Music Magazine

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Part of Music Magazine

Title: Music Magazine
Issue Date: Volume I (Issue No.1) November 1933
Year: 1933
Language: Spanish
Rights
extracted text: Vol. I Manila, P. 1., November, 1933 Miss Jovita Fuentes, the Celebrated Filipina Prima Donna, in the leading role of "Madame Butterfly". ANTONIO J. r.IOLINA COL.LEeTIOO 4 1981 Featuring: 0 SEA SHELL" (Song) 20 centavos a copy [ Tt11: ~IVJT L4[).,.- ()~ Tt11: L4flliW[). 4flliW[) Tt11: .. MIJJ IVl1ILllVIVlflliWl:J99 ()~ l<;JJJ Mrs. Marguerit·~ M. Teahan and Miss Engracia Laconico, two accomplished pianists. LA SRA. MARGUERITE M. T~AHAN ELOGIADA POR SU LABOR SOCIAL. De un despacho cablegrafico procedenta de W ashingtco11, D. C., el 18 de) actual, se dice lo siguiente: '•La administraci6n de': Gobe.rnador General Frank Murphy es objeto de sinceros •elogios por toc!os lic.s que tienen interes por las Islas Filipinas. iLa labor de su hermana, Mrs. Marguerite Teahan, en relacion con sus actividades sociafo:;, es considerada como un importante factor para el exito de la admini£traci6n dd actual Jef.~ Ejec"Citi\':. dem6crata de Filipinas." ----- ·------------------Rodolfo R. Cornejo Editor and Business Ma:nager Hilarion F. Rubio Associate Editor Offices: Room 8, La Defensa Bldg. Manila, P . I. SUBSCRIPTION RATES In the Philippines: One Year • • • P 2.20 Six Months . . • 1.20 In U.S.A. and Foreign Countries: P. 0. Box 1545 Published Monthly as Official Organ of the National Federation of Music One Year (gold). $2.00 Single Copy . . • .20 Vol. I Manila, P. I , November, 1933 No. 1 ~()IT()l?IALJ ~alutatnry With this the initial it~sue of THE MUSIC MAGAZINE, wie take prid·e and pleasure in offering to th;e public what, in the beginn~ng, may s,e.em mor,e laudable in the effort thaq in th.a accomplishment. In all modesty, we must admit that we hav;e no claim to what we can· do; for all that ~ can be sure of now is that we arie burning with a d~sirie to aerv.e the inter.eats of musi~ and of a public that has long suspected the meaning and the messag:e of what Shakespeare ref:erred to as ''the concord of sweiet sounds . ., It is a sad commentary upon our taste as a nation that, with all thro Denturies of classical influence upon a national ~emp·zr attuned to "thie couches of sweiet harmony" good music, durabl·e music, thie music that elevates and r~fin·as and brings out tne. god in mortal man, lias not . found ,a sing.le ;exponent among tho country's w·ell-nigb hundr;"!d. pel'iodicals. As a r1esult, th;~ charming kundimans that once thriUed . many a hi~art, the nativie E.foment in our: present-day music, th.e airs that moved the souf wbien the nation was rocked in a cradle, are sported with by chanqe, most of them lost for:ever beyond repair. As a J'lesult, no r.eal and systematic effort has hie.en made to bring music to the mind of man, to ma~z it mor,e intelligible and th'..:r,eforie better appr•eciated. As a r;esult ther1a has been no active discussion on music, no intelligent discussion that will make music of vital interest. to th·= public and mak• e the people realiz.e that music is a n.ece!sity and not a luxury, that it feeds the soul wher.e rice and fish sustain the body. As we have admiOed, W!! are not promising SUC<;ess; for much of the SUCOeSS of this tand• ertaking will depend upon the support the public will give us. In this salutatory, may w:e express at bast the hop.a that the public, fully awarr~ that the promptings of the soul· for ~xpression and deli -Yht at• e vast.er than· the claims of th.e body for .. . food and drink, would help in making THE' MUSIC MAGAZINE truly an .exponent of good music in this country?. @ur !1lissinn THE MUSIC MAGAZINE calls on you today and will continue making its regular call once a month · as an expo~nt of native genius in th~ musical ~rt, a token of the high degree achieved by our peopl;e in th~ field of music. Its sole ,mission is thus very obvious and needs no e:laborate delineation. The official organ of the National F·ederation of Music of the Philippine Island., an organization of Philippin•e musicians and music patrons, THE MUSIC MAGAZINE naturally occup~<:..s. a uniq,µ1e place in Philippine · journalism. It is the pioneer in musical journalism in this country, with a rich background of th:e traditions and progre&s ·of the art. . It stands on the pedestal of our musical civilization as its trustwoJ:,"thy &entinel, ever zealous, alway~ wide-awakie to the changing ie.1.-ivironm.ent of thie musical world. As a peopl·e the Filipinos are music lov• ers.; tbiey are instinctively music-minded. History records this fact, which is. recognized by historians. From time immemorial, the nati¥.eS of this country had had their own primitive ways of souJ_.e.xpression. · In the days of Lakandola th,e different tribes in Luzon w1 :!re found to. have weird songs and equally wrdrd musical instruments made of bamboo. Even in thes•e days of modern civilization, in some out-of-way place-a, in mountain communities, tb~ people still cling to tt·a primitive music of their foreb,ears, unaff.ect.ed, unswayed by the influenc,e of pr e!1 ent-day music. The prenservation and cbvdopm-ent of the nativie music of old, in all its pl'Jes.tine beauty; ih its 4 THE MUSIC MAGAZINE November, 1933 entire originality, ia a thing which this publication will undertake, and it hopes to accomplish this end with thie apontaneoue support and cooperation of the m.embera of the National F·ederation of Music of the Philippine lalanda. Anotbier taak which this magazine ho~a to accomplish ia the elevation of our musical standard and the edification and crystallization of the remarkable feats of our artists in the musical fi:ald. The desaimination of musical ieducation and the cultivation of music in tbie country ana things that ieviery music lover should take into account. This is oner of the purposes for which the Federation is organized. Thie Federation does not claim to be self-sufficient and all .knowinc.. No human effort is self.auffic~nt and can succieed in pursuit of its goal without outside help and asnsistance, direct or indirect. Thia truism applies as wiell t~ the most powerful and richest nation on earth. CoUective cooperation ia tlai& and in all instances is imperative. Team work ia important. Tbe Federation's aims, the magazine's mission, cannot be realized withoqt cooperation and t;eam-;work among its members allld support from unaffiliated muaic lovers. In ii(J.e Int.er.est of tlltusir TIIE IN.TRODUCTION of jazz aa an ele•eat in music, welcomed in the beainning by modern compoaers and critics alike aa a possible source of _,w factors and principles in legitimate music, has proved a failure. The mode11n age in ~volt against orthodox and classical rules invaded niew fields and hurled classical principles to th.e winds. It was· ·a war on melody and harmony. Jazz pieces wiere compoaied and made popular because of thieir rhythmical qualities which unfortunately appeal to the feet rather than to thie aoul. However, thel'le aJ'le few exceptions in thie SelDae that harmonic back11round, despite the crude melod~s set forht above it, is being elevated through the introduction of various dissonant chords---one of the important element• of modem music. W.e a1"13 not out to crusade against jazz. We are willing to admit tlaat a few jazz pieoes, rather the·exceptions than the rule, havie been able to capture some meani&I' anti aome significance and hav,e utili~d a little melody and harmony to give them a life more durable than the rest of the output. We &lie not even agaiast thote who find some pleasure in sin1ring or humming thair favorite jazz hit, or of daacing to jazz-for it is ridiculous to suggest that people danqe to the tmie cf aa operatic aria or a a~phony score. But our idea is to point out to the music-loving public whiere jazz has failed and wb,er,e real music is a thing of vast clelight1 the magic that suggests"There•s net the s•allest orb which thou ltelaold'st But ia b.ia motion likie an anpl sines, Still ttuiring to t~ young-eyed cherubins." If some people differ with us, we would lie glad to h.ear thleir views on the matter. ~re would be a discussion, a clash; and the dash might produce some &parka of real, pe~nt gootl. It ia all in the interest of good music. ·-·-···•--··* •••••-·-·----.• 3·••5•iE••;;;:••5-;E•;;;:••5•i;;;-;;;:-5.iE••;;;:••5•E•-51•5•E•·;E;;~~;E;;·E••51••3•E••;;;:••5•E••;;;:••5·E--;E••5•E•·~-·-~;;;;-5.;;;; •• ;;;; •• 5.;;;; •• ;;;; •• ;;;:.;;;; •• ;;:; •• 5 •• ;;;;.;E••5••;;;;·~·· 0 !( , . i •' •' .. i I ~ I· lVE WELCOME CONTRIBUTIONS FROM MUSICAL ARTISTS AND COMPOSERS WHO LlfAY DESIRE TO PUBLISH THEIR WORKS-ARTICLES OR COMPOSITIONS-IN THIS MAGAZINE, SUBJECT, OF COURSE, TO THE APPROV AI,, OF OUR BOARD OF MUSIC CENSORS. ·D,,._··-4!!!'·•--4--a+;;=m,.#4*# t~· .... _,;;-e:: .... ;;·::AA-.~~--.;.r;;, ___ .-,,;;-:;;;; •• ,,.; •• ::;;;e;; •• :.-;;r •• •··4 'v·················· November, 1933 THE MUSlC MAGAZINE 5 Mes5ages from Pres. Palma of the U ... P., and .from Lieut. Fresnido, P. C. UNIVERSITY OF THE PHILIPPINES Manila, October 30, 1933. I am indeed glad to learn that, through the initiative· of some enterprising musicians, the National Federation of Music has been established. While . workers in •every conceivable phase of human activity have banded together to prokct and promote their common intel'ests, Filipino musicians hav'e; not until now l'<:sponded to inevitable tendency of the times--combination and association on a large scale. The organization pf this federation, the1,~f ore., comes to fill a long felt need. The purposes of the Federation are of the highEst constructive value. They are: "to foster and cultivate the spirit of brotherhood and comradeship among its members; to. eleva.te or promote the standard onocal compositions as well as the standard of the music profession ; to encourage music studies or culture; to give publk and pri.: vat.e recitals; to copyright and publish good popular as well· as da..ssical music, songs and operas written by local composs·rs; and to orga.nize, operate and maintain symphony orchsstras and choral entities.'' If consistently adhered to, these purposes will bring about unity of efforts among Filipino musicians, inspirational guidance of the best kind, and a b<:tter appreciation of music on the part of the general public. Music, here in our country as ceverywhere, is an instrumentality of culture, of civilization. To th~ extent that it is developed and cultivated depends the cultural levels of out people. Lt. Alfonso J. Fr,esnido, P. C. The timely appearance of a local Music Magazine is an e1vent to be hailed with delight by an music lovers throughout the country. AH Dr. Rafael Palma lt is an art which rises above the materialistic and sordid intJerests of mankind and which urges onr soul tO soar over things material and tangible. Realizing as I . have always done the high value of musical education and. the necessity· of cooperation among Filipino musicians, I welcome the National Federation of . Music in our midst which, if we can judge from the sincere efforts that are being put forth tO place it on a woi::king basis, will · in the- long run bEicome an instrument..: ality of the highest value. RAFAEL PALMA President. Philippines might be encouraged and stimulated to move general musical activities. The musical activities in various fields having increased enormously during the past few years, it iS high time that at least one of this sort of r.eading material should exist. It will be .a vaJuable help, worth while and serviceable information for every conceiya~ ble of the musical field, be it professional or commercial. Conditions are · constantly bringing radical changes in the musical profession . . In view of the developments and changes, it stands to reason that method of musical journalism is needed nowada\YS in the Philippi.n€s to keep the music loving and professional public not only in the locality-but also in th'e remote places posted through its pag.es on what is going on. Lt. ALFONSO J. FRESNIDO ConductOr, Philippine Constabulary Band 6 THE MUSIC MAGAZINE November, 1933 Tendencies of Filipino Music By FRANCISCO SANTIAGO, Mus. D. Director, Conservatory of Music, University of the Philippines IN every country, musk like litieirature, is the most b€'autiful and the most spontaneous expression of the character and individuality of the people. Whether in the midst of civilization or in barbarism, in joys or in sorrows, at their temples or at their festive· tables, in war or in peace, in victory or in defeat, every people resort to music to give vent to the feelings of their soul. The Filipinos as a people are endowed with a natural gift for music. They appreciate and love music to a degr:ee comparable to that professed and manifest.ed by other civilized peoples of the world. This is the consensus of opinion among many foreigners who have li\lled in the Philippines and who have come in contact with the Filipnos for many years. The autochthonous, original and primitive music is found preserved even to these days in all its pristine -beauty and purity among the groups of Philippine population which did not entirely yield to foreign domination and who now inhabit the mountain fastnesses of th'e northern provinces of the Island of Luzon and the forest regions of the Islands of Mindanao. Among the Christian groups, howev.er, autochthcnous music has practically disappeared, having succumbed to the influ~ces of Spanish and American musical airs and forms. There is, however, noticeable today, in the wake of a growing sense of nationalistic spirit, a growing tendency to purge this aLttochthonous music of its foreign essence. Despite these Latin and