academy of Music in Manila under a scholarship. Later, he went on to the Manila Symphony Orchestra. Aside from writing his own lyrics, he also translated and re wrote the lyrics of folksongs to traditional melodies like Maliwanag Na Buwan from Ilocos, Ako ay May Singsing from Pampanga, and Alibangbang from the Visayas. His achievements include a citation in the Guinness Book of World Records for being the only person to make music with a mouth-blown leaf. He will forever be ed through his lyrics for songs such as Ang Pipit (music by Lucio D. San Pedro); Bagong Pagsilang (music by Felipe Padilla de Leon); Sa Ugoy ng Duyan (music by Lucio D. San Pedro); Misa de Gallo (music by J. Balita); Itik-itik (folk song); Tinikling (folk song), among others. Celerio ed away on April 2, 2002. CONSTANCIO DE GUZMAN (1903 – 1982) Constancio Canseco de Guzman was born on November 11, 1903 in Guiguinto, Bulacan. He grew up in Manila where he studied piano and composition under Nicanor Abelardo. At the prodding of his father, he went to law school but switched to pursue and finish a BS Commerce degree at Jose Rizal College in 1928. He ed the certified public ants (A) board examinations in 1932. After he took the A board exam, he started working for the movies. Acknowledged as the “Dean of Filipino Movie Composers and Musical Directors,” De Guzman became the music director of movie production companies like Sampaguita, LVN, Royal, Excelsior, Lea, and Tagalog Ilang-Ilang Productions. His “unexpected” hit music, Panaginip, paved the way for him to record hundreds of songs, principally under Villar and Columbia Records. In 1948, his song Ang Bayan Ko and Kung Kita’y Kapiling won the gold medal at the Paris International Fair. Bayan Ko was later adopted as the symbolic song of the People Power Movement of 1986. The same song won for him the Awit Award for Best Filipino Lyricist. Some of De Guzman’s notable compositions include Babalik Ka Rin, Ang Tangi Kong Pag-ibig, Birheng Walang Dambana, Maalaala Mo Kaya, and Sa Piling Mo. De Guzman ed away on August 16, 1982.

MIGUEL “MIKE” VELARDE JR. (1913 – 1986)

Miguel “Mike” Guison Velarde Jr, composer, conductor, movie actor, and musical director was born in Manila on October 23, 1913 as the second of two children of Dr. Miguel Velarde, Sr. and Dolores Guison. His family moved to Zamboanga when he was only one year old and where he spent the succeeding eighteen years of his life. His exposure to the unaffected and unpretentious environment of Basilan and Zamboanga had influenced his creative imagination, mainly nurtured by his mother who became his first music teacher in piano and violin when he was six years old. Velarde studied at the Zamboanga Normal School, where he became a member of the school orchestra and graduated as valedictorian. He then went to Manila to pursue medicine at the University of the Philippines, but later realized that it was music that he truly loved. He learned the basics of harmony and composition from Antonio Molina and Ariston Avelino as he further deepened his musical knowledge through self-study. Later, when his father however objected to his plans to pursue a music career, he went on to himself as a bus conductor to realize his dream. He later got a job at a radio station where he was featured as singer and jazz composer in its morning and evening programs. He also opened a jazz school and became song editor for the Philippines Free Press. Velarde eventually went into writing Tagalog songs, composing the song Ugoy-Ugoy Blues which opened opportunities for him in the movies. He had a jazz band known as “Mike Velarde’s Jazztocrats.” He became editor of the Literary Song Movie Magazine. Velarde composed musical scores for Sampaguita Films’ movie productions and managed its advertising department. Among his most important works were Luksang Tagumpay, which received the FAMAS (Filipino Movie Arts and Sciences) Award for Best Picture (1960) and for which he wrote its story and screenplay, and Alaala Kita for Best Director (1961). He attributes substantive influence from American composer and songwriters Irving Berlin and Cole Porter. In subsequent years, Velarde created his own style as he composed highly melodious and romantic songs such as Ikaw, Lahat ng Araw, Habang Buhay,Minamahal Kita , Ikaw ay Akin, andDahil Sa Iyo. In 1970, he won the Best Conductor award at the First International