THE PHENOMENON OF CHORAL SINGING IN THE PHILIPPINES:
Hi-tech pieces for hi-tech contests
FABIAN OBISPO: Mamayug Akun is a good example of Filipino choral music combining indigenous flavor and genius in arrangement. The melody is made up of only three notes: d-d-m-m-r/r-d-r-m-m-r-r-d. The motive albeit very simple, is provided a fantastic setting and not only shows the graceful swaying of Mamayog (my darling), but also demonstrates the sounds of the gongs from the Muslim region of the Philippines.
Calling this a folksong arrangement is an understatement; this is a choral masterpiece, a composition in itself, and this is the kind of music we will be hearing today as we talk about "The Phenomenon of Choral Singing in the Philippines: hi-tech pieces for hi-tech contests."
Calling this a folksong arrangement is an understatement; this is a choral masterpiece, a composition in itself, and this is the kind of music we will be hearing today as we talk about "The Phenomenon of Choral Singing in the Philippines: hi-tech pieces for hi-tech contests."
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1. Filipino composers in the last 40 years
The Philippines is a country known for its award-winning choral groups and the secret weapon has always been the music penned by a compatriot. Their winning programs are not without a riveting Filipino composition, or a dazzling arrangement of a Filipino folksong to complement the renaissance or contemporary pieces in their repertoire.
Fabian Obispo who wrote Mamayog Akun above sang with the Philippine Madrigal Singers in the 70s and is now a Broadway composer in New York.
Dr. Francisco Feliciano, who finished his post-graduate in Berlin and in Yale, is one of the most famous Filipino composers. Feliciano is an avante-garde composer who advocated Philippine Music's liberation from the European style of musical expression. He is published by earthsongs and this song "Pokpok Alimpako" by Dr. Feliciano has been performed by countless choirs from the USA and Asia.
Here is the Philippine Normal University Chorale in their performance of the piece in Cantonigros, Spain. Please note that the melody also has three notes: d-r-m.
Pokpok Alimpako
The Philippines is a country known for its award-winning choral groups and the secret weapon has always been the music penned by a compatriot. Their winning programs are not without a riveting Filipino composition, or a dazzling arrangement of a Filipino folksong to complement the renaissance or contemporary pieces in their repertoire.
Fabian Obispo who wrote Mamayog Akun above sang with the Philippine Madrigal Singers in the 70s and is now a Broadway composer in New York.
Dr. Francisco Feliciano, who finished his post-graduate in Berlin and in Yale, is one of the most famous Filipino composers. Feliciano is an avante-garde composer who advocated Philippine Music's liberation from the European style of musical expression. He is published by earthsongs and this song "Pokpok Alimpako" by Dr. Feliciano has been performed by countless choirs from the USA and Asia.
Here is the Philippine Normal University Chorale in their performance of the piece in Cantonigros, Spain. Please note that the melody also has three notes: d-r-m.
Pokpok Alimpako
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2. The uniqueness of a Filipino composition
What makes a piece unique? Surely its individuality, and how it is set apart from others. Traditional music has most always stamped a certain identity to a culture, whether shared by towns (folk music), or localized to an area (ethnic music).
The Philippines is an archipelago with 7,100 islands, therefore the separation and individuality of many regions. There are hundreds of folk groups that inhabit many provinces, and hundreds of ethnic groups, one or two which are localized in each of the islands. Therefore it naturally follows that there is music to be found in these groups, which have been preserved through their oral tradition spanning hundreds of years.
As with ancient music globally, indigenous music from the Philippines is mostly functional, used in activities as hunting, planting or harvest. There is also a distinct role that music plays in ceremonies as birth, marriage, and death. So it goes without saying that Filipino music is unique in that it comes from diverse regions, and it is strongly connected to everyday life, to rituals and faith. The strong ethnic flavor of the music provides a very good contrast to the European classics. Another quality is the very ingenious and clever setting that the Filipino composers provide these indigenous melodies.
