Philippine Cinema and Performing Arts (Folk Dances and Music)

[Mercato]

Music for the Holy Week

Reina de Cavite


Uploaded by Mimee2627 on Oct 26, 2011

Music composed and written by Don Julian Felipe.

[Mercato]

Himno a Nuestra Señora de Peñafrancia


Uploaded by markanthonynapao on Oct 12, 2011

This is the full version of Resuene Vibrante
(Himno a Nuestra Señora de Peñafrancia)
Composed by Fr. Maximo Juguera and Arranged by Maestro Ronaldo Dolor

[Mercato]

Kundiman Art Song: Madaling Araw- Sylvia La Torre


Uploaded by philclassic on Jul 1, 2010

"Madaling Araw" (Dawn) is a classical Kundiman composition of Dr. Francisco Santiago with lyrics by Jose Corazon de Jesus. Interpreted by Sylvia La Torre under the music direction of Leopoldo Silos. Audio from a vintage 33 1/3 vinyl phonograph recording (Sylvia Sings Kundiman With Leopoldo Silos and the Villar Symphonette, Villar Records, Mareco Inc.)

[Mercato]

Two Kundimans

Anak Dalita / Pakiusap


Uploaded by musiktenor on Dec 23, 2008

Anak Dalita and Pakiusap
recorded by Pete Avendano

[Mercato]

More on this classic. The Mabuhay Singer's version.

Kundiman- Madaling Araw -Mabuhay Singers (Rare Copy)


Uploaded by philclassic on Jun 30, 2010


A classical Kundiman composition by Francisco Santiago with lyrics written by Jose Corazon de Jesus. Interpreted by the Mabuhay Singers. Audio from a vintage vinyl phonograph recording ("Mabuhay Singers Sing Kundiman", Villar Records, Mareco Inc.)

==========

Francisco Santiago (1889-1947)


Francisco Santiago was born in Santa Maria, Bulacan, on January 29, 1889 to musically-minded peasant parents, Felipe Santiago and Maria Santiago. He was the first of their three children. His parents had the same surname but they were not related by blood. At age seven, he took solfeggio lesssons under an uncle, Matias Magracia, a country violinist, who took him along to haranas or serenades during moonlit nights. But his parents did not like him to be a musician. It was after his father died that he was given open encouragement to study music. He became popular in his hometown as a boy singer in the school and in the church.



After completing his elementary education in the public school, he went to Manila. He was admitted as a houseboy in the Dominican convent and studied piano forte under the famous Dominican music teachers, such as Blas Echegoyen, Faustino Villacorta, and Fray Primo Calzada. With the latter, he studied vocalization, organ playing and the rudiments of compositions. He finished his primary education at the Colegio de San Juan de Letran and left to find employment as a pianist in various stage theatres. He joined orchestra groups while continuing with his college course which he finished at the Liceo de Manila.

In 1908, his first composition, Purita, was dedicated to the first Carnival Queen, Mis Pura Villanueva, who later married the distinguished scholar Teodoro M. Kalaw.

In 1912, he won first prize in musical contest sponsored by Teodoro M. Kalaw. In the same year, he won a first prize in a musical contest entitled Oxipator (Waltz) sponsored by Yangco firm. A year later he made a zarzuela entitled Margaritang Mananahi. In 1914, he was lured to accept a job abroad, directing an orchestra in Shanghai. Upon his return to Manila, he taught piano and became director of the choir at the San Jose Seminary, Manila, 1915-1916.

In September 1916, he was taken in as an instructor while working in the conservatory. He composed what is now the classic Anak ng Dalita. He enrolled at the Conservatory taking courses under Director George and others. In the same year, he fell in love with a young student who was enrolled in voice culture by the name of Concepcion Ocampo.


The New director (Schofield) of the Conservatory of Music saw that Santiago should have further training abroad. Arrangements were made with University authorities and Santiago left in August 1923 to enroll at the American Conservatory of Music, Chicago, Illinois, where he obtained his Master of Music degree, 1924. He also received a special honorable mention during the commencement exercises for excellence in studies.

He was the first Filipino to receive the degree of Doctor of Music from the Chicago Musical College. His graduation piece played at the Kimball Hall was entitled Concerto in B Flat Minor, 1924. The American Conservatory of Music also awarded him the teacher's Certification in voice culture. Then he participated in an international contest conducted by the Chicago Daily news, and his Remembrance, was awarded third place.