Anglo-Saxon influences,Filipinos have a music of their own; and to p:rieserve it for posterity should constitute one of our national endeavors. Of course, in the present stage of civilixation and progress of the Philippines, it should not Dr. Francisco Santiago be our aim to return to primitive music, as this would be tantamount to retrog:riession, a historical absurdity. Music is affected by environment, and progress in civilization reflects in the progress of music. A wave of tense nationalism is sweeping over the country. Nationalism in Filipino music does not and can not mean the •empty and vain attempt to return to the simple music of days gone-by, but the preservation of its essence for posterity, improved and €nriched with the best elements of Spanish and American forms, keeping alive and vigorous the traits and peculiarities which broadly distinguish Filipino music as such. The formation of the National Federation of Music of the Philippine Islands is very timely. I wish to sincerely congratulate its organizers on their initiative and their zeal . An organization of this kind has a tremendous capacity for the elevation of the music profession. =---------------------.. --.. --.. -------.. --.. ·----------------------·-------------------------------.. ·------------------------------------------------.. ~-., . Notice To All Me'!1bers Of T~e National ! ' • • • ' ' ' ' ' ' ' . . Federation of Music Ii THOSE DESIRING TO HA VE FEDERATION PINS WILL PLEASE SEE EITHER MR. ALFREDO LOZANO, PRESIDENT OF BRANCH NO. 1, OR PROF. R. R. CORNEJO, AT THE CONSERVATORY BUILDING, U. P. EACH ORDINARY PIN COSTS P0.80; SPECIAL, P2.00 ~------------------------------------------------------------------------------------------------··-----------------------------··-·------------~ November, 1933 THE MUSIC MAGAZINE THE ART OF BOWING· (For the Violinist) By Prof. ·ERNESL'O VALLEJO of the Conservatory of Music, U. P. 8 ETWEEN a "musician" and an "amateur'', referdng to violinists, we can easily and readily discern their difference. by the manner each of them handles 'the bow. The iid~ler, a term by which an "amateur violin. st"· is comn:cn)y known, often times commits t'he n:istakes of using his bc•w i·n an unbalanced, excessive and unconscious way with which frequ•ently appears conspicuous and· distinct to the ordinary music lli>ving observer. The violinist, on the other hand, 1ndistinct:vely resorts to lDg'ic in order to give a most ·thoughtful '\;alance" to his bow strok<:s, and 'thus t.·ansmits i'O th~ audit'nce the soul and hea_ t-felt sentiment of the author of the music masterpiece. I consider this to be the grea.',•est asset. Speaking ' from the intelligent musician's staT.dpoint, the· violinist must always base h;s bowing ct11 fundamental principles and rules governing a most successfdly pb::i.£ing tcne transmission a:id i:oul-feelbg interpretation. Hence, it is indispensable to each and every v:OOinist to observe and always follow a strict line .of conduct as regards .fhe handling · of his bow. Prof. ERNESTO VALLEJO MARTELE In the application of this important bow strdce, in my opinion, the student should be guided by his individual arid normal .physique. He should see fo it that his right hand and arm be normal violinistically before he can hope to achieve successfu1J "marte!e" strokes. Once I had the surprise music-career life when on one I had the oportunity in the of my occasion · "Martele" means "hammered". This United stroke can only be achieved by a short States to hear a lecture given by a great and master violinist, in the perorattc.n of whom he criticized the stroke length of the Qrdinary full-sized bow. -According to him, were it •not for the bow's required weight, a violinist can and will cer:tiinly play much better and clearer, and thus acquire better achievements, if the bow strokes were shorter. Among other fhings, he sai~ more or less: "The less a play•er uses his bow, especially in rapid passages, the bet'ter and clearer he plays." Since then I bega:p. observing that nowadays the virtuosos in fact do use such a bowing as is scarcely yet S'llfficiently enough to make rapid passages clearly enough with surprising and astoundmg results. While I am not any aufhority ,c.n this matter but merely a follower of the lecturer I have just referred to, I would :recommend to the young violinists with full ;imbition of success to heed the hints of . t'he said lecturer when confronted with rapid passages. There are many dif:f.ererit kinds of bowing, but for the present time I shall attempt only .to elu-cidate superficially the cha.-racter.istics of some of them; namely, 'the Martele, Sautille and Spioatto. sudden attack, musically. speaking, followed immediately by a complete relaxation of both.the right hand and arm. The pressure of the first finger wifh a sudden r~lax should be followed after either or both an "'up" or "down" stroke. The majority of great violinists get the best results by applyi'Ilg a ·~two-third" bowing strokes. SAUTILLE This .term means "hopping" or "jumping"'. The best results in this stroke may be achieved by exerting the utmost care in evenly baiJ!ancing the down and up bowing. I suggest and recommend 'the use of the middle part of the bow. Begin first with light even stroke up and down, or vice-versa, without lifting the bow from the string. Greater care must be taken to 'the "up" bowing upon noticing that the bow begins- tc jump, and upon acquiring an even bow-jumping, the player must make such a jumping lighter and s'hor.ter until he reaches a point of clarity. SPICATTO "Spica;tto" means "distinct", "'detached", "pointed'', "separated". This stroke is played with the point of the 7 l ABOUT ARTISTS ] ANTONINO BUENAVENTURA The Music Magazine takes pleasure in introducing 'to music lovers a young man from Baliuag, Bulacan, who has . distingilished himself as a composer, a conductor and a band leader. He is Mr. Antonino Buenav.entura, a member d .the faculty of the conservatory of music of th~ Universit·y of the Philippipes and band leader of the well known' U. P .· Cadet Band. with 1the. rank of cadet major. He is the author of the song "SEA SHELL" ~vhich was sung at the. cct11cert that was held at the Ce'n, t·ral Student Churc·h on Saturday evening, November, 18, 1933, . and which is published for the first time in this issue (see pp. 14-15), dedicated to Miss Elena Mapua, a pharmaceutical chemist, member of the faculty of the Mapua In~titute of Technology, and at present a student of Mrs. E. Reysio-Cruz in voice culture in the Conservatory of Music. Mr. Buenaventura, who is only 28 years old at .the present writing, came to Manila in 1923, w'hen he •enrolled ,in the conservat:Ory of music, U. P., and graduated in Science -and Composition in 1929. While yet a student, he was appointed an assistant teacher in 1925. In 1927 he was given the appointmant as band i!Jeader of the U. P. Cadet Band, having graduated in military scioence· arid tactics f~om the. ·sam~ u11iversity in 1929. · Moved ·by his own ambition to further his musical career, he enr!clled in 1932 to contLme his postgraduate cwrse in science and composition, and, as a result of his honest endeavors, he was awarded his · diploma in Marcl), 1933, by the University of the Philippines, which diploma is equivalent to bachelor c.f music degree. He b1t<erids fo g~ fo the United States to take.up his ·Master of Music cour~e. Besides his duties as instruct-QT in the state conservatory and band leader of 'the U. P. Cadet Band, Mr. Buenaventuri is assistimt conductor ·of the Conservatory Philharmonic Orchestr;t and Acting Secretary of the N llltional Federation of Music of the Phitippine Islands. He was the one who conducted the Song Cycle · (The Seasons) :Which was sung by Miss Mercedes Matias with the orchestra accompa:niment at .the recital given by P.rof. Cornejo at the Ma( Confirmed 01: paye_ 11) bow mostly and with wrist stress. The student should see to it that his bow should not be too loose if he expects to achieve success in this ~ind of stroke. g THE MUSIC MAGAZINE November, 1933 Nationalism: A Musical Idiom WHEN we speak of Art we mean a :hin~ which is imperceptible, ununagmable and sometimes intolerable. Why imperceptible and unimaginable? The magician lures the spectators by his treacherous stunt that makes them spellbound. After all, the excuse for such mental disposition is the power of magic art. Why intolerable? When we behold t.h2 nudity of a maid in such a carefree mocd as to throw us into the whirlpool of delight, we can not tolerate the situation u•ntil we argue against the naked exhibition. But, such lively fresco is wrought by Art. Speaking of Musical Art: The modernity, nay, the uitra-modernity, d advanced writers can not be tolerated by the composers of the Romantic Age; yet such license in idiomatic expression is admired as the progress of A.rt. Here lies the difference between Science and Art. Science is governed by primor.dial laws based icn facts which do ndt constantly change in the course of U'lliversal life (freaks are of course, excepted). Art has its rudh~en tary principles. But, as soon as these principles are comprehended, it wanders aloof from the arena IOf classicism and creates laws that are consistent within itself. No· matter. what laws are adapted by the Musical Art, there is a distinct element which permeates the corporeal being of a musicallt composition. This distinguishing elemelit is termed "figure" or "theme" used to enlarge the embryonic idea in the ccmposer's mind to a symphony or cc.!lcert, the two biggest of concert compositions. There a:re ccmposers of the classical, romantic and modern periods who use the socalled "'International" themes; and we can classify the compositions using such themes as "absolute", "theoritical", "abstract", "immaterial•', etc. While compositions usmg the so-called "'Ficilktunes" of the rural communities as themes can be grouped as '''programmatic", "practical", "concrete", "material". 11'!'~. Composers, at the Vffi.Y first wake, discovered the possibili't.y of utilizing the folk-music. And, since formal music was born. tribal songs and airs serve as guiding spirit of light and serious compositiO'Ils. No composer has denied the :foasibility of such thematic materials. In the first place, they make themselves figure of sympathy and admiration ·amc.ngst their people; in the second place, they become patriotic to ;the utmost, using the latent materials of their country. The high adoration they receive from their comBy Hl,LARION F. RUBIO Composer - Conductor Graduate in Science and Composition, Conservatory of Music, U. P. Hilarion F. Rubio patricts and the heroism they establish by such practice are wc.rthy of imagi nation. · Composers of all nations have shown heart-feit interest in the people's bare music and they have, at 'times, analyzed that "Nationality is the basis of musical Art'." Tunes of varied rhythm and melodious trend aggregated from different sources and ccrnbrned a compact-whole serve as the repre&en'cative music of a nation. Hence, nationality is affirmed. This nationalism is easily discernible in countries where :the i•nhabitants are politically inferior. It seems as if music is the proper medium of expressing their suppresed emotion. The nations that have shown leadership in the pr0 2sentation of this. na.tionalistic idiom through music are the following: GERMANY This nation is one of the oldest in developing musical art in all its phases. The representative composer who had developed the peopl.e's music is Jchann Sebastian Ba.ch. "Probably no influence in the whole ;range of music has been so widely spread and so deeply rooted in national feeling as the Chorale of Germany. Among the chief factors which CO'fltribute to this result were the rise and spread of the Lutheran movement. Apart from his two hundred and twenty-nine cantatas nearly alil of which introduce chorales, Bach founded over one hundred andforty-eight organ pieces en chorale-tune. He was rig'h'tly described by Forkel, ~n after his death, as 'the first great voice out of Germany since Luther' " POLAND The Polish woh suffered much un.der the ban of their mother country have resorted to the expression of nationalism 'through music. And the composer who heralded this aim is Frederic Francois Chopin. "He loved to .talk about nationality and Art. Chopin's mazurkas conveyed a vivid picture "Cf rural Poland. He had never collected these folk-tunes in a book, but had listened to tll•em lovingly as a child, a boy, and a youth. And sc it is with the polanaises, the 'walk-dance' of the Polish Court ceremonies. Chopin was strongly influenced by the marvellously rich folk-music of his own country. The .tunes of the harvest field, marketplace, and village festival scenes, were all well known and loved by him. " HUNGARY "Franz Liszt, t'he foremost Hungarian composer, was not a nationalist of the racial order of Grieg ar even of the patriotic order cl Chopin. Compared with the fi.2rce deep nationalism of his later compatriot Bela Bart'Ok, Liszt's 'magyarism' has a 'tinny" sound. Yet his nineteen Hungarian Rhapsodies speak by 'themselves. His own use of the Hungarian folk-music was only a small part c! his work for nationalism, although he wrote fairly large treatise on the music of the Hungarian gypsies". "Bela Bartok's view of folk-songs is not the easy-going nationalism of Lis:tt, who never knows a word of Magyar. If ever there was a f,:Jklorist heart and soul, it' is Bartok. In his rooms in Budapest he has nearly three thousand phonograph l'ecc;rds of Hungarian songs alone with their many variants, all taken down on the spot.. He knows every inch of his country as well as its people. "Franz Joseph Hadyn had popularized