From 9:09 to 11:00 of this video, you will hear the Indonesian Childrens Choir CORDANA perform PAMINTUAN: Ummah Sallih which comes from the MOLBOG Suite. The MOLBOG is a tribe found in the Palawan group of islands in western Philippines. They live in the island off the southern tip of Palawan, and have religious roots in Islam, although they are not Muslims. The Ummah Sallih is sung during the dedication of a newborn, intoned by an "imam" or priest.
What makes a piece unique? Surely its individuality, and how it is set apart from others. Traditional music has most always stamped a certain identity to a culture, whether shared by towns (folk music), or localized to an area (ethnic music).
The Philippines is an archipelago with 7,100 islands, therefore the separation and individuality of many regions. There are hundreds of folk groups that inhabit many provinces, and hundreds of ethnic groups, one or two which are localized in each of the islands. Therefore it naturally follows that there is music to be found in these groups, which have been preserved through their oral tradition spanning hundreds of years.
As with ancient music globally, indigenous music from the Philippines is mostly functional, used in activities as hunting, planting or harvest. There is also a distinct role that music plays in ceremonies as birth, marriage, and death. So it goes without saying that Filipino music is unique in that it comes from diverse regions, and it is strongly connected to everyday life, to rituals and faith. The strong ethnic flavor of the music provides a very good contrast to the European classics. Another quality is the very ingenious and clever setting that the Filipino composers provide these indigenous melodies.
From 9:09 to 11:00 of this video, you will hear the Indonesian Childrens Choir CORDANA perform PAMINTUAN: Ummah Sallih which comes from the MOLBOG Suite. The MOLBOG is a tribe found in the Palawan group of islands in western Philippines. They live in the island off the southern tip of Palawan, and have religious roots in Islam, although they are not Muslims. The Ummah Sallih is sung during the dedication of a newborn, intoned by an "imam" or priest.
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3. The introduction of Filipino works into the programme
of foreign choirs
Aside from creating a great program with Filipino songs, of course it is the Filipino conductor's aim to promote these songs, as well as the people who wrote them. In the past years, my conductor friends have always asked me for a "baon" or something they can bring, whenever they facilitate choir clinics abroad, or guest-conduct a choir in another country.
The advent of the internet did not only help promote music from our country, it also gave a very convenient access to conductors from all over the world to research, and order music to build their repertoire. International competitions have also helped in this aspect, where new and exciting works are featured, especially in the "new music" or premiere performance categories.
And while I am also a conductor, I have brought along with me my colleagues' music in my performances abroad, for example in 2001 when I worked with the Kamerinis Koras Brevis in Vilnius, Lithuania the video of which you watched during the opening of this lecture. When I first met them, my impression was that they were very disciplined, and their sound was very controlled and so pure, as they have a very long tradition of choral singing. But I wanted a "free" sound, and that was what we worked on during the week-long clinic.
of foreign choirs
Aside from creating a great program with Filipino songs, of course it is the Filipino conductor's aim to promote these songs, as well as the people who wrote them. In the past years, my conductor friends have always asked me for a "baon" or something they can bring, whenever they facilitate choir clinics abroad, or guest-conduct a choir in another country.
The advent of the internet did not only help promote music from our country, it also gave a very convenient access to conductors from all over the world to research, and order music to build their repertoire. International competitions have also helped in this aspect, where new and exciting works are featured, especially in the "new music" or premiere performance categories.
And while I am also a conductor, I have brought along with me my colleagues' music in my performances abroad, for example in 2001 when I worked with the Kamerinis Koras Brevis in Vilnius, Lithuania the video of which you watched during the opening of this lecture. When I first met them, my impression was that they were very disciplined, and their sound was very controlled and so pure, as they have a very long tradition of choral singing. But I wanted a "free" sound, and that was what we worked on during the week-long clinic.
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4. The new breed of Filipino composers
As I have mentioned earlier regarding Dr. Francisco Feliciano, and his music trying to break free from European tradition, I have another friend Nilo Alcala, who after graduating Magna cum Laude in composition from the University of the Philippines, studied and finished his post-graduate with honors from Syracuse University. He is one of my esteemed colleagues, and I believe more and more groups from around the world perform his music now.