Popular Song Contest in Japan with his composition As Long as Forever. He received the Cultural Achievement Award in Popular Music from the Philippine Government Cultural Association in 1975 and the Gawad C Para Sa Sining in 1986. His other compositions include Buhat, Ikaw, Bituing Marikit, Minamahal Kita, Dating Sumpaan, Dalisay, Eternally Yours, and Gabi at Araw. Velarde ed away in 1986. SANTIAGO SUAREZ (1901 – 1964) Santiago Suarez was born in Sampaloc, Manila. He learned how to play the piano from his grandmother who was also a competent harpist, while his grandfather played the flute. He attended the Conservatory of Music, University of the Philippines and the Ateneo de Manila in Intramuros. He took private music lessons from Caetano Jacobe, Pedro Floriaga, and Nicanor Abelardo. Suarez’s compositions are a mixture of the soulful kundiman style and the lively strains of the countryside. The melodies are tonal and catchy, while the rhythms follow the regular meter with minimal tempo changes. His harmonies follow the traditional classical progression, making his compositions easy to understand without the complexities of form and structure. Some of his works are quite popular and heard even with today’s classical singers, pop singers, and choral groups. They include the following: Ligaya Ko, Pandanggo ni Neneng, Dungawin mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libis ng Nayon, Harana, Kataka-taka, Labandera Ko, Lakambini, Kamia, Ikaw ang Buhay Ko!, Kay Lungkot nitong Hating-Gabi, and Mutya Niyaring Puso. Suarez ed away in 1964. RESTITUTO “RESTIE” UMALI (1916 – 1998) Restituto Aquino Umali was born in Paco, Manila on June 16, 1916. His early exposure to music was due to the influence of his father who taught him violin as well as his exposure to the regular family rondalla. He was also taught solfeggio and score reading at the Mapa High School where he became an active member of the school glee club and orchestra. Umali played the E-flat horn, trombone, and tuba when he was part of the UST (University of Santo Tomas) Band. He also taught choral arranging and orchestration at the UST Conservatory of Music. He majored in Composition and Conducting at the Conservatory of Music, University of the Philippines (UP) and Commerce at the Jose Rizal College. He even ed an electrician’s course at the Philippine School of Arts and Trades before embarking on a rewarding career as musical scorer for movies. During World War II, Umali took lessons in harmony from Felipe Padilla de Leon. Shortly after the war, he performed with the Manila Symphony Orchestra. He continued his studies in composition and conducting even while teaching at the UP Conservatory of Music. He was under the tutelage of noted composers such as Lucrecia Kasilag, Antonio Buenaventura, and Ramon Tapales. Umali arranged the Philippine national anthem and the local classic Kataka-taka for the Boston Pops Orchestra when it performed for the Philippine Independence Night in Boston in 1972. He composed approximately 120 movie theme songs and more than 250 scores for movies. His musical scoring career was capped by a Universal Pictures’ production of No Man Is An Island starred by Jeffrey Hunter and Barbara Perez. His musical scores for the movies Sa Bawat Pintig ng Puso (1964), Pinagbuklod ng Langit (1969), Mga Anghel

na Walang Langit (1970), and Ang Alamat (1972) won for him “Best Musical Score” honors at the Filipino Academy of Movies Arts and Sciences (FAMAS Awards). He also garnered the “Best Music Awards” for BitterSweet at the 1969 Manila Film Festival andAng Agila at Ang Araw at the 1973 Olongapo Film Festival. Among Umali’s most popular songs are Saan Ka Man Naroroon, Alaala ng Lumipas, Ang Pangarap Ko’y Ikaw, Sa Libis ng Barrio, Di Ka Nag-iisa, and Paano Kita Lilimutin. He had arranged the performance of Maestro Federico Elizalde’s Manila Little Symphony aired on radio stations DZRH and DZPI, apart from his stint as musical director fof Sampaguita Pictures. ANGEL PEÑA (1921 – 2014) A n g e l M a t i a s P e ñ a is a classical and jazz composer, arranger, and bass player. He is widely considered by modern Filipino jazz musicians as “one of the founders of traditional jazz in the Philippines.” He was born was born on April 22, 1921 to a musical family. Peña learned solfeggio from his mother Rosario Velarde Matias. His mother was a schoolteacher who studied voice at