the Croatian idiom." (Cont-ini.ied on page 17) November, 1933 THE MUSIC MAGAZINE 9 Edvard Grieg's Influence on Music When the promising young Norwegian composer, Rikard N o.rdraak died in 1866, 24 years of age, Edward Grieg became heir to his place _in the struggle to establish a Norwiegian 'llational music. As Nordraak's close friend, he :received an impression of those ideas that was to became of such import in shaping his artistic destiny. He became the spolresman for the "national" in Norwegian music. Consciously he endeavored to find that which was a distinctly Norwegian mode of expressiicn, and succeeded in crea:ting an art that was his very own and at the same time unmistakably - Norwegain in every detail. Never before had Norwegai•n music spoken with sc. full a voice, w:th such nuances, so forcibly, or so opulently. In Edward Grieg, it pc.ssessed a means for an almost; unlimited wealth of expression. For. his music gives utterances to morbid fanaticism just as well as to tenderness, grace and charm. A N1ew Norwiegian Musical Langua~ Besid~s he understood how to impart to each measure the impress of his personality. The reason for this may be found in the fact 1that his was a potent, independent, i'Ilgenous, and creative imagination. His love of country endowed him with an intuition for that whi-ch was peculiarly and characteristically Norwegian. Its folk music could give him guidance i•n rhythmic and melodic outlines. But in the harmonies, where most of us have •the feeling that Grieg is Norwegian through and through, he had but little else than his own instinct upon which to build. Fortunately his persona'lity was so richly endowed that he did not stick tic. the accustomed forms or modes of expressions, and at the same time so N arwegian tha:t in giving expression for his own individuality, he created a new Norwegian musical language. His Music Not Understood 1n Norway at First Fer us, who. are now: living, Grieg's music stands for the most Norwegia:n of all things Norwegian. And we imagine that it must havie been immedia'tely understood by the No;rwegian as their own language. But that is not the case by any means. When the pia'Ilo concerto was performed fur \the first time in Oslo, the audience did not receive it with wholly kindi feelings. They did not understand it. The story about how Edward Grieg's own father once asked him to play-but for safety's sake added, "but please ncl.;hi·ng by Grieg," is characteristic of the general attitude. Nic.t even those nearest him felt akin to this musical language which seems so matural Ito us. Thia Music Is More Griegiah Than Norw~gian But, w'Mle in the beginning, Grieg's music had such a novel and curious effect, the ;reason for this is obviously to be found rn the fact that it not only is Norwegian, but also because ilt is peculiarly "Griegish." The individually personal and the national in his music have been fused into an indissoluble whore. The national characteristics did not, as they did with the olde:r Norwegian composers such as Halfdan Kjerulf and WaMemar Thrane, become his "second self". They became just himself. The Nic.rwegian musical accent simply provided him with a mode of express:.on fo:r his all-around nature, for his deep feeling, his overpowering temperament, his rer4tless st:rength, and his s·ensitive and dreamy spirit. Grieg Has Added Much New Material to Music So those of the opinion that mc8t of the fodividuality in Edward Grieg's music li•es in i.ts national characteristics are most certainly in error. Grieg is a personality of such powerful and peculiarly individual characteristics that he can easily stand on hi$ 1e.wn feet. Henry T. Finck emphasises that, at most, not more than six other composers have added as much 'Ilew and worthwhile material to music as Grieg has. If one studies his works carefully it will easily be seen that all the "new malterial" he created is not at all really national. For. the most part it lies entirely outside the peculliiarlYj Norwegian as the Norwegian know ilt from their :real folkmusic. And when we nowadays take it for something Norwegia•n something that 'Edward Grieg has only uncivered, then he is only being treated like most other great creators. They enlarge the conception cl a given na.'tionality, and give it both a new substa:nce and a new impress. But just as German intellectuality was nat the same before and after Goethe, and Norwegian intellectuality was diffe:rent after Ibsen, so it is in this case. Grieg has actually expanded Norway. By means of hiQ potent individuality he has added a new realm to the nation. And now we accept 'this added domain as wholly No:rwegian. Of course, it is Norwegian. But it is a "Norwegianess" created by Crieg rather than disco-..iered by him, for no matter how "Norwegian" this new domain may be, it _is even more "Griegish." Grieg's lnfluennce on Other Compo~rs Edvard Grieg has enriched music to such an extent that composers in 'nearly all other countries are his debtors. It is very striking in how many instances there is· evidence of the Grieg :ionfluence. Reminiscences (which, by the way, are only interesting as curios-i.ties), are ndt only to be found in Scandinavian music but also :in English music as in Cyril Scott's "A Balled Told at Cand•elight." Edition Scott page 4, line 4. measures 2 and 3; in American music as in the last few measures of Ma-cDowell's "Witches' Dance," and "A Deserted Farm" from the Woodland Sketches (The Arthur P. Schmidt Co.), the first four measur.es; in It·alian music as i·n Puccini's "La Boheme," second act, pagie 160, measures 3, 4, 5 and 6 in the piano and vocal score, G. Rico:rdi & Qc.. : a:Iso in Verdi's '"Othello," prelude to act 4, page 324, measures 6, 7, 8 9 and 10 in the piano and vocal score, G. Ricordi & Co. ; in French music as . in Debussy's "Arabesque No. 1", page 3, measures 5, 6, 7 and 8. A Durand & Fils; and in Ravel's "Sonatine," fi:rst movement, page 2, measure 2, 3, 4 and 5. A Durand & Fils; as well as dthers too numerous to mention. In passing it may be of -interest to look a little closer at an old argument. In the second theme of his Rhapsody, ppus 79, No. 1 (in B minor), Brahms has ' made use of a theme which bears a curious resemblance to "Aase's Death" from <the Peer Gynt music. And in this connection Grieg has often been accused of having "lifted" this idea from Brahms; but very unjustiy. The Peer Gyn11 music was given to· the wor.ld quite a few years before the Rhapsody. Grieg's Shar:e in the Creation of lmpreaioni~m Perhaps the most decisive influence Grieg exerted was in France. During ithe eighties, Wagner's music had completely conquered not only the French public, press, executants, and composers but the poets and painters as wel1l F1()I" from 10 to 15 years Wagner dominated French art. The reaction came around 1890, and i't began, according to Romain Rolland, with a violoent enthusiasm for Grieg. His music, together with the new Russian music, pointed in a direction away fr.cm the German influence, from the old strict and logically deve( Continu.od on page 22) 10 THE MUSIC MAGAZIN~ November, 1933 The National Federation of Music At the invitation of Prof. Rooolfo R. Cornejo, of the faculty of the Conservatory of Music, University of !the Philippiones, a meeting of musical artists and music novers was held for the first time at 327 Ra.on, Santa Cruz, Manila, one Sunday morning, September 24, 1933, for the purpose of forming a federation; but, because only about sixteen musicians were present at said meeti·ng, they decided to postpone tile discussion of the Constitution and ByLaws which was drafted by Prof. Cornejo for the proposed association. On October 1, 1933, another meeting was held and the Constitution and By-Laws were discussed mld approved by those present at said meeting. Amc.ng the signers of the Constitution and By1Laws were: Francisco Santiago, Mus. D., pianist, composer and conductor, Director of the Conservatory of Music, U. P. ; Prof. Rodolfo R. Cornejo, Mus. B., Mus. M., pia:nist, composer and conductor; Prof. Nicano;r Abelardo, Mus. M., oomposerconductor; Prof. Juan S. de Hernan• dez, Mus. B., composer-conductor: Prof. Julio Esteban-Anguita, M~s. B., pianist; Prof: Antonio J . Mic.lina, A . B. , composer-conductor; Prof. Antonino Buenaventura, composer-conductor; Prof. Jeno V.c.n Takacs, pianist-composer; ProfErnesto Vallejo, violinist; Prof. Ramon Tapales, violinist; P11cf. Ramon Mendoza , violinist; Prof. Bernardino Custodio, pianist; Prof. Rosario Lopez Garcia, pianist; P11c.f. Lucia Francisco, pianist; Prof. M. Monserrat, pianist; Prof. Concepcion . Rodas, pianist; Prof. Benedicta Macaisa, pia:nist; Prof. Veneranda Acayan, Mus. B., violinist; and Prof. Emilia Cobarrubias, singer, all of whom are members of the faculty of the .state Cic.nserva.tory; Miss Mercedes Matia'l;;, soprano~oloratura, teacher in voice culture; D.r. Vice~te F. BustaID;ante, a practicing physician and former student in piano in the conservaitory of music, U. p. ; Mr. Hilarion F. Rubio,.. composser-conductor and writer, a graduate i:n composition from the CICJJ.servatory of music and band leader of the "Zapote Band," Bacoor, Cavite;· Mr. Alfredo Lozano, pianist and president of the student council of the conservatory of music, U. p., Mr. · Lucino Saei·amento, a senior student in 'composition !Of the same conservatory; Miss Matilde Rivera, soprano, a member of the graduating clas~ of the same ins'titution; and Mr. Jose V. Carreon, a )Oung pianist. Immediately after the adoptic.n of the constitution and by-laws, the ·organizers held the election of temporary officers with the following results: President: Rodolfo R. Cornej.o; secretary: Antonino Buenaventura; treasur:er: Julio Esteban-Anguita; and membns of the board of dirl)ct'Ors: Ernesto Val'lejo, Ramon Mendoza, Mercedes Ma~ias, Conchita Rodas, Alfredo Lozano, and .Lucino Sacramento, who shall act as such officers until their succesoors are duly elected a:nd qualified in accordance with said constitution and by-laws of the F1edera:tion. The headquart-ers of the Federation are now located at Ric.om 8, La Defensa Building, near Plaza Santa Cruz, Manila. New Members of tbe Federation MISS AMPARO ACUNA, professor .in piano and harmony and member of the , faculty of .the Academy of Music of Manila, joined the National Federation of Music on October 25, 1933. She was born i·n Capiz, Capiz, on March 3, 1907, and graduated froin the "Academia Viella' on December 30, 1931. She is a member of the Asociacion Musical de Filipinas. Her present residence is at 433 M. H. del Pilar, Ermita, Mani'Ja. MR. HILARION F. RUBIO, composer writer and conductor who graduated in Science· and Composition from t:he Conservatory of Music, U. P . ., cm March 21, 1933, joined tbe Federation under date of November 8, 1933. l;le is at present the band leader of "Anak-Za:pote Band" Bacoor, Cavite. DR. ALFREDO Z. FERNANDEZ, a practicing physician and an accomplished pianist and composer, was admitted to th.e Fed~rat:ion ori November 11, 1933. He was born in Mabitac, Laguna, in August, 1896, and is at present residing at 1037 O'Donnell, Manila. MISS MARIE JEWETT, a student of Miss Jovita Fuentes in voice culture. in the Academy of Music of Manila and a member of the Asociacion Musical de Fiiipinas, Manila, joioned the National Federation of Music under date of November 12, 1933. She was born in Manila on August 8, 1911, and is at present an employoo of the La Salle Extension University at the Masonic Temple. Her address is: St. Scholastica's College, Manila. MR. ANGEL C. MONTENEGRO, a piano teacher who has graduated in pianoforte from the Winn School of Music, New York, U. S. A., on May 24, 1922, was admitted to the Fedt:ration on November 8, 1933. He is at present organizing a branch of the Federation in Bauan, Bata:ngas. His home address is 82 Remedios St., Bauan, Batangas. MR. SEBASTIAN C. HERNANDEZ, a baritcJJ.e, who for seven years had stayed in Chicago, Ill., U. S. A., was admitted to the Federation on October 11, 1933. His addres is: 323-A, P. Campa St., Sampaloc, Manila. MR. ANTONIO A VILA, a cornetist, trombonist and composer, and at present the Municipal Secretary of Tanauan, Leyte, where he was born January 17, 1896, poined the Federati'CJJ. under date of October 21, 1933. He is the conductor of a local band in said municipality. Residence address: 17 Rosario, Tanauan, Leyt!e. DR. HENRY A. START, a practicing physician in the City of Manila and formerly a choir conductor, singer and composer, who is a holder of a certificate from .the Albion Conservatory and also from the Royal Conservatory of Music in Florence, joined the Federation on October 11, 1933. He was born in Georgetown, Michigan, U. S. A., on Oecember 19, 1869. H.is address is 428. Rizal Ave., P. 0. Box 1696, Manila. MISS MARIA KALA W, actual student· in voioe culture of the Conservatory of Music, U . P. , and Queen of the Manila Carnival and "Miss Phi~ippines" of 1931, has also joined .the National Federation. She arived only two months ago from the United States where s'he obtained her Master of Arts degree. Her residence is: Sa:ntol, Santamesa, Manila. November, 1933 THE MUSIC MAGAZINE U. P. Conservatory Organized Branch No. 1 Of the. Federation The Election· of Permanent Officers 'For 1934 Will Be Held Before Coming Chrisbnas With the co-operation c.f the officers; members of the faculty and student body of the Conservatory of Music, University· of· the Philippines, and upon flie advice of Prof. Cornejo, Mr. Alfredo Lozano, PreBident of the student council of said in11titution, has organized the first branch of the National Federation of Music, with the following officers and memb6l's: OFFICERS. Mr. Alfredo Lozano, pianist~ Acting President. Miss Matilde Rivera, soprano, Acting Vjoe President. Mr. Lucino Sacramento, composer, . Acting Secretary. · Miss Elena Mapua, soprano, Actmg Treasurer. Miss Amparo R. Luz, Actirig Auditor. Mr. Celso ~tretla, violinist, Acting Councilor. Mr. Jose· V. Carreon, pianist, Acting Councilor. Mr.. Diosdado N. Risos, baritone, Acting Councilor. Mias Evelina Kalaw, soprano, Acting Councilor. Miss Rizalina Belen Exconde, violiniftt, Acting Councilor. MISS ENGRACIA. LACONICO, a student in piano of the Conservatory of Music, U. ·P ., and "Miss Philippines" of 1933, is now a member of the National Federation of Music. She is the. daughter· of Mr. Panfilo Lac6nieo, a pro~ent business man of Manila, and president of the well known National Volunteers and of the National Military Acaoomy. Her address is: 1414 Azcarraga, Manila. MR. JUAN BENASA, :tenor and copyist, has also joined the National Federation of Music. Mr. Benasa will be one of the participants in the opera ·~·Madame Butterfly" which wi'Jil be held at the Matropolitan Theatre on December 1, 1?33, with Miss Jovita Fuentes in the leading role.,, MEMBERS Misse8-'.Maria· Kalaw, singer. Engracia Laconica, pianist. Marcela Aquino, violinist. Lourdes Victoria, pianist. Modesta F. Arceo, piamst. Carolina M. de Leon, pianist. Brigida Reyes, contralto. · · Belen T. Bongco, pianist. Natividad R. Castillo, pianist. Ampa.TO Ba:ririos, pianist. Victoria Jose, pianist. Leonor Gonzaga, soprano. Le0nor. P. Moreno, pia1nist. Apo1oDia. Exconde, pianist. Trinidad Trigal, pianist. SaJvaci6n A. Oppus, pianist. Pomposa R. Decena, pianist. Purita B. Beltran, pianist. Julita Cuaderno, sopnmo. Antonina de los Sanhl6, 8opranp. Jesusa Bello,· pianist. Marina P. Navoa, pianist. Isabel Tablante Mesina, pianist. Belen C. Vicente, pianist. Rita Villacorta, pianist. Virginia de Leon, soprane.