The Fruits of Liturgical Music
Church music is an integral part of Philippine culture. Here in the country, we have come to appreciate the most familiar melodies created by Fr. Eduardo Hontiveros, SJ, Fr. Manoling Francisco, SJ, and Fr. Arnel Aquino, SJ. They have composed music that became popular in the world of liturgical music in the Philippines such as Pananagutan, One More Gift, and Bayan, Magsiawit Na. Nevertheless, the realm of liturgical music in the country is diverse, and there are several other composers that have filled our churches with music.
Have you ever wondered who composed Si Kristo Ay Gunitain or Purihin Ang Panginoon? Without a doubt, these are some of the most prominently used songs in the Catholic Mass. These are just some of the many compositions of Fr. Felipe Fruto Ramirez, SJ. Let’s dabble a bit into his world, shall we?
Fr. Felipe Fruto Ramirez, SJ is a Jesuit composer of Liturgical music. Entering the Novitiate in 1974, he began his exploration into Liturgical music. He mentions that he had a lot of free time to try out different things during his time there. His exposure to music was not very expansive as he did not have any formal training, but he learned how to play the piano when he was very young. Nevertheless, the time he spent at the Novitiate was Fr. Fruto’s avenue to hone his talent as a musician.
He draws inspiration for composing from different areas. Aside from his time at the Novitiate, Fr. Fruto also made use of silent retreats to aid in his drive. He mentions that oftentimes, one particular text would be striking to him, and this would thus inspire him to make a melody for it. Other times, however, the melody comes first, and the text that brings inspiration to the lyrics would come much later. His method of composition is very simple—through the use of the guitar and piano. He was also able to learn how to write using the score, or sheet music, during his time at the Novitiate.
A lot of his music is inspired by secular music and the kundiman, but the influence brought about by the kundiman is what separates Fr. Fruto’s style from that of some other composers of liturgical music. This is what presents the realm of liturgical music with a taste of Philippine culture.
The first song that he composed was Panalanging Maging Bukas Palad, a song based on St. Ignatius’s Prayer for Generosity. His version of the prayer, however, is different from the one composed by Fr. Manoling Francisco, SJ since he uses the Filipino translation made by Francisco Soc Rodrigo in the 1950’s. The influence of the kundiman is very evident in his compositions, most especially this one.
His music is widespread as well. One of his most notable works, namely Purihin Ang Panginoon, has been translated to different languages, and used liturgically in other countries.
Among his inspirations also come his influences. Fr. Fruto was with the first group of Himig Heswita initiated by Fr. Eduardo Hontiveros, SJ. He notes that Fr. Hontiveros was very influential for him since he would encourage them to write compositions, and he would publish them. In Himig Heswita, most of the songs that were created were liturgical in nature and used Tagalog as its main language. According to him, it was a time of enculturation since people wanted to sing Tagalog songs in the Liturgy. The Himig Heswita group served to provide the common masses with these kinds of music.
In addition to the Tagalog liturgy, Fr. Fruto composed a complete Mass for the Bicol Liturgy. What brought Fr. Fruto to compose music in this language was the continuous need for it. He mentions that in Bicol, the mass was spoken in their language, but the music was in either English or Latin. Fr. Fruto composed a complete lineup of songs, inclusive of a Kyrie, Gloria, Credo, Pater Noster, and Agnus Dei among others; all of which were in the Bicolano language.
As for his modern and more recent compositions, Fr. Fruto says he does not compose as much as he did anymore. He does, however, mention that some of his older compositions are only published recently. An example of this is the Ama Namin that he composed a long time ago. This version was only included in the recent Himig Heswita album and song book from 2013, but he says that this was composed well before the album was in the works.
Fr. Fruto’s music is striking. His influences and inspirations have brought about a new and different medium for Philippine liturgical music. His accomplishments, both on his own and with Himig Heswita, have brought many Filipinos across the country closer to the church and to their faith. His kundiman-style music also shakes the world of liturgical music with its coating of Philippine culture.
Photo from:
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