Here is Mark Carpio conducting the Taiwan Philharmonic Choir in their performance of ALCALA: Kaisa-isa Niyan (The one and only) a children's song in Tagalog at 0:25. Please take note of the special sounds, which imitate indigenous Philippine instruments, and the tonality and harmony which are not traditional. The melody of course, is made up again of only three notes.
As I have mentioned earlier regarding Dr. Francisco Feliciano, and his music trying to break free from European tradition, I have another friend Nilo Alcala, who after graduating Magna cum Laude in composition from the University of the Philippines, studied and finished his post-graduate with honors from Syracuse University. He is one of my esteemed colleagues, and I believe more and more groups from around the world perform his music now.
Here is Mark Carpio conducting the Taiwan Philharmonic Choir in their performance of ALCALA: Kaisa-isa Niyan (The one and only) a children's song in Tagalog at 0:25. Please take note of the special sounds, which imitate indigenous Philippine instruments, and the tonality and harmony which are not traditional. The melody of course, is made up again of only three notes.
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5. The new flavor of Filipino compositions
Folksong arrangements from the early 80s to the late 90s have always been traditional in approach. The predominant use of ostinati, recurring and repeated patterns, and consonance characterized the music from these two decades. Two examples of composers who are very successful in capturing the folk idiom are Rodolfo Delarmente and Eudenice Palaruan.
Rodolfo Delarmente has been a choir conductor since the late 1970s, and his choirs have gone on to win every kind of contest imaginable, from the inter-district to the national; from the inter-company to inter-denominational; and to inter-national. His experience has proved invaluable into gaining insight, learning concepts, and finding out effective ways of writing winning music for choirs.
Eudenice Palaruan completed his A diploma (Master's level) in Berlin, and is a somewhat adventurous individual. His use of complex harmonies, juxtaposed with complex rhythm and patterns is very effective in creating masterpieces of jaw-dropping proportions.
Here are DELARMENTE: Ilay Gandangan (Worship of the Sun) performed by Imusicapella in San Luis Obispo 2007, and PALARUAN: Gapas (Harvest) performed by the University of Santo Tomas Singers in Llangollen 2010.
The two pieces were written in 1983, and 2003 respectively and both contain the same elements: a motif and ostinati, but the difference lies in the harmony where one piece has the prevalence of consonance, and the other, dissonance. Let's find out how a 20-year difference can affect choral idiom and writing styles. (1:28 and 4:36)
Folksong arrangements from the early 80s to the late 90s have always been traditional in approach. The predominant use of ostinati, recurring and repeated patterns, and consonance characterized the music from these two decades. Two examples of composers who are very successful in capturing the folk idiom are Rodolfo Delarmente and Eudenice Palaruan.
Rodolfo Delarmente has been a choir conductor since the late 1970s, and his choirs have gone on to win every kind of contest imaginable, from the inter-district to the national; from the inter-company to inter-denominational; and to inter-national. His experience has proved invaluable into gaining insight, learning concepts, and finding out effective ways of writing winning music for choirs.
Eudenice Palaruan completed his A diploma (Master's level) in Berlin, and is a somewhat adventurous individual. His use of complex harmonies, juxtaposed with complex rhythm and patterns is very effective in creating masterpieces of jaw-dropping proportions.
Here are DELARMENTE: Ilay Gandangan (Worship of the Sun) performed by Imusicapella in San Luis Obispo 2007, and PALARUAN: Gapas (Harvest) performed by the University of Santo Tomas Singers in Llangollen 2010.
The two pieces were written in 1983, and 2003 respectively and both contain the same elements: a motif and ostinati, but the difference lies in the harmony where one piece has the prevalence of consonance, and the other, dissonance. Let's find out how a 20-year difference can affect choral idiom and writing styles. (1:28 and 4:36)
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6. Setting guidelines in writing music
Oftentimes, conductors ask composers to write something of this length, in this style, in this range, for these singers, in this idiom, blah blah blah sometimes asking for the impossible. Coming up with a piece to fulfill all these requirements would mean commanding all your neurons to produce, in conjunction with your other body systems, a piece that will not only break the heart of the jury, but also break the throats of the singers (j/k).