>. Manzueta' Gumila, pianist. Jesusa- Bello, pianist. Candida Bautista, pianist. Felicidad P. Di~misio, pianist. Marina M. Diakno, pianist. Fe L. Patungan, pianist. Paci·ta· P. Ferro, pianist. Purfieaci6n P,a.pa, pianist. Angelina Obiiia, pianist •. Gertrudis Iral, piani~t; Ignacia L. Ang, piB!llist. Valenta P. Bulan, pianist. Elvira Castillfo, pianist. · Aida Acuna Sanz, pianist. Consolaci6n Gonzales, pianist. Nenilta M. Maiquez, pianist Lydia T. Kamatoy, pianist. Juan.iota .de la Santa, pianist. Natividad R. Pajarillo, pianist. Remedios Reyes, pianist. Rizalina Ochangco, pianist. Afuicia G. Cruz, pianist. Lily T. Valero, pianist Amelia J. Marfori, pianist. Messrs.Tomas de la Rosa, pia'llist. Jesus del Carmen, pianist. Pacifico Banzon, pianist. Jose S. Robles, Jr., violinist. Eliseo Clamar, cornetist. Evaristo M. Bolante, violinist. Lucio D. San Pedro, banjist, oboist and pianist. Jesus Aguilar, violinist. 11 CEBU GLEE CLUB Cebu, Cebu ·Through Mrs. A. M. Francisco, president of the Cebu Glee Club, this society joined the National Federation of Music in a body, wifli Miss A'Dgelina . Obiiia as delegate to the general ·convention or assembly. Her letter, dated at Cebu November 8, 1933, reads as follows: "Inspired by the invaluable purposes of the National · Federation of. Musi~, the Cebu Glee Club, a musical society in Cebu, wishes to app'liy for membership. We give our fi!hl authority- to Miss Angeling 'Obiiia; ,as our delegate who will decide matters for. us. In ithe hope that we may contri-. bute to the realization of your excellent projects for our national common good, I am, Yours sincerely, .(Sgd.) A. M. FRANCISCO, PrellidKm-t, Oebu Gliee Club". Alfredo Z. Narvas, violiDist. Ernesto Garcia, violinist. Feliicisimo J. Bautista, pianist. Jose R. Cordero, pianist. Agustin C. Bagasao, violinist. Emigdio A. Dumaraos, Violinist. Laurelio C. Banez, pianist. According to Mr. Lozano, the election of. permanent offi.cer8 for the year 1934 will take place sometimt? before this coming Christmas and the induction into !Gffice will be held in the early part - of January. Students of t'he Conservatory' who desire. to join the Federation shall see either Mr. Lozano or Prof. Ocirnejo at the Con~rvatory Building. Antonino Buenaventura (C<mtim.ted f'1t1m -page 7) nila ~and Opera House on September 15, 1933. He is also the assistant director. of 't'he Chora.'11 Art Association and conductor of the Baliuag Band, Baliuag, Bulacan. Other compositions ma.a.a' by Mr. Buenaventqra ~e as follows: "String Qua.rtet in A Mrnor, Op. 12", "Concert Overture, Op. 5", "Double Fugiie for String Orchestra', "Sinfonieta for Symphony Orchestra," "Historic Fantasy," "President Palma" (March), and "U. P. Fol'aver" (March) . 12 A WORD OF THANKS The MUSIC MAGAZINE wishes to thank the following subscribers for their kind and valued assistance in encouraging its pu}):iicat:ion by sending in their advance payments before th~ first number was printed: Miss Modesta Arceo, Bata•ngas, Batangas. Miss Lucia Francisco~ 832 O'Donnell, Manila. Miss Eugenia Agoncillo, 1146 .M. H. del Pilar, Manila. Prof. Jeno von Takacs, Cons. c.f Music, U. P. Miss Conchita Rodas, 606 Kansas, Manila. M:r. Julio Esteban-Anguita, 936 P. Fau;ra, Manila. . Miss Consolacion Gonzales, Phil. W omen's OcJlege Miss Felicidad Dionisi'O, 16 Ocampo Cardona, Rizal. Miss Valenta Bulan, St. Theresa's Dormitery. Miss Lourdes Guerra, 57 Vict'Oria, W. c. Mr. Jo'hn Hausse.nnann, Jr., 712 Indiana, Manila. Mr. Emigdio Dumaraos, Oc.ns. of Music, U. P. Miss Mary Gordon, 56 Ort:igas Ave., Pasay, Rizal; Miss Benedicta Macaisa, Cons. of Music, U. P. Mr. Ramon Tapales, 566-B Taft Ave., Miss Genoveva Perlas, 108 Nebraska, Mr. A·ngel C. Montenegro, Bauan, Batangas. Miss Aida Sanz, 435 M. H. del Pilar, Miss Paci.ta Chicote, P. 0. Box 658, Manila.Mr. Pedro Roxas, 178 Guipit, Manila. Miss Milagros Fezmil, Rizal Memo. Hosp., Zarnboanga. Miss Angelina Obifia, Phil. Women's Collegia Ha1:.i: Miss Gregoria Jesef, 95 Bacood, Sampaloc. Miss Natividad Pajarillo, Cons. of Music, U. P. Miss Belen Vicencio, Malabon, Rizal. . Miss Rizalina Ocha•ngco, 1041 Mangahan, Manila. Miss Felicisima Pleno, 710 Firmeza, Sampa~oc. Mrs. Consuelo Belmonte, 1379 Gral. Luna, Manila. Miss Veneranda Acayan, Universitarian Dormitory. Miss Isabel .Moasina, Cons. of Music, Miss Belen Bongco, Sta. IsabeL College. Miss Ramona M!c.jica, Normal Hall, Taft. Ave., Miss Lily Valero, Beaterio Colh:!ge, Int:.·amuros. Mr. Federico H. D. Santos, Baclaran, Parafiaque. THE MUSIC MAGAZINE November, 1!>3~ COH5. STUDENT COUNOlAN~ClAl) ADV1S£R5 Miss Magdat.ana Licauco, 1026 Soler, Manila. Miss Patrocinio, 1 Riverside S~n Juan .del Monte ' Miss De ,Leon, Cons. of Music, U. P. Mr .. Pacifico Banzon, Cons. c.f Music. Miss Salvacion Oppus, 1456 Abreu, San Miguel Miss Vicenta Noel, Sta. Isah-J1• College Mr. Jesus Concepci'C•n, Pasig, Rizal Miss Mat:lde Rivera, 229 Grey, Ermita Mr. Ramon Mendoza, 459 Padre Rada, Tondo Miss MaT-ina D.iok;10, 2033 Ilusi·re, Sta. Cruz Miss Rosario Corona4o, 3191 Taft Ave. Ext. ·Miss Bienvenida Goloy, 1163 Magdalena, Int. 3. Miss Elsa de Aenl!~, 115 Legaspi, W. C. Mrs. Manuela Monserrat, Or.ais. of Mu._ .sic, U. P. . Miss Avelina Barb€ito, 3273 Taft. Ave. Ext. Pasay. Miss Esperanza Garma, Phil. Women's College Mr. Antonio H. Tobias, San Carlos, Occ. Neg.ros Mr. Juan C. Banez, Lingayen, Pangasin an Mr. Jesus del Carman, 100 Moret, Sampaloc Mr. Lausit Kwan, Cons. of Music. Mr. Tomas de la Rocosa.. 542 G. Tuason, Sampaloc Miss Purita Beltran, Calamba, Laguna Miss Candida Bau·tista, Cons. of Music, Miss Francisca Eustaquio, San Juan de1: Monte, Rizal Miss Rosarilc; Zandueta, 229 Cr:st'obal, Paco Miss Adelaida Baja, Conservatory of Music, U. P. Mr. Laurelio Banez, do. Mrs. Elisa Maffei de Lopez-Luna do. Mr. Santiagic. Canivel do. Mr. Villaroman Katwiran, do. Mr. Jose Robles, jr. do. Miss Pilar Gomez, do. Miss Pai·rocinio Gallardo, do . Mr. Marcelo Flores, do . Prof. Nicanor Abelardo, do. Pablito M. Osuna, Lopez, Tayabas Esteban T . Zeta, Zumarraga, Samar Rufu M. Bruan, U;rda1reta, Pafigasinan L. R. Aguinaldo, 514-520, Juan Luna, Manila November, 1933 THE MUSIC MAGAZINE ''Sea Shell'' (SONG} Dedicated to Miss Elena Mapua by ANTONINO BUENA VE1-,'i'URA Miss ELENA MAPUA (Pharmaceutioal-Chemist) Member of the Faculty of the Mapua Institutei of Techr..'°logy. Tagafog Version of. the ~'Sea Shell'' By the Editor, Music Magazine Irog, irog, gandang napa:iigarap Dibdib ko ay may hirap Dam'hin mo't ikaw ay mahabag Sa tuituina'y hinahanap Tinutunton lagi'y iyong bakas U maasa na ang lunas Ay nasa sa iyo't ang ulap ay lilipas Tingni, 0 ! liyag, tanging awa Ang hanap. . . . . lrog, ... irog ... ANTONINO BUENAVENTURA, P. G. l'.1ember Of the F1iculty of the. Crmservatory of Music, U. P. Acting Secretary, National Federation of .Music 13 14 Lyrics by Amy Lowell THE MUSIC MAGAZINE November, 1933 Music by Sea Shell Antonino Buenaventura (Song) NEXT ISSUE: "Valse Palma" (Concert Waltz) by Rodolfo R. Cornejo Dedicated to I>r. Rafael Palma, Pr.esident, Uniuersifly of the Phili~s November, 1933 THE MUSIC MAGAZINE 15 _grea,1 gree:n ca.veo Sea. 5hell Se.a. sne.11 50 shell shell __ _ ~.w - -- .. - - •• ·~ .. It..~ .. -~ 8 I ~ I lllu j ..... .a_ - ~ - ~· - ~ ~ - - r, . I~ I I - p . ··-· - / . ! -0:: -d- Cop/ado por duan 0eJU16a. 10 ; 30/33. Passed Nov. 1, 1933, by the Boar:i cl Music Censors; National Federation of Music, Manila, P. I. 16 THE MUSIC MAGAZINE Constitution dnd B~ · Ldws . United by the same ideas and inspjrations and moved by the same spirit of comradeship and good will, we, .the undersigned musicians, a majority of whom aTe residents of the Philippine Islands, in our desire to elevaJbe the standard of local compositions and to promote the interests of music in t'his oountry, have, this first day of October in the year of Our Lord nineteen hundred and thirty-three, organized in the City ·of Manila an association of musical artists, and do hereby adopt and promulgate, for the guidance of i'ts membars, the fc.llowing: CONSTITUTION I NAME A'l'ticle 1. This associa'tion or corpo;ration· shallJJ be known as the "NATIONAL FEDERATION OF MUSIC of the Philippine Islands," c.T briefly, the "NATIONAL FEDERATION OF MUSIC." II PURPOSES A!r't. 2. The purposes for which this Federation is formed are: (a) To foster and cultiva.te the spirit of brotherhood or comradeship among its members and ·to establish friendly relations with otter musicians outside of tiul Federation that harmony and mutual co-oparation between all musicians may exist and unpleasa:nt rivalry and hatred which are common a.nrong brethren of the same profession be ·completely eliminated in this country; (b) To elevate or promote the standard of local compositions as walil as the standard of the music profession so , as. to make them ahreast of American and European music and thus serve the best int'el"asts of the musical world; (c) To encourage music studies or culture and the practice of music profession by lending all possible aids and protectk.n to local musicians, professional or amatau:r, a:nd to pension exceptionally bright music students, who, by reason of their poverty, can not continue their studi~ in any oonservatory ar academy of music in the Philippines or abroad; (d) To give public and private recitals; coneerts and other musical p,TogrammEs for the benefit of the Federation or of its memhars or branches, as well as :lier •the benefit of the general pubiic or of any charitable or benevolent institution; (e) To copy.right and publish' good pop~lar as well as classical music, songs and operas written by local ocmposers and tl• appoint for the purpose of passing upon their works a board of music censors composed :c.f music critics, composers and pedagogues of recognized standing, regardless of nationality;• and, finally(f) To organize, operate and maintain symphony orchestras and choral entities far the development and progress of music playing and singing and to form a real Filipino opera company which will eventually interpret th~ works of local composers· as well as those' of the world-renownad authors. · III PLACE A'l't. a.· The principal office of the Federation shall be established or located in the City of Manila and· branch offices or committiees may be . established in ~ part of the Philipp~ne Islands or i:n any fcreign country. IV MEMBERSHIP Atrt. 4. No person shall be admitted to this Federa.tion unless he or she is (a) a musician, player, singer, co11ductor or ocmposer, whether professional or amateur or student, (b) of good moral conduct and reputation, (c) a citizen or resident of the ·Philippine Islands, and (d) recommended by a member in good standing. Musicians or music students· below sixteen ·years old shall be classified as Junior Members, while those of the age of 16 or abovie shall be kno\Vn as Senior Members. Music lowrs, w'ho may desire to join the Federation or to lend their assistance in the attainment of i.ts aims and pu;rposes, may be admitted as Hon-· erary Memqers or Patrons and Patronesses. A'rt. 5. Any musical association, society, e.ub or build; music schoc:J., conservatory ar academy; band or orchestTa; or any kind of musical organization," ~horal or glee club, etc. , may be admitted· as a group or unit and given the status of a branch of the Federation with all the rights and privileges enjoyed by any other branch of this F~ deration; provided, tila.t each individual member or at least two->thirds of the members of such a musical assqciation, society, club or guild, etc., shall sign the application for membership provided for the purpose by the Federation. November, 1938 Each musical associa.tion, society, club or guild, music schodl', conservatory ar academy, band or orchestra, which may be admitted as a group or unit or branch of this Federation, shall be entitled to a repre8entation of one for every ten members thereof. Each .delegate to the convention may be eligible for election to any office in the Federation. Musicians who do not belong to any musical asocia.tion or club or guild may form thei.T own branch or committee under the Federation. Each branch or committee shall elect its own officers in accordance ·with the Constitution and By-Laws of t'he Foedera.tion. v OFFICERS A'l't. 6. The officers of the Federation sh!ill be: One president, one vicepresident, one second vice-president, one secretary, one assistant secretary, one treasw.