Back in Manila in 1923, he made his debut at the Zorilla theatre on February 5, 1925. Dr. Santiago returned to the UP conservatory of Music. Dr. Alexander Lippay, the director of the school took notice of his talent and immediately promoted him to assistant professor, making him head of the piano department. He taught advanced composition among other subjects. He then won first prize in two national contests namely, Himno al Cristo Rey (1928) and Himno del Congreso Eucaristico Nacional (1929) which he considered the greatest moment of his life, more significant than the honor he received in Chicago.

When the UP Board of Regents did not renew Dr. Lippay's contract, Santiago was named official-in-charge and was later promoted to associate professor of piano and acting director of the Conservatory.

In 1935, he was named full professor and director of the Conservatory of Music. During the Japanese occupation in 1943, he had a heart attack and suffered from paralysis which incapacitated him.

Santiago's masterpiece was the "Concerto in B flat minor" for pianoforte and orchestra. His most famous piece "Kundiman, (Anak-Dalita)", was sung upon the request of King Alfonso III before the Royal Court of Spain.

He was named UP Emeritus Professor of Piano, on May 25, 1946. When the U.P. Conservatory of Music was celebrating its 30th anniversary, the nationalistic musician died of heart attack on September 28, 1947. He was buried at the North Cemetery, Manila.

[Mercato]

Composition by Dr. Jose Rizal

DR. RIZAL'S KUNDIMAN: ALINMANG LAHI - Conching Rosal



Published on Mar 8, 2012 by philclassic


Not many Filipinos know that Rizal composed kundimans. One was "Alinmang Lahi", which was first introduced to the publc by Antonio Molina for coloratura soprano with piano and orchestral accompaniment. The version used here was sung by Conching Rosal under the music supervision of Leopoldo Silos and the Villar Symphonette.

Rizal composed the Kundiman "La Deportacion" during his exile in Dapitan. Earlier, he wrote the Kundiman "Canto de Maria Clara" which is immortalized in his Noli Me Tangere novel. A third, simply titled "Kundiman", was discovered among the secret documents of Andres Bonifacio during a Spanish raid. This Kundiman was used during Rizal's trial as evidence that he was fomenting revolution through the song. Since Rizal did not deny his authorship, the Spanish authorities believed that he did compose the music and write the lyrics.

Even at that time, Rizal had pointed out that the enemy is also from within and that anyone or any race should sacrifice everything, even life itself in defense of their Motherland against oppression.

Like many earlier Kundiman which predates the Kundiman Art Songs of Nicanor Abelardo, Francisco Santiago and Bonifacio Abdon, this Kundiman is not written in triple time (or waltz tempo). Modern day music professors and musician subscribe to the erroneous view that patriotic and classic love songs written in triple time can only be considered as Kundiman.

Audio from a vinyl phonograph LP album ("Immortal Kundiman of the Philiipines, Conching Rosal," MLP 5039-S, Villar Records, Mareco Incorporated, Quezon City, Philippines, Undated).


ALINMANG LAHI
Kundiman composed by José Rizal

Alin mang lahi, insinasanggalang
Sa lupit ang kaniyang lupang tinubuan
Tuloy pinaghahandugan
Ng buhay at dugo kung kailangan.

Ang kamatayan man, kung saka-sakali't
Igiginhawa ng mga kalahi
Tatanggapin ng may ngiti
Kaaliwa't tuwang 'di mumunti

Nguni't pagkasawing-palad yata
Ng Katagalugang napapanganyaya
Bukod pa sa ibang umaaba
Lalung nagbibigay hapis ang ibang kapwa.

Sabagay 'di kulang sa pupuhunanin
Lakas, dunong, tapang, yaman ay gayundin
Aywan kung bakit at inaalipin
Ng bawa't lahing makasuno natin.

----------------

ABOUT CONCHING ROSAL

Conching Rosal, the "First Lady of the Philippine Operatic Stage" (b. 1926; d. 1985). A native of San Jose, Batangas, Conchita H. Rosal was born on 1926. She started singing at the age of 6 in their local church in San Jose as a soloist.

While studying voice at the UST Conservatory of Music, one of her classmates was Sylvia La Torre. She furthered her studies in voice under the tutelage of Dean Verchines in the United States, a well-known coach to leading artists of the Metropolitan Opera and the New York Opera.

Dubbed as the First Lady of the Philippine Operatic Stage, her career in entertainment started to blossom when she won the Elizalde Family Hour Talent Search in 1952.

Her performance as Carmen in Trudel Zippers Tagalog production of Bizets opera brought her fame as an opera singer.

One of the Philippines great sopranos, Rosals musical career spanning three decades were highlighted with unforgettable roles in Philippine productions of Madame Butterfly, 1967, Aida, and the lead role in the zarzwela "Ang Kiri". She died in 1985 of cancer.