There have been thousands of compositions, hundreds of composers that have gone before you, and what other conceivable plan could you have in writing something not done before?
When I write music, I always make it a point to create something fresh and not dated, so that it is nice to listen to, and would still be nice to listen to in the coming years. My teacher always told me that music should be pleasing to the ears, and I have always put this close to my heart, so that my music doesn't become a chore to study, but something the singers look forward to singing everytime the choir has rehearsals.
I believe that composing music is not only coming up with a gimmick to create a new sound, a new piece with a new flavor, but also a divine duty to make sure you do not abuse your talent and use it for your personal glory or gain. You also have an obligation to inspire your listeners, so that your music becomes a refuge when they are in sorrow, or a cause for celebration whenever appropriate.
Four years ago, I wanted to join this composition contest in Arezzo Italy, and was ready to mail my entry but there was a blizzard and I couldn't get out of my friend's house in Colorado. I knew deep in my heart that this piece will still win in Arezzo. Then my friend, Mark Carpio, whose group was joining the European Grand Prix that year told me he needed a good opening number for his program, and I told him I had the perfect piece. It was as if the fates conjured that his choir was competing in the same city: Arezzo, Italy. The rest is history.
Oftentimes, conductors ask composers to write something of this length, in this style, in this range, for these singers, in this idiom, blah blah blah sometimes asking for the impossible. Coming up with a piece to fulfill all these requirements would mean commanding all your neurons to produce, in conjunction with your other body systems, a piece that will not only break the heart of the jury, but also break the throats of the singers (j/k).
There have been thousands of compositions, hundreds of composers that have gone before you, and what other conceivable plan could you have in writing something not done before?
When I write music, I always make it a point to create something fresh and not dated, so that it is nice to listen to, and would still be nice to listen to in the coming years. My teacher always told me that music should be pleasing to the ears, and I have always put this close to my heart, so that my music doesn't become a chore to study, but something the singers look forward to singing everytime the choir has rehearsals.
I believe that composing music is not only coming up with a gimmick to create a new sound, a new piece with a new flavor, but also a divine duty to make sure you do not abuse your talent and use it for your personal glory or gain. You also have an obligation to inspire your listeners, so that your music becomes a refuge when they are in sorrow, or a cause for celebration whenever appropriate.
Four years ago, I wanted to join this composition contest in Arezzo Italy, and was ready to mail my entry but there was a blizzard and I couldn't get out of my friend's house in Colorado. I knew deep in my heart that this piece will still win in Arezzo. Then my friend, Mark Carpio, whose group was joining the European Grand Prix that year told me he needed a good opening number for his program, and I told him I had the perfect piece. It was as if the fates conjured that his choir was competing in the same city: Arezzo, Italy. The rest is history.
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7. The components of a winning piece
When I write a piece, I always think of the law of tension and relaxation because it is important for the music to build, and for it to subside. The soft part of the music is as important as the strong part. It is just like building a program where the styles are contrasting. This makes the music interesting, and helps the ears of the listeners relax.
Let us try some exercises and see what are the effective ways to write a winning piece as regards:
1. rhythm
2. melody
3. the combination of both
Crucifixus is perhaps an appropriate choice. If you want to win a competition, then this is the piece to sing. Let's watch this video at 8:50 of the Capella of Calvin College (Michigan).
When I write a piece, I always think of the law of tension and relaxation because it is important for the music to build, and for it to subside. The soft part of the music is as important as the strong part. It is just like building a program where the styles are contrasting. This makes the music interesting, and helps the ears of the listeners relax.
Let us try some exercises and see what are the effective ways to write a winning piece as regards:
1. rhythm
2. melody
3. the combination of both
Crucifixus is perhaps an appropriate choice. If you want to win a competition, then this is the piece to sing. Let's watch this video at 8:50 of the Capella of Calvin College (Michigan).