·er, .one assistant treasul"er, one auditc.r, one assistant auditor, and six mambers of the . boaird of directors or supreme counc:ilh. With the exception of the, secretary, assistant secretary, treasurer, assistant treasurer, auditor a:nd assistant auditor all offioers of th~ Federation shall be elGcted and qualified to hold office far a ·term of one year in accordance with the provisions of Article 19 of this Constitutioo. Each branch or committee established by the Federation $hall have the fol.lowing officers: One president, one vice president, one secretary, one treasurer, one auditor, and five members of the council. With the exoeption of the secretary, treasurer and auditor, all officers of the branch or committee shall be elected by the members thereof once every yea.T. The manner of hol:drng their elections shall. be in accordance with the By~Laws or rulas and regulations duly adopted and promulga.ted by the branch concerned, with t'.he approval of the Supreme Council ic.t" Board of Directors of the Federation. Other branches, which have been admitted to the Federation as a body or uni.t, may hold their own elections in accordance with their own Ocmstitution and By-Laws, provided that same shall not be in conflict with a:ny · ixrovision of the general Constitution and By-Laws of the Federation. Each branch or committee shall elect at its generaib meeting or local convention its own delega:tes or representatives tu the General Convention ar Assembly. There shall be a delegate for f!Very ten members or a number of delegates 'ID .represent the bra'llch according to said proportion. Any offioer or member, of a .b.ra.nch may. be elected delegate to the general convention or assembly. November, 1933 VI DUTIES OF OFFICERS Art. 7. The President shall have the following duties and powers: . (a) To exercise gienerall< supervison over the affairs of the Federation; - (b) To preside over all meetings of the Board of Dixeotors or Supreme Council and of the General Convention or Assembly; (c) To sign all documents, contracts and other obligations in w.riti'ng, for and in the name pf the Federation with the approval of the Board of Direotors, and · other papers pertaining to his office; (d) To countersign all checks issued by the Treasurer: or his deputy and to approve or disapprove any or all payments made not in ~cordanoe with tile regulations or by-laws of the Federation; (e) To appoint all officers and employees under him with the approval of the Beard of Direotors; (f) To prepare and submit to the Board of Directors and to the General Convention or Assembly: an annual report covering the activHies and finances of the Federation and to make reccmmenda.tions which he may deem fit mid proper for the good of the Federation· and ' (g) To represent the Federation in all affairs wherein his presence is necessary or his intervention is :required. Art. 8. The Vice-President shall assume the ioffice of the President by designation in writing, or in case of sickness, absence, incapacity to act, resignation, sepaTation from office, or death of the latter, the second VicePresident, in the absence of the President and of the First Vice-President, shall assume the duties of ·the Pr:esident, or shall act in place of the First VicePresi.dent in case of the latter's absence or sickness. Both the First Vice-President and · the Second Vice-Presit!ent s'hall perforM other' duties that the President may assign to t.hem ar to ~h of them: with- the approval of· t.he Board of DiJ>at:t= or Supreme Counci~. Art. 9. The Secreta;ry shall have the following duties and powers : (a) To attend all meetings of the Board of Directors or Supreme Council and of the General Ocmvention or Assembly and to takie :record or mrnutes of alL ma<ters transacted -or approved therein; (b) To certify all .the minutes of the meetings held by the BoaTd of Directors, the General Convention, m Special Comµiittees of ·the Federation; (c) To make reports of al~ appointments made in favor of certain membe;rs or officers m employees which THE MUSIC MAGAZINE shall form ;the- various committ'ees created by the Board of Directors, and to keep. a record book of all members duly admitted to the Federation; ( d) To keep the books and records of the Federation a•nd to rturn sameover to his suocessor or assistant secretary upon his separation .(:,r resignation from office; and (f) T•o sign all documents oT pa-. pers . which require his signature as secretary and to perform other duti•es that may be designa~d by ·the President or by the Board of Directors c.r General Convention. Art. 10. The Assistant Secretary shall assist ·. the Secretary in the performance of his duties and shall do the work assigned to him by the latter or by the President in connection with his - dfice. (To be continued in next issue.) Nationalism ... (Continued from pagei 8) RUSSIA This big nation whose view of polittical organization comes from different standpoints has shown distinct nationalism i'll munic. "Mikhail Ivanovitch Glinka was the father of modern Russian music. In his first opera, 'A Life for the Tzar', _he used a great nwtional subject. In his ~cond, 'Russlam and iLudmila's'; he is still more nationalistic. The~, the le~ shadows of his ancestors loom over his' music; he calls up '.their phantoms and listens to their mysterious soliloquies. l·n his 'Kamarinskaya' and rthe two rhapsodies on Spanish themes, he sets the model for a form founded on national tunes which was destined· to be widely adapted as a form of· tonepoem". - NORWAY "The music Edward Hagerup GYieg is a sufficient proof of the international qualities of a consciously 'National Music'. No one has put folk-music to a more artistic use. He penetrates to the core and extracts (he essentials from it." BOHEME. "Friedrich Smetana, in the first peTiod, proclaimed himself to be a fo11lower of Liszt, and his earliest works, t4e symphonies, poems, and the piano study, 'On the Sea-shore', al'e deeply impregnated with 'Il&'tional feeling". Antonin Dvorak is described by McDowell as "notable qualities or rhyth17 mic life and glowing color of nationalism." SPAIN This romantic Spain which has endowed to us the doubt on the propriety of our. typical music also practices nationalism in a very high degree. "Whereas Bartok derives his inspiration from the follk-song, the Cimbalom and Hungarian pipe, Manuel de Falla draws his from Spanish history and scenes, the guitar and the dance. He begins v;ith the severe discipline of folk-music". PHILIPPINE ISLANDS ~he Filipinos, who have fought indefatigably for t.heir: political and artistic ema-ncipation since the beginning of thdr .racial history, are now at t'he culmination of this activity. Deprived as they are of their valuable proper'ties that originally and lawfu•:iiy belong t6 them, there exists a revolting c:cllscience among the leaders in politics and . in Arts specailly. Prominent composers who have attained . higher standard through the sincere study of musi~al Art have all'2ady discovered the layer of nationalism in their folk-music. Let us hear what some e>f :them say on the subject. Dr. F.rancisco Santiago, 'the Director of the Conservatory of Music, in his "Davelopment of Music in the Islands" . , as a concludmg paragraph, says: "A wave of tense nationalism is sweeping over the country. Nartiona!'.~sm in Filipino muf'ic does not and canno't mean the empty .:md vain attempt to return tothe simple music of days gone-by, but the przservation cf its essence for pm:terity, improved and enriched with the best elements of Spanish and · Ameriica'll ficirms, keeping alive and vigorous the traits and peculiarities which broad~ ly ·distinguish Filipino music as such." . Prof. Nica~or Abelardo, Mus. M., m one of his class lectures, emphatically said: "We must encourage liccal composer.s to promote musical nationalism by inspiring them with the spirit of national tendencies and by making a research of necessary materials which may -be utilized to promote this end. These materiaJ'..s are the folk~songs · te.f remote villages not influenoed by .occidental conventionalities." Prof. Antonio J. Molina, A. B . , in an Interview by a newspaper representative, sta:ted: ". . . a nationalism that makes sure the discovery of new strokes r:;.f beauty in the 'ai.Ts', songs, and dances of the land, is the unique one that, I believe, is possib:e~ logical, and idealistic in the creation of an artist". (Contmued on page 20) 18 THE MUSIC MAGAZINE November, 1933 MUSIC APPRECIATION BY Cornejo Music Studios 206 Apelo Cm, Pasay, Rml Prof. NICANOR ABELARDO, Mus. M. Instructor, Conservatory of Music, U. P. 315 RaOI St., ud Room 8, La Defensa Blq. THE appreciation of music is the same as thte appreciation of any other thing in the sense that one could only measure the value of the thing by the knowledge of its contents or components. Santa Cruz, Manila, P. I. 0 ff er in g: The first thing that we hear in music is the superficial side or the extreme part, in other words, the melody. But this melody might be placed in any other part except extreme, in which case, we fail to appreciate. the full value of the melody much more if it is veiled with contrapuntal or harmonic devices. Then, there are also some hidden beauties which the ordinary layman in the field of music fails to recognize. Some rJf these are: The subtle harmonies outside of the ordinary plain chords; the imitatiive devices which are subsequently recurred every now and then ; the figurative treament of a certain pattern or model which makes the principal characteristic of the whole composition; and, the proportionat.e regularity or irregularity of phrases. Then, theirE:l are also the effects of performance referring to technique, dynamics, accousticat effects, and tone colouring. Counterpoint and Composition Private Lessons in Pianoforte· Special Coaching and Review in Radio and Concert Repertoire Orchestra or Piano Arrangements Class Hours: -Wle. really appreciate the beauty of music by aural means. We even wonder why such music has appealed to our emotional senses, but, the full appreciation of music only belongs to those who hav'e indulged in the learning of the inherent component parts of composition. And for these, the study of harmony, counterpoint, musical. forms and at least an instrument is indespensable. Any time most convenient to Students. Home Lessons by Special Arrangements. Moderate Tuition Fees RODOLFO R. CORNEJO, Mus. B., JllusM. Instructor (Next issue: "On Music Interpretation) Cavite Branch of the Federdtion Prominent musical artists in Cavite, Cavite, have recently organized a branch of the National Federation in said town with .the fdlllowing officers: P;resident: Miss Isabel Gonzales, pianist. Vice-Pores.: Miss Lourdes Calugdan, pianist. Secretary: Mr. Rosendo Tolentino, bandmaster (retired), U. S. Navy. Treasurer; Miss Dolores Manalo, pianist. Members of the Council: Misses Josefa Enca;rnacion MJ.d Irena Santos, pianists, and Mr. J. E. Paller. Other Applicants For Membership Other applicants for membership in the Federation are as follows: F. del Rosario, P. 0. Box 372, Manila Prudencio Ramos, Baliuag, Bulacan Gi'JJ Carlos, Baliuag, Bulacan R". A. Burnia, Fort Mills, Corregidor Federico R. Santos, 1000 Anak fig Bayan, Int. 77-B, Malate, Manila. Esteban T. Zeta, Zumarraga, Samar Antonio H. Tobias, San Carlos, Negl"IC6 Occidental. The National Piano Repair Shop 306 A. Bulisla, Pull, Sia. Au, luila Telephone 5-51 .. 09 Tuning- Repairing- Painting,; Body-building-Ordinary PianCllS; Automatic ~ia nos--Electric Pianos j Organs and Armoniums Satisfaction Guaranteed R~sonable Price J.E. Paller Manager November, 1933 THE MUSIC MAGAZINE 19 L_ News of Mudc Schools, Colleges and Studios Conservatory of Music, U. P. The formal ioz1auguration of. tile new conservatory building will ·be held on November 29, 1933. It wibli be an open house. The senior luncheon will be 'held at 12 o'clock noon, and the ooncert at ;nine o'clock ion the evening. Those who will .take part in the program are mostly members of the faculty, such as Prof. Jeno von Takacs, pianist.