Contemporary PhilippineMusic

Contemporary music in the Philippines

usually refers to compositions that have adopted

ideas and elements from twentieth century art

music in the West, as well as the latest trends

and musical styles in the entertainment industry.

The modern Filipino repertoire consist of

pieces that have been written in twentieth century

idioms that have evolved out of such stylistic

movements as impressionism, expressionism,

neo-classism, as well as the so-called avant-

garde and New Music.

Neo-classism

20th century trend, particularly current in the period between two world wars in which composers sought to return to aesthetic precepts associated with the broadly defined concept of “classicism”, namely order, balance, clarity, economy and emotional restraint.

Avant Garde

French for “advance guard” or “vanguard”. Sometimes referred to as post – World War II music.

Lucio San Pedro

Lucio D. San Pedro is a master composer,

conductor, and teacher whose music evokes the folk

elements of the Filipino heritage. Cousin to painter

"Botong" Francisco, San Pedro has produced a wide-

ranging body of works that includes band music,

concertos for violin and orchestra, choral works,

cantatas, chamber music, music for violin and piano,

and songs for solo voice.

He was the conductor of the much acclaimed

Peng Kong Grand Mason Concert Band, the San Pedro

Band of Angono, his father's former band, and the

Banda Angono Numero Uno. His civic commitment

and work with town bands have significantly

contributed to the development of a civic culture

among Filipino communities and opened a creative

outlet for young Filipinos.

Maestro Lucio San Pedro was born on February

11, 1913 in Angono, Rizal. His involvement in music

started when his father Elpidio San Pedro, put up his

family band, thus exposing young Lucio to the world

of conducting and composition. He obtained his

teacher’s diploma in composition and conducting at

the University of the Philippines Conservatory of

Music.

He taught at various universities and colleges

such as St. Scholastica’s College, La Concordia

College, the Philippine Women’s University, and the

UP College of Music. For 60 years, he wrote hymns,

masses, chamber music, even incidental music and

movie themes and scores. He earned the Republic

Cultural Heritage Award in 1962 for his composition

Lahing Kayumanggi.

Following in the footsteps of his father, he

led their family band, the Angono Municipal

Symphonic Band. His orchestral music include The

Devil's Bridge, Malakas at Maganda Overture,

Prelude and Fugue in D minor, Hope and

Ambition; choral music Easter Cantata, Sa Mahal

Kong Bayan,

Rizal's Valedictory Poem; vocal music Lulay, Sa

Ugoy ng Duyan, In the Silence of the Night; and

band music Dance of the Fairies, Triumphal

March, Lahing Kayumanggi, Angononian March

among others. He was conferred the National

Artist for Music in 1991.

Antonio Jesus Molina

Antonio J. Molina, versatile musician,

composer, music educator was the last of the musical

triumvirate, two of whom were Nicanor Abelardo

and Francisco Santiago, who elevated music beyond

the realm of folk music. At an early age, he took to

playing the violoncello and played it so well it did not

take long before he was playing as orchestra soloist

for the Manila Grand Opera House.

Molina is credited for introducing such

innovations as the whole tone scale, pentatonic

scale, exuberance of dominant ninths and

eleventh cords, and linear counterpoints. As a

member of the faculty of the UP Conservatory, he

had taught many of the country's leading musical

personalities and educators like Lucresia Kasilag

and Felipe de Leon.

Born into a musically inclined family, he raised his

own family as music lovers as well, as three of his

children pursued careers in music, and succeeded; they

are Rostia, a pianist; Exequiel, a jazz musician; and

Antonio Maria Jr., conductor and composer based in

the US. In 1923, he obtained his teacher’s diploma in

violoncello from the UP Conservatory of Music, gaining

experience from such teachers as Nicanor Abelardo and

Robert Schofield.

He was among the Filipino musicians who

used pentatonic scales and ethnic instruments

such as kulintang, and gabbang in his

symphonies. Molina's most familiar composition

is Hatinggabi, a serenade for solo violin and

piano accompaniment.

Other works are (orchestral music) Misa

Antoniana Grand Festival Mass, Ang Batingaw,

Kundiman- Kundangan; (chamber music) Hating

Gabi, String Quartet, Kung sa Iyong Gunita,

Pandangguhan; (vocal music) Amihan, Awit ni Maria

Clara, Larawan Nitong Pilipinas, among others.

Molina has the distinction of being the first musician

to be conferred the National Artist Award in 1973.

He died on January 29, 1980.