[freightrunner]

Namamaty na ang TUNAY musikang pilipino. Sana ay buhaying muli.

[j01]

Art with Entertainment.

reposting here:

Originally Posted by j01

'Thy Womb' now back in Cinemas (including Robinsons Galleria) :
http://www.interaksyon.com/entertainment/thy-womb-surges-at-the-box-office-adds-more-cinemas-nationwide/

A QUIET FILM YET IT EXPLODES INSIDE YOU.

http://m.philstar.com/366247/show/e30b328334ba817c2f5c640298ce9582/?
Posted on Sunday Jan 6th at 12:00amNEW BEGINNINGS By Büm D. Tenorio, Jr.

I must admit that my heart sank when my eyes combed the whole Cinema 11 of SM Manila and found only two souls — my friend Jerry Donato and me — watching the last screening of*Thy Wombtwo Wednesdays ago. My heart sank all the more realizing what the people who did not troop to the cineplexes to watch this film were missing — a brilliant film that talks about who we are as a people from the experiences of a Muslim woman and the community she lives in.

Thy Womb, an unnervingly quiet film by Cannes award-winning director Brillante Ma. Mendoza, has been hailed internationally before it opened for the Metro Manila Film Festival on Dec. 25. The film does not necessitate melodramatic excesses to convey its message. Set in a quiet fishing Badjao village in Tawi-Tawi,*Thy Womb*posits the sincere desire of Shaleha (Nora Aunor) — a midwife who has an unusual penchant for collecting umbilical cords, which she air-dries while wrapped in a small piece of cloth — to find a second wife for her husband Bangas-An (Bembol Roco) who longs for an offspring of his own that she cannot give. She has lost all hope, being past her prime, to give her husband a child but she has not lost hope to find him another wife (Muslim law allows it, of course) who can give him the desire of his heart. With the help of a matchmaker, they find Mersila (Lovi Poe) and, with a douse of courage and the right amount of dowry, which the couple raises by receiving dole-outs from friends and even by selling the engine of their*banca, a festive wedding ensues for Bangas-An and his new wife. The child Bangas-An has been waiting for finally arrives with Shaleha assisting Mersila when she gives birth.

The film is silent in its discussion of its narrative yet it explodes inside you — in your heart and mind. A woman’s worth is put to the test and the scale is kept not in the boundaries set by the director but in the intellectual and emotional capacity of the viewer to sympathize with the protagonist. Yes, your cognitive faculties will be exercised while watching*Thy Womb*but the barometer of your emotions will also be put to use. It’s a thinking film and Mendoza will just burst your bubble if you’re after a quick entertainment fix.* He’s not known for that. Not yet. Unless commercialism infests his wits.

You come to the theater to watch*Thy Womb*because you’re ready for another serving of social realism — understanding fully that reality, as always, is more potent than fantasy.

You come to the theater to watch*Thy Womb*because you do not want to escape, instead you want to understand yourself deeper by understanding the characters and the nuances that each one of them possesses.

You come to the theater to watch*Thy Womb*because you want a long and lasting impression of your culture, of your strengths and weaknesses. image

You come to the theater to watch*Thy Womb*because you want to know, or perhaps experience, what a real and beautiful film is all about. Period.*

But let me also say that*Thy Womb*is not perfect as a film. It is flawed if by being flawed means Mendoza telling the story rather slowly and laboriously. But once you are already in the loop, right in the womb of the film, you will find yourself intrinsically involved instead of bored. At times, the camerawork is jarring but you also feel that it is deliberately done to really jar your senses — to emphasize a particular point, to exact a reaction from you, to involve you in the process. Sometimes some shots are dark but you begin to think it is a technique to hide Shaleha’s pain or perhaps, to camouflage her joy. Even in her moments of triumphs or travails, Shaleha always equips her persona with dignified stance.

Henry Burgos’ screenplay of*Thy Wombis bare and simple. Speaking lines of the characters are scant but pithy. And one will be inclined to believe that part of the success of making this film is achieved because of the simplicity of the script and the complexity of the story.

Mendoza’s sincere and steady focus to helm this film can also be seen in the presentation of sub-stories. Conflicts are shown as Mendoza treats the viewer to a glimpse of a quiet life in the village where a rather ordinary day in the market is suddenly jolted by soldiers patrolling the area or a picturesque and peaceful day at sea being disrupted by raucous bandits. But the greater conflict of the film really lies in the heart of Shaleha.