-composer; Prof. Ramon Tapales, violinist; Prof. Ernesto Vallejo, violinist; Prof. Ramon Mendoza, violinist; Prof. Venera:nda Acayan, violinist; and others. Miss Matilde Rivera, soprano ('34), wi!hl sing a song. The gliest artists who will participa.te in the musical program are Miss Mercedes Matias, soprano-coloratura, and ~Ts. Regina Feldman, noted 'cellist. The Conservatory Philharmonic Orchestra will be directed· by Dr. Francisco Santiago, diTector of the canservatory. In the evening of December 3; 1933, the reception and ball will be held at the concert hall of the new building, accord\ng to anD1CoUncement made by the committee in charge of the .affair. W.ith the asistance of faculty members, the fdlilowing candida.tes for graduation of class 1933-34 gave their senior recitals i~ the early part of this months at the conoart hall of the old conservatary building, namely: Miss Rosario' Zandueta, pianist, assisted by Miss Brigida Reyes, contralto, with Miss Rosita Sa•ndejas, as accompanist. Mr. Jose Robles, tenor, in joint recital with Mr. Santiago Canivel, pianist Miss Emma Cosme, pianist; Miss Ludivina Gonzales, ·soprano; and Mr. Ma.Tcial Elepaiio, violinist, m joint recital, assisted by Mr. Bernardino Custodio and Mr.. To~s de la Rosa, pianists. Miss Jacinta Acc·sta, pianist, assisted by Miss Sepll''liveda, soprano, and Mr. Jose V. Carreon, pianist. Miss Rosario Valdez, pia'llist; Miss Matilde Riviara, soprano, and Mr. Celso Estrella, violinist, in joint recital, assisted by Miss Rosita S.andejas and Miss Purita Papa. Miss Jesusa 0 . Santos, pianist, assisted by Miss Rizalina Exconde, violinist. Mr. Pacifico Banzon, pianist assisted by Mr. Modesto· Maiquez, cellist. Miss Adela Lagdameo, pianist, assisted by Miss Brigida Reyies, contralto. Miss Encarnacion Esguerra, pianist, and Mr. Luci'll•c Sacramento, composer, in joint recita1, assisted by Misses Enya Gonzales, Aida Santa, Rizalina Exconde, and Apolonia Exccinde. ACADEMY OF MUSIC The Art String Quartet, composed of mostly members of the faculty of the Academy of Music of Manila, gave a cmicert on November 4, 1933, at .the Masonic Temple, for the benefit of t'he Abiertas House of Friendship. Those who took part in the program were: Prof. M. Waxler, 1st violin; Miss F. Legarda, 2nd vi~irn; Mrs. R. W. Duck~ worth, viola; and Mrs. Regina Feldman, 'cehlo. The assisting artists were' Mr. A. Bell.cti, tenor, and Mr. Julio Esteban Anguita, pianist. The complet'e opera, entitled "Madame Butterfly," will be presented to the Manila public at the Metropo~~fan Thea,'tre 001 December 1, 1933. All voice students of the Academy will take part. Miss Jovita Fuentes, pcpular soprano and member of the faculty, will take the leading role, w'hile one of her advanced pupils, Miss Marie J0 ewett, alto, will assume the pallt of Suzuki. Maestro Fabio Giampietro, coaching. ST. SCHOLASTICA'S COLLEGE On Wednesday, November 22, ·the St. Cecilia's Club under the able direction of Miss Eugenia Agoncill.o, celebrated the Saint Cecilia's Day with anelaberare progralll to be held at the Saint Cecilia's Concert Hall. Among the distinguished participants were Mrs. Car.idad Hizon, Mr:s. Pura Lacson Villanueva, Mrs. Blanca Castillo S. Dinglasa:n. Miss Beatriz Ortaliz, and Miss Amanda Cabrera. The Saint Cecilia Club was founded three years ago by the directress, Sor Baptista Battig, 0. S. B., of the St. Scholastica College. Ser Battig is preeminently known piano professor, pedagogue a:nd composer under whose spiritual and educational leadership, ability and activity said institution has been Voery popular_ espeeiaibly in the musical field. COLEGIO DE SANTA ROSA On October 28, 1933, the a:nnual musical contest of the students of the Sa:nta Rosa Qc,Jlege was successfu}!iy held. To the winners in each class, three prizes were awarded. The "Asociacion de Angelitos" gave a concert on November 11 under the aus~ioes of the Sa:nta Rosa College. It was attended by a selected crowd. Mrs. Resurreccion Santa Ana (formerly Miss Bunye), the popular lady composer and dil"ectress of the music department of said institution, was the one in charge of the concert. ST. THERESA'S COLLEGE On Wednesday, November. 22, at 5:30 p. m., a recital was held at St.' Theresa's College in honor of St. Cecilia, patron saint of music. Those who took part were Misses : Cleofe EP.age Glorfa Paredes Josefa Rodriguez Maria Gavino Juanita Lu.mankan Lucia Raymundo Angelita Gozon Miice .Hunt Anita Corominas Dorothy P1ice Mary Writh Remedios Abesamis Carmen Guerrero Nieves de los Reyes C. de los Reyes Margarita del RosaEgmidia Aranda rio Rosario Ledda Maria Ala:fion Ines Paredes Josefina Bulatao Luz Macabulos Sahul Sa:ntiago Patrocinio Paez Elvira Altavas Fe Perfecto Pilar Carballo Dorothy Price Lourdes CaTballo Consuelo Arranz Guillermina Castillo Magdalena Castillo Rosario Coromina Germelina Paredes Carlota Tan Margarita Caston · Crist~na Tan Paulita Hernandez Melencio Arranz and Reyna.'ldo Gregorio and the Se'Jlior and the Junior Choristers also took part in :the program. MAPUA INSTITUTE OF TECHNOLOGY The Architectural Club of the Mapua Institut'e of Technology will present a pageant based on the period of Cleopatra's reign in ~gypt at the special Fete Egyptienne scheduledi to be he~d on board the s. s. Visayas on the night of j[)ecember 2. The boat will cruis~ around Manila Bay, and decorations will be in keeping with the Egyptian: motif. Al1 those attending are asked to be in costume. Maria Kalaw will be Cleopatra in the p~agant, which will depict the queen's rule with her. mother Ptolemy XV, the campaign · of Marc Antony in Alexandria, the voyage of Cleopatra upon the river Cyndus and Tarus on a splendidly adorned vessel tc. meet the famous Roman triumvir, and the subsequent life he led in Egypt's court. · With Miss Kalaw will be Maria Marta Allbert, Charity Crow, Miss Purita (Continued on page 20) 20 THE MUSIC MAGAZINE In fhe .above gr.oup, from left U> right; &nnairdino Cu.~todio, Antonino Buenaventi.11'1!l, Rod!olfo R. Come_io, Miss Mercedes Matias, Dr. Fin:J.rncisco Sa'Tl!ti.ago, ErTb('sto Vallieijo, and Jose Robles. · Mapua Institute ... (Continued from page 19) Kalaw, Elvira Lagdameo, Lydia Zuleta, Margarita Adrosa. Dance numbers: Soloist, Rvsario Llamas; .duet dancers, Guia Lagdameo; Mr. Tecson; supported by Misses Carmen Llamas, Carmen Kennedy, Teresit:i de Jesus, Amalia Balunsal, Lydia, D11que, Ester Concepcion, Elvira Lagdameo, Remedios Y atco, Esperanza Vales, Rita Aranda, Piedad Montenegro, and Anita Concio. Choral 'llumbers: Soloist, Miss Nelia Manalo of the Manila Chamber Music, and Vicente Villanueva. Arrangements for this costume affair ·of the club have been in the process of completion for the past four weeks. The cover o~ invitation is in colors, an.d depicts personages and symbolic motifs characteristic of the episodes of the pegeant. The selection of tne cover design was done through a competition among the members of the club. Attractive prizes for the most beautiful, most original, most comical and most .typical constumes will be awarded to those attending. The costume dance and pageant will illustrate in practical manner the influence of Egypt an art and arc'hUecture. The committee is formed by Miss Rosario Elizaga Cue, Fe Lagdameo and Filomena Valenzuela. They are being assisted by the following: Misses Maria Kalaw, Monina Acuna, Charity Crow, Maria Marta Albert, Lydia Zulueta, Purita Kalaw, Nelia Manitlo, Elena Mapua, Rosario Llamas, and Elvira Lagdameo. Nationalism ... Continued from page 17 The works of Prof. Juan S. de Hemandez, Mus. B. , particularly his overtures, "Simoun" and "Rizal", "Cruzado de Ia Patria", are enveloped in the sparldliing hue m nationalism. The same verdict falls upon the works of Profs. Jose Estella, Bonifacio Abdon, Antonino Buenaventura, and Rodolfo Cornejo. As we have seen, the springs of music are found amongst the country- folks. It began in the country glade and mund the hearth, before it passed to the church. The concert-,room and the grand opera house are comparatively recent inventions. In th• e case of poli• tically subordinate nations we have observed that Music is a l.anguage which begins W he?re the spol;.en word endL "llil'9"R"0'i ;; ~-- ..... !W29V9S Juan Benasa G[' en or and . Copqist 505 Magdalena, Int. Manila, P. I. November, 1933 'the picture on the left was taken by tlte Juan de Ia Cruz Studio at the Manila Grand Opera House on the night of September 15, 1933, immediateliy after the :recital given by Rodolfu R . Cornejo, our ediwr, who graduated as Master of Music from the Chicago Musical College, Chicago, III. , U . S . A . , last June. Governor~General Murphy, his sister, Mrs. · M. Teahan, his aides, Col. Van Schaick and Maj . Garlinkel, Senator Osmefia, Rep . Timm.a, Mrs. Auron A. Quezon, Mrs. Trinidad Roxas, General Bowers, Pres. Palma, Sec. Albert, Senatar Aqui'llo, Col. P. Santos, Don V. Madrigal, Miss E. Agoncillo, Miss Maria Kalaw, Miss Engracia Laconico, and other prominent peop)e of Manila were present at this concert, which was considered a big success. '9bituaries _J 1 HE MUSIC MAGAZINE, as organ of the National Federation of Music, begs tD inform all the members of the Federation of the deaths of the I Father of Miss Matilde Rivera, soprano, member of the Class '34 of the Conservatory of Music, U. P. II Father of M~ss Enya Gonzales, mezzoscprano, student of t'he Conservatory of Music, U . P . III Father of Mrs. E . Reysio-Cruz, member of the Faculty of the Conservatory of Music, U. P. IV Daughter of Prof. Ernesto Vallejo, member of the Faculty, Conservatory of Music, U. P. v Wife of Dr. Vicente F. Bustammante, practicing physician and former student in piano of the Conservatory of Music, U . P. We hereby extend our deeP, sympathy to our dear comrades fur the irreparable loss of their beloved ones. Rodolfo R. Cornejo Dir.ecwr y Administrador Hilarkoll F. Rubio Director Asociado Oficina: Cuarto No. 8, La Defensa Bldg. Esq. Ongpin y Plaza Sta Cruz, Manila, I. F . Precios de Subscripcion : En Filipinas: Un Aiio . . p 2.20 Seis Meses . ,, 1.20 En EE. UU. y Otros · Paises: Apartado No. 1545. Se publica mensualment-e como Organo de la Federacion Nacional de Musica de Filiprnas Un Aiio (oro) $ 2.00 Un Ejemplar . ,, 0.20 Vol. I Manila; I. F., Noviembre, 193a No. l EDITORIALES Nuestrn ~alubn Con este primer ntimero del "THE MUSIC MAGAZINE" ofrecemos con orgullo y placer al ptiblico lo que al comienzo podria parecer mas loabl.e como un esfuerzo que como una ejecutoria. Hablando con toda modestia, tenemos que admitir que no hacemos ninguna pretension de lo que podemos realizar; pues todo lo que aseguramos ahora es que e.stamos ardientes de deseo de servir los intereses en pro de la mtisica y de un ptiblico que ya ha tiempo ha percibido el significado del mensaje de lo que Shakespeare Hamara "la armonia de los duloes a cord es". Es un triste comentario sobre nuestro gusto como una nacion que, con todos los siglos de influjo clasico en nuestro temperamento nacional, templado a los "toques de la dulce armonia", de la buena mtisica, de la mtisica duradera, de la musica que eleva y sutiliza y hace brotar ·~· mejores sentimientos del hombre mortal, no haya encontrado un solo exponente entr.e los aproximadamenle cien periodicos del pais. Como r.esultado, los suplicantes "kundimans" q.ue <;n un ti em po ent0 ernecieran muchos corazones, los elementos nativos de nuestra mtisica actual, los aires que conmovian el alma cuando atin el pueblo se mecia en au cuna ron ejecutadas con ligereza casualmente, cuando no sean perdidos para siempre, sin esperanza de reconstituir. Como resultado, ninlllln eafuerzo real y £i&tJ'matico se ha hecho para llevar la mtisica a la mente del hombre, para haoerlo mas comprensible y asi mas apreciable Como resultado no ha habido ninguna discusi0n vivida sobre la mudca, ni discusion int.eligente que podria hacer la musica de interes para el publico y hacerlo realizar que la musica es una necesidad y no un lujo, que alimenta el alma tal como el arroz y el pescado sostienen .el cuerpo. Como ya hemos admitido, no prometemos un rotundo exito; y es porque la mayor parte d.el e:xito de esta empresa dependera del apoyo qu_e el publico pueda darnoS.: COJ1 este saludo permitanos expresar, al menos, l~ esperanza de que el publico, plenamente consciente de q~e las insistencias del e'Spiritu por la expresi0n y la delicia, son mas amplias que Joa clamores del cuerpo por la comida y la bebida, nos ayudara a convertir el "THE MUSIC MAGAZINE" en un verdadero exponente de la buena musica en este pais. Nuestra tllllision El "THE MUSIC MAGAZINE" aparece· ante ust.ed este dia y continuara apareciendo regularm.~nte una vez al mes, como un exponente del genio nativo en el arte musical, una prenda del alto grado alcanzado por nuestro pueblo en el terreno de la musica. Su unica mision ies por tanto tan obvia que no mer.ece ninguna detallada elaboracion. Como el organo oficial de la Federacion Nacional de Mtisica en las Islas Filipinas, una organizaci6n de los musicos filipinos y patrocinadores dE:I arte, el "THE MUSIC MAGAZINE" ocupa naturalmente un puesto unico en el periodismo filipino. Es el explorador en el periodismo musical en al pais, siempre celoso, etemamente sensible a la atmosfera inestable del -mundo musical. Como un pueblo, los filipinos son amanles de la mtisica ; son instintivamente conscientes de la mus1ca. La historia registra este hecho y lo comprueban los hiatoriadores. Desde tiempo inmemorial, los naturales de este pais, tuvieron sus medios primitivos de la expresi6n de Joa sentimientos hellos. En los tiempos de Lakanctola las diferentes tribus d.e Luzon, fueron descubiertas hacien22 THE MUSIC MAGAZINE Manila, I. F. do USO cle cantos raros. e instrumentos de musica tambien i-aros, hechos de caiia. Aun .en eatos dias de civili:Zacion moderna, ein,. loa lugal'IM lejanos-, como ien ·las reconditec,e~ de las mo"1taiias, los habitant.es todavia se adhie11en a la musica primitiva de sus antepasados-musica inadulterada, intacta, por el influjo de la musica mod,e.rna. La cC>lUU"Vacion y el desarrollo de la mt'isica nativa de antaiio, en toda SU prfs.tina. belleza, en liu entera originalidad, es una cosa que tratara de realizar esta revista, y ~Piera con11eguirlo con el apoyo eapontaneo y la cooperacion de· 10s aocios de la Fiederacion de Musica de .las hlas Filipinas. Otra taraa q• es.ta revista espera empre~der es la el:evaci6n de nueatro "standai-d" 111usical y la edifieaciOID, cristalizacion de las ejecutorias admirables de nU:e.stros artistas ien el mun-. do musical. La diseminacion die la educacion musical y el CU(tivo de la musica. en este pais,_ SOD cosas que t?do amante de la musica debe tener en cuenta. Este 1es . Ul)O de los propositos de la federacion. La federacion no pr,etende .er· independient,e, y podra tri11nf ar en .su mis ion, sin ayuda externa, directa o i~directa. Es~ altruismo ae aplica asiJniemo a la. nacion_ mas poderosa y mas rica d.