the University of the Philippines. His father, Gregorio Cid Peña, played the violin. His grandfather was a respected guitar player. He grew up in Malabon which was then famous for its musicians and marching bands. At the age of 11 when his mother ed away, he was discouraged by his father to continue his musical pursuits. But, the boy persisted and proceeded to study music theory and composition. Peña wrote his first original jazz composition just before World War II erupted. He also wrote kundimans for the young women he would be courting. After the war, he became one of the most sought-after musical arrangers in Manila. He had also switched from guitar to bass. This switch led him to write orchestral background music for various musical ensembles. He also wrote musical scores for film companies, most notably LVN Pictures. As his interest in classical composition grew more intense, he formed a big band in 1956 for the Upsilon Sigma Phi’s traditional concert at the University of the Philippines. During that time, he composed Bagbagtulambing, a landmark in Philippine music. In 1959, the University of Santo Tomas launched a national symphonic composition contest open to Filipino composers. Peña’s entry Igorot Rhapsody won first prize the following year. Since then, he moved effortlessly between the jazz and classical idioms. In the mid-1960s during his 3-year stint in Hongkong, he earned a Licentiate with the Royal School of Music in London. Peña auditioned for the Honolulu Symphony Orchestra. He was immediately accepted as bassist and later as arranger in 1969. He would spend the next 28 years in Hawaii, where he continued to write his own music. As farewell homage, the Manila Symphony Orchestra performed hisConcerto for Double Bass and Orchestra. In 1981 on the occasion of the 75th anniversary of Filipino presence in Hawaii, the Honolulu Symphony premiered his Concerto for Jazz Quartet and Orchestra with an all-star Filipino jazz quartet. The following year, the Cultural Center of the Philippines performed a concert of his classical works in his honor. Despite of his absence from Manila, local jazz groups continued to play his compositions. The seeds that he had sown began to bear fruit. Now, a new generation of Filipino musicians are starting to discover the composer. When he finally came back to the Philippines, he started teaching scholars in Double Bass as an adjunct faculty member of the UP College of Music. He started collaborating with the UP Jazz Ensemble on a number of concerts. In 1998, a House Resolution from the State of Hawaii’s House of Representatives was ed to honor Peña for his contributions in the field of music as a world renowned jazz musician, musical arranger, and Hawaii’s own living classical composer. The Jazz Society of the Philippines-USA further gave him a Lifetime Achievement Award at the Third Annual Fil-Am Jazz Festival in Hollywood. Pena ed away on December 22, 2014. ERNANI CUENCO (1936 – 1988) National Artist for Music Ernani Joson Cuenco, composer, film scorer, musical director and music teacher, was conferred the National Artist Award for Music in 1999. His works embody a Filipino sense of musicality that contain the classical sound of the kundiman. Cuenco was born on May 10, 1936 in Malolos, Bulacan. As a boy, he was encouraged to learn the violin. He was mentored by his mother, his godmother Doña Belen Aldaba Bautista, and his first teacher, Jovita Tantoco. He earned his Bachelor’s Degree in Music, major in Piano at the UST Conservatory of Music in 1956. A UST scholarship grant in the same year enabled him to study the cello under Professor Modesto Marquiz, which he finished in 1965. In 1968, he completed his Master of Music degree at the Sta. Isabel College. From 1960 to 1968, Cuenco was a cellist at the Manila Symphony Orchestra under Dr. Hubert Zipper. Likewise, he played for the Filipino Youth Symphony Orchestra and the Manila Chamber Soloists from 1966 to 1970. His career as a musical director began in 1960 when he was discovered by then actor Joseph Estrada while he was playing as part of a band he had formed with friends at an exclusive restaurant in Makati. In 1963, Cuenco was sent as a delegate to the International Music Conference in Tokyo, Japan. Aside from being a composer and musical director, he was also a faculty member at the UST Conservatory of Music until his death on July 11, 1988.