Nora Aunor becomes Shaleha in*Thy Womb. In the film, she is not the Philippine cinema’s Superstar but the Muslim wife who almost obsessively looks for the solution to realize the happiness of her husband, also played quietly disturbing by Bembol Roco. Both Nora and Bembol blend naturally well in a Badjao village as if they were born and raised in the place, as if it was the Tawi-Tawi air that they had been breathing all their life.

It will perhaps be obscene to give Nora Aunor more speaking lines in*Thy Wombbecause what the words cannot say, her eyes, the signature La Aunor armament in the acting battleground,* telegraph to the viewers’ senses her gamut of emotions a million times. So, you feel her pain, her joy, her longing, her dignified submission to the test of circumstances not because she utters them but because her eyes allow you to see and feel those emotions in the frame. Nora proves that in the acting department, she is a legend. Hers is an understated acting that speaks volumes even in her silence, even in her sepulchral silence.

Her performance in*Thy Womb*earns Nora two Thursdays ago a best acting plum at the 38th Metro Manila Film Festival. Mendoza is also hailed as the festival’s best director.

In her speech, Nora said: “Kahit*konti na lang ang manonood sa akin, kahit ako na magpoproduce, patuloy pa rin po akong gagawa ng makabuluhang pelikula.”

Because of poor ticket sales, cinemas reportedly plan to pull out*Thy Womb*in the cineplexes. To this, Mendoza, who was recently recognized by the 6th Asia Pacific Screen Awards with the Achievement in Directing for the Nora Aunor-starrer, appealed to the viewers to support and watch, even endorse, his film. His appeal somehow did not end on deaf ears as*Thy Womb, the last time I checked, is still showing in very, very few theaters. You begin to ask what happened to the throngs of shrieking fans of the Superstar some distant decades ago? Perhaps time caught up with many of them and, even if they love Nora Aunor, going to the theater to watch her film is probably not included in their priorities anymore. Sad truth but the Superstar is not giving up — she said she would not get tired making sensible films. If that is the case, it is about time to create new followers.

Before it’s too late, the Filipino audience must realize now that*Thy Womb*is one of the best Filipino films a Filipino could watch on the big screen in his lifetime.

[j01]

(Looks like this will join the list of Philippines' Classic Films.)

If you missed it in MMFF, you can still catch it..... in Italy. :-)


Along with a French film, Italy named the Philippines' 'Thy Womb' January 2013 Film Of The Month :

http://<br /> http://www.cinecritic...critica <br />

Film della Critica &ndash;

*Marchio di qualità attribuito dai critici cinematografici italiani ai film distribuiti in Italia e riconosciuti di particolare livello estetico e culturale.

Commissione :

- Franco Montini, Piero Spila, Bruno Torri, Maurizio G. De Bonis, Umberto Rossi (Comitato Esecutivo SNCCI) -

*Alberto Crespi (L&rsquo;Unità), Adriano De Grandis (Il Gazzettino), Piera Detassis (Ciak), Fabio Ferzetti (Il Messaggero), Oscar Iarussi (La Gazzetta del Mezzogiorno), Paolo Mereghetti (Corriere della sera), Federico Pontiggia (Il Fatto) -

*Patrizia Pistagnesi (responsabile operativa Film della Critica &ndash; SNCCI)


FILM SETTEMBRE *2012
Intervallo &ndash; regia di Leonardo di Costanzo ( Istituto Luce-Cinecittà / Italia, Svizzera, Germania, / *86 min. / 2012) &mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;-
Monsieur Lazhar &ndash; regia di *Philippe Falardeau (Officine Ubu / Canada / 94 min. / 2012) &mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;-


OTTOBRE 2012
Amour &ndash; regia di Michael Haneke (Teodora Film / *Francia, Germania, Austria / 127 min. / 2012) &mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;
Kuf *- *regia di Ali Aydin (Sacher / Germania,Turchia / 94 min. / 2012) Film presentato alla Settimana Internazionale della Critica &ndash; 69. Mostra Internazionale d&rsquo;Arte Cinematografica di Venezia &ndash; Premio De Laurentiis Opera prima &mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&ndash;
Terramatta &ndash; regia di Costanza Quatriglio (documentario) (Istituto Luce &ndash; Cinecittà / Italia / 75 min. / 2012) &mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&ndash;

GENNAIO *2013
Qualcosa nell&rsquo;aria (Après mai) *- regia di Olivier Assayas (Officine Blu / Francia / 122 min. / 2012) &mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;
Thy Womb &ndash; regia di Brillante Mendoza (Filippine /100 min. / 2012)In evidenza

[spearhead]