~1 mund~. La cooperacion colectiva. en eata y ien todas las ocasiones es imperiosa. El . trabajo en conjtulto es i~portantie. Los: fineis de la federacion, la mision. de la J1eVista, no. podran_ realizarse sin la coop~raclOB.. y el .trab~jo colectivo d:e sus socios y de los aficionados que· no pertenec.en a la ~tid~d 'IJiusical. La introduccion del "jazz" como un eleme.iito de la musi~, bien acogido al comiienzo tanto por los. <:<>mpositores como por los criticos. modernos co mo qlia posiblei fuente d•e nu.evos f actores y principios die la mwica ~gitilna, ha resultado en UD fracaso. La edad moderna en desafio contra las reglas ortodoxas y dasicaa, invadio nu.evos campos. · y· desbarato todos los principios clasicos. _E~a una guerra contra la melod~ a y la armonia. Las pioe.:zas d,e "jazz" se compusieron y Ste hicieron pupolar,es por sus cualidadies ritmicas que ~ afortunad~m.entie apelan a los pies y no al alma. Sin embargo, bay algunas e~ce·pcionee 1en ·isl sentido de que· el fondo armonico, no &bsitante las melodiu! crudas· superpuestas sobre ello, se esta elevando mediante la introducci6n de varios acordes disonanllell, quie iep uno d·a los elementos esenciales de la musica. modern&. No estamos emprendiendo una campaiia en contra del ''jazz". Admitimps gustosos, de q~ alguna~ piezas de "jazz"---que soil ~a e:xcepclon ante~ que la r,egla-::-han co1111.ieg-ui4o . realizar alguna orientaci6n y ciierta i&ignificacion y ban utilizado un poco de inelodia para darles una vida mas perdurable que el res to de lo qµ;e sei 6fl'leoa. al publico. Ni tampoco rios opo111emos a lo• qu,e encuentran algun pJaqer en cantar. Y tararear SU pieza favorita de ,, jazz" 0 en bailar al son de UD "jazz",, . puesto que . sera ridicuJo sugerir que las piersonas baileii al tono de un aria operatica o u~a pieza sinfon.ica: ·Pero nUiestra id.ea es indicar al publico aficionado de la ~usica,"donde ha fracasado el ''jazz". y d6nde la m\isica ~dadera ~iS una cosa de gran delicia, ies · 1a magia qu.e sugiere. lo q~. dice el ba:rdo; "There' a ndt the smallest orb 'whfoh thou behold"st But in his motion like an a'ilg.el sings, Still quiring to the young-eyed clie~bins", Si algunas p1ersonas opinan lo contrario, nos gustaria saber sw ideas sobrie la materia. Habria entonoes una discwion; un ~ncuentro; uii choque que podria dar ·alg,unas c~ispas de beneficios permanentes, verdad~ros. Es todo en aras de la buena musica. Edvard Gries'• .•• (Continued from ~ 9) loped h'lrmony, to a freer and yet ingra"tiatiligly sounding one. Grieg's harmony became the starting point for an entirely ··new direction in music. The facts are that Grieg, in a much higher degree than m0st of '.!:he o".!der composers, emphasized the harmonic color of the indiviQ.'Ual chord. In much the same manner. as for Chopin, it had a -speciai significance for him. It w.aS not sufficient for him simply to build his harmonies in accordance with the movement of his thenies. Nor ~as he- c~ntent to tread the well trav-eh!d harmonic road. He· followed his own intuition and sought to endow each cho:rd with scmething peculiarly personal. There is an example of .this, among multitudinous others, in the Fourth Symphonic Dance for full orchestra, the last ten measures an pages 28 and 29. in the composer's arrangement for four hands at one piano. Peter's Edition No. 2857. Here a "trold" expresses his anguish becawie longing. In ;reality these are the me81llS which Debussy uses later on. Grieg's significance in the ·history of music is therefore enormous. The time when the "learned" endeavored to .reduce him to a minar position, when it was customary to refer to his mode of expression as a· dialect, and to his music as "small art" is rapidly passing. Edvard Grieg has arr.i...ed a:t that position which only the triilly great reach; he is loved both by •the ~y and the few! November, 1933 THE MUSIC MAGAZINE 23 Considetdciones Sobre Und Nueva Obra Musical A prop6aito del Primer Movimiento delConcierto en Rie Menor para Piano y Orqueata de Rodolfo R. Cornejo, cuya primera audici6n tuvo lugar recientemente en la "Manila Grand Opera House" · Par. ANTONIO J. MOLINA, A. B~ PRODIGIOSA_ CONTINUACION. TENIENDO en euenta que el compositor es un joven de veinticuatro aiios, y est11. es la primera vez que escr.ibe una obra musical de acue.rdo con las severas ]eyes de la form.a _clasica, seria una impertinenr.ia, si no una heregia ar.tistica, el hacer creer que el "Concierto '911 Re menor.'' de Rodolfo R. Cornejo, pertenece al rango de una · obra maestra, o reprcsenta un acontecimiento •.trascen4ental en la historia de la Literatura Pianistica de .este pa.is. Per.o una critica consciente e imparcial, una critica no muy dada a fata.li1m10s cobardes, bien impuesta de los esfu-arzos inauditos que suponen las producciones de este gener.o, · y bien impuesta tambien de su·s meritos positivos · y de los defeotos qu.e pudiera entraiia:r toda primera- obra, admitiria, y es mas, proo:iamaria su mencion ~fica como digna y prodigiosa contlnuacion de los "Conciertos" de autores filipinos ya conocidos por nuestros filarmonicos: el de Abelardo y el .de Santiago. T.res movimierltos integr:an el "Concierto" de Cornejo: el primero, esta escrito en cl tone de Re menor, y ll!?va dos indicaciones: "Maestoso e risoluto" y "Allegretto"; E'~ segundo, es un "Andante" y esta en el tono de La mayor; y el teroero, vuelve otra vez al tuno origin811. de Re menor y es un Rondo llevado "Poco Allegro". Se dio comienzo a esta composicion el Noviembre de 1932, habiendcGe terminado el 15 de Mayo de 1933, como tesis, que es un requerimiento puramente academico, previo al diploma de "M~ ter of Music" por el "Chicago Musical College". · De los tres movimie:ntos, s6lo uno, el primero, ae dio a oir en esta localidv.d. Y asi, los co1nentarios subsiguientcs se rcfie1·e1}i limitandose, a esta parte · de m. obra. Al igual que todas las obras ciclicas de los grand"8 clasicos, el primer movimiento present& las consabidas tres divisiones: la Exposici6n, el Desarrollo y Ia Recapitulacion, y al igual que en las Sonatas de los pre-clasicos y en las innovacion-es de Beethoven, antes de la Exposicion hay una IntroducProf esor dill ~n.wrootorio de M~ de la Unive-rtri.dad de Filipinas. cion,_ y despues de la Recapitulacion, una Coda. Tres temas melodicos y_ ritmicos, de caracteristicas bien definidas, construidas sobre escalas peculiares, en particular, la de tonos enteros,_ fol'Dlall la base solid& y organic&· .s0bre la cual esta construido todo el edificio sonoro de este primer movimiento: Par.a su pronta y facil identificaci6n se las llama: El Terna de la Introducci6n, el Terna Primero, y el Terna Segundo. EL DILEMA DE HOY. Dos notas en un intervalo de cuarta: la primera,· una triple corchea, y la segunda, una cor.chea con doble puntillo, coneetada. en ligadura ·de union con una neg:ra, viene a ser un:a especie de 141eit-motif"---consonante y disonante,-de la Introduccion, y como indicaci6n de .caracter y de movimiento figuran en rm partitura e!ftas dos palabras: "Maestoso e ;risoluto". Magestuosidad y nobleza, li.. de un ideal, de una ambicion o de un. ensueiio ! Y resolucion: firme, ablioluta e iondomable determinacion, el "alea jacta est" .de Cesar, el ".pr<!Ciso es" beethoveniano de realizar esP ideal forjado, hacer de esa ambici6n. 1ma conquista, un triunfo, y hacer de1 ansueiio, un hecho iondiseutible, real y posftivo, estos son ~ros agentes psicologicos que parecen impulsar a este •.'leit-mot.i.f" enunciado en. u.n "tutti" unisono por los instrumentos de cuerda, a aparecer ritmico y formidable, en sincopas vibrantes, robustas y llenas de vigor, con una respuesta vehemente y •exaltada en el Piano, tambien vibrante, tambien :robusta y vigorc..3amente farmidable. Algunos impacientes, ya lo estan preguntando: ;.Es pues arte 'lluevo o arte viejo? ;.Es vino aiiejo en _odres nueYos, o es vino nuevo en odres antigu.c.s? MU.Sicos que saben pensar y saben escribir sobre music&, ya lo han dogmatizado: el dilema es pueril ! Lo que hay que preguntar es, si ese arte, es arte vivo o arlte muertu. Y el ritmo, el vigor, la vehemencia y la exa.11Jtaci6n de ese "leit-motif" ofrecen para esa pregunta una respuesta absolutamente afirmativa y categ6rica. · EL "OCHETUS" Y EL "INCLINED DEVICE." Un glissando" tempestuosa y fer(,z, y que abarca cuatro octavas del Piano, sirve de conju;ro magico a la apa.ricion del Terna Primero. Como indicacion de tiempo, no se lee mas . que un simple "Allegretto1 ', y ·es que, la melodia ondula jugueteando y frivolamente dentro de los limites de una septima mayor, pasando por diversas notas de la ·escala, diatolii.cas· las unas y cromaticas Illas otras, sin p~e tensiones de ser profunda, sublime o trascendental. Pero eso sf, dan un tinte peculiar a este Terna Primero, las cuatro notas punteadas (pizzic.atto) de Ios instrumentos de euerda que p&Iiecen completar esta idea musical einineiada por · 1c.s graciosos Clarinete y los bufonescos Fagot-es. Y ~te ejemp}Q de "inclined device" que el Profesor Nicanor Abelal'do menc1ona en las Nretas Programaticas que ha escrito para esta obra, aparece profusamente ilustrado en la presentacion del Terna Segundo, en el Desarrolllo, en Ia .. Riecapitulaci6n y hasta en la Coda. Es de advertir que este "inclined device" que algunos ban tornado por ..moderno", ·no tiene 'Jlada de nuevo mas que el nombre,-"lile nom ne fait rien a la chose",-y tal vez su uso oen la orquestacion. Ya en los albores del Bigio catorce, si no antes, se comentaba no solamente el uso si no hasta el abuso de una forma de canto que desde entonces se llamaba "Ochetus". En aleman, esta palabra "Ochetus" equivalle a "du.rchbrone Arbeit", y en cutellano se traduce literalmente pc:.r· .sollozo, o suspiro. De acuerdo con la definici6n de Eduardo .Lopez Chavarri, el "'Ochetus" que :tambien se escribe "Hoquetus," consiste en entrecortar las notas del discanto por medio de ligeras pausas, mientras •el "cantus firmus" continuaba i'lltegro. 24 .LHE MUSIC MAGAZINE Woveml>er, 1933 El Coro del Conservatorio de ffiusica, U. de F. Se encuer#a etn el centro de estie grupo el Prof. Antonio J. Molina, direct.or del coro 11 .auto-r del articulo qu.e se '[YU!'" blfoa em es1:ie numero del "Music Mauazme.'', con las .Prof esoraa Asuncion Loimco, Elisa Ma!f ei de Lopez-Luna, Paci ta NIOlastxJ, M<fll,8erra£ Iglesias, Emi!M Cobamrubia,.s, Isabel Po!dua, Concepcip~ Rodas, .Rosita Sandejas y Benedictp, Macaisa.. . Y el "inclined device" viene a ser .Jo mismo: Tambien consiste en entre-: cortar las nqtas de una melodia .repartiendola en las diferentes voces o en J.os diferentes instrwnentos, de tal suerte que si,. la primera voz, e11tc.na 41.. primeTa nota o las primeras Iiotas, la segunda voz lo completa en·tonando la continuaci6n o el' oompl.emento del motivo melo;lico . • HERVIDERO, VORAGINE, 0 KALEIDOSCOPIO. Lo que en las otras divisienes no pa_reoe mas que un mero coloquio famiI:ar entre el Piano ·y. la Orquesta, en el Desarrollo, e~ · ca.mbi.c., ·va resultando una i-nespe;rada polemica, apasionada y altisonante. Apenas enuncia la orquieSta por dos compases y en unisono "furtissimo" el Terna Prlmeto,-en me;viemiento contl'aiio,-ya el Piano ql:le pa:rece resentido de tanto ~ioga'llcia; inunda la sala con una cascada ·de perlas en un contiiiuo arpegial', tambien de dos compases y. tambien en "fortissimo", acompa'fi.ado por trlnoo ·en la Flauta, el Oboe y los dos Clarinetes, y pol" tremolos en ·h>s dos ·violines yi la Viola; rnientras que el Terna Segundc., antes tan su~ve, romantico y sofiii.dor, se vuelve ahora vengativo y, provoeador-un Jupiter tronante ?~ .. e} eniatico unisano de .las dos Triernpetas ~n Si bemol (Trumpets in B flat)., presentandose esta v~ .en una. imponente· y. pompoea "aµmentaci&n'. Y de esta guisa, van el Terna Primero y el Terna S3gUJldo ·pasando por figuraciones a cual mas complejas, c~o si el autocr intentara hacer cO'n esbs cua.ren.'ta -y ocho compases del Desarrol!lo, un resumen, un breviario de todas las paradojas de su · vida: Presenti~ mientos de una lejana felicidad, o pre.sa.gios de un dolorc.30 desengafio; obst'inada e ir.revocable determinaci6n de poder ofreoor a su pa.is y . a los suyos, un nombre 0 wi prestigio; la c1uenta lucha, desalentado.T y me.ital, entre .la volnntad optimiSl:a del joven soAador y ·el ambien.te ·rnateiial;sta tan poco prOpicio al desenvolvimientQ del arte; aquel ansia y aquel divino anhelo de crear y aquellos suefios de gloria: gloria en el airte, o gloria en el amor, o gloria en amb~ cosas a la vez, eri fin, come. si en estos cuarenta y ocho compases pudiera alguna vez aescribirs-3 todo . un hervidero · de pasiones contradictorias, una · voragine de sentimientos, encontr&dos, un magic.o kaleidoscc.pio de i• n,congruencias y de fatalidades. ALARDES DE VIRTUOSISMO En la Recapitulaci6n, no queda mucho por comantar. Ya se sabe que los dos i.emas presentados en la Exposici6n, tienen que reaparecer con ligeras modificaciones en .Iha tona.lidad, iC> en la i·nstrument~6n, para amoldarse a aquiel p.rincip1o estetico de la Variedad, plies, es tambien muy . conocido ya, aquel decir "Varietas delectat''. La "Cadenza'',-qu.e '.IIO debe confundirse ·con 'la Cadencia,-viene a ser un pasage obligatc.rio en toda obra mu,.. sical ca.lificada de "Concierto" para el instrumento-solista. En esta obra aba;rca unos · cincuenta y ch"tCo compases erizados-como es de esperar,--de dificultades tecnicas en ·su ejecuci6n. · Sirve de m~terial ductil y · fle:Xible a. esta "cadenza" el 'mismo· Terna ·Primero • . elaoorado y extendido por ~io del "tratamiento de las figuras" o de fos "cambios de mot:vo", tal como estan presrcitos en los tratados de Composici6n Musical, habiendose utilizado