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8. Parameters on interpretation
As I mentioned before, the piece should not only break the hearts of the jury, but also break the throat of the singers. Kidding aside, although the conductor is given liberty to interpret the music, there must be some restraint to keep the music going, and not to over-interpret. Such is a common misunderstanding of the conductor, that the composer must call the attention of the conductor, and say, "Hi, I'm still alive, why don't you ask me?"
This next piece has "tearjerker" written all over it, what with the melodic themes, the very tender expressions, and the intricate sounds and harmony. Listen to how the conductor let the choir sing with a restrained passion. I believe the romantic character is best brought out by holding back on the emotion and volume, and letting the audience enjoy rather than the singers giving an over-portrayal of the drama.
Here is the University of the East Chorale in their recent performance at the Marktoberdorf International Competition in Germany, where one member of the jury said, "Thank you for your heart-breaking performance!"
As I mentioned before, the piece should not only break the hearts of the jury, but also break the throat of the singers. Kidding aside, although the conductor is given liberty to interpret the music, there must be some restraint to keep the music going, and not to over-interpret. Such is a common misunderstanding of the conductor, that the composer must call the attention of the conductor, and say, "Hi, I'm still alive, why don't you ask me?"
This next piece has "tearjerker" written all over it, what with the melodic themes, the very tender expressions, and the intricate sounds and harmony. Listen to how the conductor let the choir sing with a restrained passion. I believe the romantic character is best brought out by holding back on the emotion and volume, and letting the audience enjoy rather than the singers giving an over-portrayal of the drama.
Here is the University of the East Chorale in their recent performance at the Marktoberdorf International Competition in Germany, where one member of the jury said, "Thank you for your heart-breaking performance!"
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9. New commissions - a summary
A few months ago, Kellie Walsh, the conductor of Newfoundland and Labrador's homegrown men's choir Newman Sound, wrote and asked me to compose a piece for them. We had the usual discussion about the variables, range, divisi... But there was something different in her request, that she asked the song to be in memory of those who perished in the waters of the Atlantic, St. John's being a coastal town, and fishing being the main trade before.
I researched on the history of Newfoundland and Labrador, and found out that folk music heritage is based on Irish, English and Scottish traditions brought to its shores centuries ago. I wrote the piece to start out in minor mode, with a chant and progression inspired by Bhride, the "fiery arrow" as an allusion to the storms and lightning that claimed lives of thousands of people from Newfoundland and Labrador, and this fiery arrow being attracted to oak, which was often used in building ships. There's a middle part or development where tension builds, and a third small part where the opening theme recapitulates in a major key. And then Kellie suggested the most appropriate text, the Ave Maris Stella, as this would be a prayer to the Star of the Sea.
And coupled with the usual things we consider in writing music for competition, the tessitura, the contrasting moods, the rhythm, here is the premiere performance of the Ave Maris Stella commissioned by the Newman Sound Men's Choir.
A few months ago, Kellie Walsh, the conductor of Newfoundland and Labrador's homegrown men's choir Newman Sound, wrote and asked me to compose a piece for them. We had the usual discussion about the variables, range, divisi... But there was something different in her request, that she asked the song to be in memory of those who perished in the waters of the Atlantic, St. John's being a coastal town, and fishing being the main trade before.
I researched on the history of Newfoundland and Labrador, and found out that folk music heritage is based on Irish, English and Scottish traditions brought to its shores centuries ago. I wrote the piece to start out in minor mode, with a chant and progression inspired by Bhride, the "fiery arrow" as an allusion to the storms and lightning that claimed lives of thousands of people from Newfoundland and Labrador, and this fiery arrow being attracted to oak, which was often used in building ships. There's a middle part or development where tension builds, and a third small part where the opening theme recapitulates in a major key. And then Kellie suggested the most appropriate text, the Ave Maris Stella, as this would be a prayer to the Star of the Sea.
And coupled with the usual things we consider in writing music for competition, the tessitura, the contrasting moods, the rhythm, here is the premiere performance of the Ave Maris Stella commissioned by the Newman Sound Men's Choir.
