Exploring the Sounds of the King: Tribute to the King at CCP
At the Cultural Center of the Philippines’ Main Theater last September 22, 2018 was the “Tribute to the King”, a concert celebrating the works in the centenary Lucrecia Kasilag, born on 1918. A listen at Lucrecia Kasilag’s music may bring one to a mysterious airy sound over here, towards nostalgic of childhood songs over there, maybe downright odd and distant at some points. Ramon Santos, National Artist of Music, opens with a statement of characterizing Tita King’s works: It’s not an easy task. True enough, one can get into the nitty gritty details of theory, of the harmonies used in east Asia, musical modernism of the 20th century, but this concert aims not to give an array of homogenous material. This concert sought to give a taste of all things Kasilag, a glimpse of the variety of compositions that number 200! Everything within the concert, even the beginning chimes, shows us Kasilag’s several forays in her compositions.
The show begins just like any other CCP show on the chimes signaling the beginning of the show on speakers. In this concert however, the show begins with the actual chimes being performed on stage, the 5 note dang-dang-ay tune of the Cordilleras. Later on, Dr. Ramon Santos’ invites us to bask in the Philippine airs of her indigenously influenced music. The Philippine Philharmonic Orchestra brings us three pieces. First is her Philippine Scenes for orchestra, of three movements which take from programmatic effect and impression of Philippine life: the mountainside depicted with its Cordilleran airs of the flute with a gust of wind portrayed by a grumbling cello, a reorchestrated version of the Visayan lullaby Ili Ili, and the excitement and clamor of a Festival with bustle and chatter by the performers themselves. Afterwards is the third movement of Kasilag’s Violin Concerto No. 1 performed by Gina Medina Perez on the violin, a capricious and exciting hodgepodge of influences, starting from the a rhythm heavy orchestration, melodies heavy on the plucking on the violin’s strings, melody filled with sliding notes that yields an Asian flavor. Lastly, conducted by Chris Borela and Performed by Philippine Women’s University’s Indayog Gongs, Vocal Ensemble, and students of their School of Music, is the clamorous Ekologie II-Improvisations, dispersed among the audience aisles performing improvisational rhythms on the bungkaka, patangguk, and on the stage, the kubing, hanging bottles tuned to the kulintang’s scale, and a chorus singing an air of Cordilleran character. In the last part of the first segment, Ekologie II literally brings to the audience in the communal character of Philippine music, a fitting conclusion for the first segment of “Philippine as Inspiration” in the program.
Later on, Fides Cuyugan Asensio claimant of the “last one standing who’d worked with the very Tita King”, introduces the next segment speaking of her many advocacies spanned by the variety of her works. A drive for social responsibility accompanying the classic wit Kasilag had was mentioned by Asensio, and introduces the following two performances. The first is Prelude Etnika performed by the Kabataang Gitarista and the UST Guitar Ensemble: the pentatonic Cordilleran airs (that are also heard earlier in the chimes of the CCP) that mark one of Kasilag’s favorite textures in her music show her efforts in propagating the consciousness of Philippine culture. The following piece, a programmatic piece on the piano depicting the loud grumbling of a volcano, Jet Chiong plays on the Kasilag’s “Elegy on Mt. Pinatubo” for the piano, marking as well her concern for the environment, another advocacy her works followed suit in.
Fides Cuyugan Asensio
For the third segment, we see Kasilag’s works shine even as they are appropriated for use other than their original purpose, that is in Dance, Film and Theater. Dr. Suzie Moya Benitez, a former member of the Bayanihan Dance Company (Which Kasilag had founded) but now elevated to executive director by Kasilag herself, explains how Kasilag worked with Lucrecia Urtula, both whom integrated music and dance respectively to forge consciousness and to prove Philippine dances worthy of recognition in the world stage. To commemorate this, an early composition of Kasilag’s, Alitaptap, is choreographed and accompanied with a rondalla: Fernando Jose’s choreography depicts a maiden frolicking and imitating the flowing movements of a swarm of dancing fireflies.
Suzie Moya Benitez
Gener Caringal's "Ang Sultan"
Before we witness Kasilag’s Divertissement in its adapted form staged with Gener Caringal’s “Ang Sultan”, Caringal first explains the story of the adaptation, beginning with Kasilag’s vehement disapproval when he asked for the permission that came in late, already after he had arranged it for the ballet, but later on, given permission. We see Kasilag’s Divertissement adapted from the middle poco adagio section: singkil rhythm accompanies the kulintang narrates the power and authority of a sultan, while the piano runs and strings with an exotic musical scale plays during the princess’s star crossed love with a slave. Her material proves dynamic in its re-appropriation from being a simple orchestral piece.
Another foray of Kasilag can be seen in “Amada”. The Spanish Colonial era depicted in the setting that can be inferred from the clothing of the actors meets a contrasting atmosphere with the almost avant-garde, odd sounds that is portrayed in the orchestra. Kasilag’s choice of sound here is much more different than her usual sound, alluding to the mystical and primordial femininity as a theme in Nick Joaquin’s “Summer Solstice”, the text from which the performance’s original text came from. We see Kasilag's ability to not merely present folk-song and spectacle, but also compose for the most niche of settings, such as the foreboding mysticism next to the echoes of the colonial past.
Alice Reyes' "Amada"
Later, as pianist Jed Balsamo introduces the last instrumental performance of Kasilag’s work for the night. Mid-introduction, he narrates through Kasilag’s Ang Tagak, how it is a piece of Russian atmosphere, unlike Kasilag’s usual style. He mentions the display of love and loss in Anton Checkov’s The Seagull as he demonstrates in his performance. Kasilag here, proves to be successful in her forays from all over; tackling the Russian atmosphere of The Seagull, Ang Tagak shows her inherent adaptability of her music in realms indigenous and beyond.
Jed Balsamo (right)
For the finale, Kasilag’s theme for Aurelio Tolentino’s “Kahapon, Ngayon, at Bukas”, a play labeled seditious by the American colonial government ends the concert. Ramon Santos remarks how indeed, one night is not enough to display the 200 pieces that Kasilag composed. Kasilag’s advocacies for culture, and as well as the environment motivated the several topics of her music. And yet, she manages to present us spectacular and evocative scores for theater, film, and dance as well. Lucrecia is more than a National Artist of Music, but a blessing to Philippine Music itself, having brought about a wave of contributions throughout. The concert at CCP can only go so far, several concerts in 2018 celebrating her works, but with the variety of works showed in this concert reflecting the many sides and advocacies she took to, perhaps this may be the best tribute to Tita King.
Image:
Images of "Ang Sultan" and "Amada" retrieved from : https://artaturningpointe.blogspot.com/2017/10/then-and-now-ballet-philippines.html
Image of Jed Balsamo retrieved from: https://wordsofwalter.blogspot.com/2013_06_01_archive.html
Image of Suzie Moya Benitez retrieved from: https://www.filipinaleadership.org/leading-organizations/
Image of Fides Cuyugan Asensio retrieved from: http://philclassicmusicnews.blogspot.com/2008/05/fides-cuyugan-asensio.html
Image of the "Tribute to the King" poster retrieved from: https://www.culturalcenter.gov.ph/events/music/tribute-to-the-king-the-music-of-national-artist-lucrecia-king-kasilag/details