esta viez, la Aumentaci6n, .la Transposici6n. la Orp.amentac:on, ·el Movimiento ContrariQ; el Cambio Ritmico y otros artificios que la. tecnica moderna en su contiquo pe;rfecci.cmamiento, ofrece generosament:a . a la libre disposiciO.n del compositor. Y asi, se hace admirar, aun a los mas famili~rlzaJos; . aquel desfilar . iuinultuoso de acordes que corren incansables tras los pasages de escal:as rapidal:i y vertiginosas; aquel derroche . de arpegios que con el cruzamiento' de las dos - manos van recorriendo como almas perseguidas, 1as •notas de casi :todo el teclado; aquellos trinos entr~ortados en las voces interiocq-es para acompafiar al Tema Priroero en "aumentaci6n"; aquella temeraria sucesi6n de dobles notas alternandose en octavas y cua.rtas pa;ra la ·mano derecha, · mientras que la izquierNovember, 1933 da canta y se acompaii~ libre y plena· mente la melodia ampliada del mismo tema; y, en resumen, aquel alairde olimpico y retado:r, pEiligroso y audaz de virtuosismo o de bravura pianistica, que, en -la mayoria de los casos, parece ser una condici6n "'sine qua non' de tod& .cbra musical que ae titule "Concierto". LA L»Y DE GRA VEDAD La. "Coda" tambien est-a caracterizada por pasages de bravura, no solo para el Piano solista, s.ino tambien para casi to.dos lo.s instrwnentos de la Orquesta que le aoompaiia, impregnandola de una sonoridad, a veces, redundante, y otras, ganuinamente brillante y deslumbradora. Las cuerdas~ al principio y un poco despues, iLas mad.eras que las secundan anuncian de nuevo aquel Tema ritmico e inquisidor de la Introducci6n, pen> muy pronto, oomo si se a.rrepintiieran de haberlo hecho, entonan con mas viveza y con mas fmpetu, el fragmento principal del Terna Primero, pero esta vez contestandose las cuerda.s, las maderas y el instrumento solista en una sucesion cada vez mas abreviada y mas estrecha, en un "stnttto" inquietante, 'l'Uidoso y perturbador. Los mismos elemen1ns psicologicos de las otras divisiones, pugnan en esta parte por revelarse con mas o menos preponderancia, pero como si obedecieran a la ley de gravedad, todios los artificios de elaboraci6n van hoy concentrandose en una sola tonalidad, para establecer de una manera definitiva y concluyente el tono original, para finalizar el movimiento <2'11 el tt:ono-hecho magnificente y regio,-de Re men.or. LA NIEVE EN LOS DESIERTOS. La descripci6n del Terna Segundo, debiera haberse escrito inmediatamente despues de la · del Terna primero, pero de entre to:los los temas presentados en este movimiento, el .segundo, parece ser el de mas alta jerarquia estetica. de ahi es que se ha re.servado deliberadamente el1ta su caracterizaci6n para servir de epilogo al presente articulo. ;La melodia del Tema Segundo, dulce y amorosa, suplicante y aca:riciadora se presenta discreta per,o. expresiva en la aberciopelada sonoridad de los Violenchelos, reforzados por los Fa.g.::.tes acompaiiados de un misterioso tremolo de los Violines "sul ponticello" y el suave trinar de la Flauta ·en las regiones agudas para ser despues casi ahogada en un perlino arpegiar de tresil".os en el Piano y no parece ser sino una ilusTHE MUSIC MAGAZINE traci6n hecha inconcientemente de un "Paisaje" de Ruben Dario: "La dama era hermosa; el, un gentil muchacho · que le ac&riciaba con los dedos y los labios los cabellos negros y las manos graciles de ninfa. Y sobre las dos almas ardientes y scbre los dos cuerpos juntos, cuchicheaban en lengua ritmica y alada las dos aves. Y arriba el cielo con su inmensidad y con su fiesta de nubes, plumas de oro, alas de fuego, vellones de purpura, fondos azules flordelizados de 6palo, derramaba la magnifioancia de su pompa, la soberbia de su grandeza augusta." 25 I N()T..U 131llEVIES ! La F uncion de la sociedad "Kabataang Tanque'' Una fWlci6n literario-musical se ce.lebrara oen di University Theater el domingo, 26 del actual, bajo los auspicios de la sociedad vernacular "Kabataang Tanque!'. Esta funcion se celebra todos los aiios por dicha sociedad, siendo el hr cal escogido, en esta ocasi6n, el University Theater. Uno de los 'Dlimeros atractivos del programa seri. ejecutado par la Srta. Feliciana Gopilan. · Hablando tambien de. este Tema Se- La Opera "Madame Butterll·"' gundo, mucha raz6n tenia el Dr. Fran- .T cisco Santiago al insinuar: "La melo- en el. Teatro Metropolitano dia -es muy hermosa. pew, a mi, me <lit Por primera vez en la historia mula impresi6n de que esta cortada, mte- sical de Filipinas se interpretari por arrrumpida, y esa modulaci6n, ... ese cam- tistas filipinos la entera opera "Madame bio inesperado, ... " Butterfly" cuya funcion tendri. lugar en y asi es en efe&>; es bella y es el Metropolitan Theater en la noche del breve. dia 1.o del mes ·pr6ximo. La- afamada Es - apenas un pequeiio ensueiio, apenas un momento de serenidad y ya esta turbado por la prosaica :realidad ! Para su autor, es concreci6n paradojica de "nostalgias y imsiedades, sueiios de amor, esperanza y consuelo, presentimiento e incertidumbre, melancolia y pesimisrno." Y alglin poeta preguntaria: tEsas notas que tanto dicen amor, no querrian hacernos sentir tambien el primer resplandor, el dichoso y alegre preseittir de una aurora imposible? 0 1.es que IllD querrian sino deleitarnos con un hello poema del hello dudar? Y otro poe.ta, quizas preferiria evoca;r en esa incitant3 y enigmatica brevedad el recuerdo amable del ilangilang fosforescente. o de la nivea y virgiilal sampaguita, o de otras flores tambien luminalas y delicadas que pronto se marchitan al beso del sol. Pero, no hay por que cavila;r: Ya los versos banortales del "Rubaiyat" de Omar 1'hayyam y de Manuel Bernabe, parecen confinnarlo: "El mundo d£J ilusitm.es del Rey y de la Plebe, Conviertese. en oer..<izas o brilla, pe:ro breve; Una kora o dos es solio su tenwino de vidp., lgual q'ttle en los desiertos la m,m.a... culada nieve." ANTONIO J. MOLINA Octubre 30, 1933 diva filipina, Srta. Jovita Fuentes, cuya fotografia aparece en la cubierta de esta :revista, desempeiiara el papel principal~ con la Srta. Marie Jewett c6mo Suzuki. La Srta. Fu~ntes es una de las profesoras de canto en la "Academy of Music of Manila." El a ran coro del F eatioal Musical en la Lunl!ta Los ensayos de~ gran programa para el Festival Musical Anual de las Escuelas se hallan muy adelantados. La fase principal de este festival musical llos coros a cargo de los alumnos de high school, inter.media y primaria. Los coros de las escuelas de provincias se reuniran en un sitio determinado de la localiidad. El coro de Manila se reunira en ·el paseo de la Luneta y alli cantari. a las tres de la tarde del dfa 9 de Diciemb:re fecha seiialada para la celebraci6n del Festival Musical. Este coro interpretara el "'Philippine Christmas", del Dr. Francisco Santiago, director del Conservatorio de Musica de la Universidad de Filipinas, y letra del Sr. Francisco Carballo, prindpal de las escuelas publicacs de la Ciudad. El programa general preparadD para el Festival Musical incluye Jas Siguientes piezas: 'Gloria', de Mozart; 'Cantique de Noel', por Adam; 'Hallelujah Chorus', de Handle; 'El Primer Noel', 'Alegres Campanas de Navidad', 'Somos los Reyes Magos', 'Atenci6n, los Angeles Heraldos Cantan',_ 'Noche Silencea', 'Noche Sagrada. 2G THE MUSIC MAGAZINE ·November, 1933 ll • • • • Manila Professional Directory • • EDITOR'S NOTE.-The followi:ng dir€1Ct-Or!J is hi r.eby published for the conve.ni.enc.e ·-Of tkei pi • .blic in general and of t;he musri.c l-Ove-rs in pa.rticulnr. Oftentimes a perrs<m 0'1' somet11 det!itring t-0 avail of th<:. :Mrt>ices (JI ·a certain musician 0'1' musical artist, accompanist, singer, bamd <1'1" O'l'chiestra, pWJnio repa:iirer l!1'r tuner, or wishing to communicate with ·a music swre· or dealer in musical instrumeroits, etc., finds difficulty in doing so for ltt.ck of a guide or dime'lotry. Hence, this secti.on. Those dt!IS'itri.ng tjo have their prefessiontd omrd.s published under .this dT!reotory sectlion will pleasl.i communioate with the Business Myi,nager of The MUSIC MAGA,ZINE, Room 8, La De/ensa Bldg., CO'l'M1' of Onqpin and. Plaza Sant,p, On .. ~, Mantila. ACCOMPANISTS CORNEJO, Rodolfo R. P. 0. ·Box 1545, ·Manila CUSTODIO, Bernardino 611 Cataluiia, Sampaloc ' ESTEBAN-ANGUITA, Julio 936 Padre Faura, Ermita SANTIAGO, Dr. Francisco Conservatory of Music, TJ. P. BAND INSTRUMENTS ILAYA MUSIC STORE CO., Inc. 600 Ave. Rizal and 238 Carriedo, Santa Cruz. LA LIRA 303 Carriedo, Sta. Cruz LYRIC MUSIC.HOUSE, INC. 633 Escolta, Manila PARSONS HARDWARE CO., INC. 806 · Echague, San Miguel THE PHILIPPINE MUSIC STORE, INC., 24t' Carriedo, Sta. Cruz .·--~---------------.... -----------------------· I The Business Manager, The MUSIC MAGAZINE, ~ P. 0. Box 1545, Manila PLEASE enter my name as a ~ subscriber to your magazine for a ~ period of • . . . . months/year beginning ........................ . for ·which am enclosing herewith ~ the sum of .....••.•..•.....•... ........................... pesos ( P ............. ) in poS'tal money IC>l"der, or check, by registered mail. Name: .•••.•••••.•• Ii Address: • • • • • • • • • • • • , • I -------------------------------------------~ RUBIO, Hilarion F. COMPOSERS La · Defensa Bldg., Room 8 - - - - - - - - - - - - - - - - Manila. ABDON, Bonifacio 806 Escaldo, Quiapo ABELARDO, Nicanor 224 Nebraska, Ermita CORNEJO, Rodolfo R. P. 0. Box 1545, Manila PRESNIDO, Lt. Alfonso J. Philippine Const'abula.-ry Band Gagalangin, Manila HERNANDEZ, Juan S. de 66 Gastambide, Sampaloc LIPPAY, Dr. Alexa:nder A~demy of Music of Manila 44 Mabini, Ermita_ MOLIN A, Antonio J. 15 : A. Fal"nesio, Sampaloc RUBIO, Hilarion F. La· Defensa Bldg., Room 8 · Manila. SANTIAGO, Dr. Francisco Conservatory of Music, U. P. CON DOCTORS ABDON, Bonifacio_ 806 Escaldo, Quiapo ABELARDO, Nicanor 224 Nebraska, Ennita BUENAVENTUR~, Antonino 224 Nebraska, Ermita CORNEJO, Rodolfo R. P. 0. Bex 1545, Manila PRESNIDO, Lt. Afionso J. Philippine Constabulary Band Gagalafigin, Manila. HERNANDEZ, Juan S. de 66 Gastambide, Sampaloc MOLINA, Antonio J. 15 Alejandro Farnesio, Sampaloc SANTIAGO, Dr. Francisco Conservatory of Music, U. P. CLUBS AND SOCIETIES Asociaciori Musical de Filipinas Choral A:rit Association Escuela Confederada de Musica Mani1Ja Chamber Music SOciety Manila Musical Guild Monday Musica!J Club DANCING (See· Next Issue) DRAMATIC ART AND EXPRESSION (See Next Issue) HARP (See Next' Issue) ORGAN (See Next Issue) PIANISTS AND PIANO TEACHERS ACU~A, Miss Amparo Academy of Music of Manila 44 · Mabini, Er'mita CORNEJO, Rodolfo R. Room 8, La Defensa Bldg. Cor. Qngpin and Plaza Sta. Cruz CUSTODIO, Bernardino 611 Cataluiia, Sampaloc, Manila ESTEBAN-ANGUITA, Julio 936 Padre Faura, Ermita, Manila FRANCISCO, Miss Lucia 832 O'Donnell, . MMlila November, 1933 THE MUSIC MAGAZINE 27 MANILA PROFESSIONAL DIRECTORY LOPEZ-GARCIA, Mrs. RosariD 816 Trabajo, Manila MACAISA, Miss Benedicta 126 Bambang, Manila MONSERRAT, Mrs. Manuela 719 Paz, Manila RODAS, Miss Con<:·apcion 606 Kansas, Pace., Manila. SANTIAGO, Dr. Fran:::'.sco Conservatory of Music, U. P. Corn. P. Faura a•nd Taft Ave. PIANO TUNING AND REPAIRING ( S·~e Next Issue) RECITAL HALLS (See Next Issue) SCHOOLS ACADEMY OF MUSIC OF MANILA, 44 Mabini, Ennit:i, Manila CONSERVATORY OF MUSIC, U. P. Corner Taft. Ave. and P. Faura ST. SCHOLASTICA'S COLLEGE 1532 Penssylvania, Manila THEORY ABELARDO, Nicanor 224 Nebraska, E<mita, M:ani:a CORNEJO, Rodolfo R. Room 8, La Defensa Bldg. Corn. Ongpin ang Plaza Sta. Cruz BUEN A VENTURA, A·ntonino 224 Nebraska, Erm:ta HERNANDEZ, Juan S. de 66 Gastambida, Sampaloc MOLINA, Antonio J. 15 Alejandro Farnesio, SANTIAGO, Dr. Francisco Coni;1arvatory of Music, U. P. VIOLINISTS ACAYAN, Veneranda 309 Padre Faura, Ermita, Manila MENDOZA, Ramon _459 Padre Rada, Tondo, Manila TAP ALES, Ramon 556 Taft Ave. Mll'nila VALLEJO, Ernestc 905 Georgia, Manila VIOLIN CELLISTS ESGUERRA, Martiniano clo Conservatory of Music, U. P. FELDMAN, Regina c '. o Academy of M us:c of Manila FRESNIDO, Lt. Alfonso J. cjo Phil. Constabulary Band Gagalaiigin Barracks, Manila MOLINA, A•ntrnio J. Alejandro Farnesio, Manila REYES, CARMEN clo Conservatory of Music, U. P. VOICE CARRION, Victorino 410 Mar.tin Ocampo, Quiapo COBARRUBIAS, Emilia cjo Conservatory of Music, U. P. COROMINAS, Jose clc• Academy of Music of Manila 44 Mabini, Ermita FUENTES, Jovita Acac!iamy of Music of Manila MATIAS, Mercedes 389-A Tanduay, Manila NOLASCO, Pacita 0. c!o CO'nservatory of Music, U. P. Cor. T.aft Ave. and P. Paura, Ermita. REYSIO-CRUZ, Mrs. Emilia cjo Cc.nservatory of Music, U. P. Cor. Taft Ave. and P. Faura, Ermita. URIZAR, Marcelo clo Conservatory of Mus~c, U. P. Cor. Taft Ave. and P. Paura, Ermita. PROVINCIAL DIRECTORY PIANO TEACHER MONTENEGRO, Angel C. 32 Remedios St., Bauan, Batangas ~-======================== FEDERATION PINS Members of tha N at:onal Federation of Music, who desire to have their own pins, may secure them from Mr. Alfredo Lozano, or from Prof. Cornejo, at the ·new Conservatory Building. Each ordinary pin cc.sts po.so; spec'. al, P2.00. Iii~~· ... -----~------------------------- ........................................................ ··~--------------------·······-·········i·1= !/ IMPORT ANT NOTICE ! I •1 :1 :1 ~-o UR CHIRSTMAS NUMBER will be an exiraordinary one. It will contain more pag~s, mcl'le news items, very inter.esting artlcles on music, and a music nov0 alty by Mozart for violin, besides the CONCERT WALTZ (For Piano) By RODOLFO R. CORNEJO Do not miss this December issue. Subscribe now to save both time and money. It costs just P2.20-a y,ear'"or-Pt.20-for-aix months~ You will get the worth--fo your money.- Use the Coupon opposite this page. ~ -·-·-------------·--------·----------·--·--·-------·-.. ·--·----····•···-····------------·---------•-•------. ............ ~ ......................... e