GEORGE CANSECO (1934 – 2004) George Masangkay Canseco was born on April 23, 1934 in Naic, Cavite. He graduated with a Liberal Arts degree at the University of the East. After graduation, he worked for the Philippines Herald and the Associated Press as a journalist. He also worked as a “free-lance scriptwriter for hire” in Manila. Canseco was considered as “a nationally acclaimed composer of numerous popular classics.” He was commissioned by Former First Lady Imelda R. Marcos to compose a national tribute hymn entitled Ako Ay Pilipino (I Am A Filipino). He wrote the classic Kapantay Ay Langit, a theme from the award winning motion picture of the same title, sung by Amapola. Its English version entitled You’re All I Love containing some Tagalog lyrics was sung by American singer Vic Dana. The song won the Manila Film Festival “Best Song of the Year Award” in 1972. He followed it with an English song entitled Songs exclusively for Songs and Amapola under the Vicor Music Corporation Pioneer Label. One of his best-known compositions was Child, the English-language version of Freddie Aguilar’s signature song Anák. He wrote songs for the country’s top popular singers such as Sharon Cuneta, Basil Valdez, Regine Velasquez, Zsa Zsa Padilla, Pilita Corrales, Martin Nievera, and Kuh Ledesma. Canseco credited film producer and Vicor Music Corporation owner Vic del Rosario for giving him his biggest break in the music industry. He was elected President of the Filipino Society of Composers, Authors and Publishers, Inc. (FILSCAP) in 1973. He was also elected as Councilor for the First District of Quezon City in 1988. His legacy as a composer include approximately 120 song titles including Ikaw, Kailangan Kita, Dito Ba, Hiram, Tubig at Langis, Hanggang sa Dulo ng Walang Hanggan, Sinasamba Kita, Kastilyong Buhangin, Minsan Pa Nating Hagkan ang Nakaraan, Ngayon at Kailanman, Saan Darating ang Umaga, Sana Bukas Pa ang Kahapon, Dear Heart, Gaano Kadalas ang Minsan, Paano kita Mapapasalamatan, and Kahapon Lamang. He ed away on November 19, 2004 in Manila. To this day, Cuneco’s compositions are popular and well-loved, especially Gaano Ko Ikaw Kamahal and Bato sa Buhangin which he composed for films in honor of his wife. Aside from these signature pieces, Cuenco’s other songs include Nahan, Kahit na Magtiis, Diligin Mo ng Hamog ang Uhaw na Lupa, Pilipinas, Inang Bayan, Isang Dalangin, and Kalesa. LEOPOLDO SILOS Sr. (1925 – 2015) Leopoldo Silos Sr.was born on March 6, 1925. He was a composer, singer, and arranger. He composed and recorded a number of romantic songs, the most famous of which were two of his well known hits, Dahil Sa Isang Bulaklak (Because Of One Flower) and Hindi Kita Malimot (I Can’t Forget You). He was also the awardwinning musical director of the long running television musical program, Aawitan Kita, which starred Armida Siguion-Reyna. Accordingly, the music of Silos touches the sentiment quite deeply. His lyrical melodies are complemented by exotic harmonies. His melodies were made more appealing through their extended chords, diminished intervals, and secondary dominants. Thus, that enriched the otherwise basic chordal patterns accompanying a tonal melody. Although not as widely performed as other mainstream love songs and kundimans, his music always impresses the listener with its melodic sincerity and elegantly crafted accompaniments. The other notable compositions of Silos include Aling Kutsero, Ay Anong Saklap, Basta’t Mahal Kita, Diyos Lamang ang Nakakaalam, Hindi Ko Malilimutan, Lagi kitang Naaalala, Langit sa Lupa, Halina Halina, Lihim na Pag-ibig, and Mundo Ma’y Mawala. He died on March 10, 2015.