Nicanor Abelardo, A Sketch By Pilar S. Gramonte 'T is national belief that every individual born on Philippine soil is or has something of the musician in him, The idea is not only native but even foreign. Born, therefore, in a land where »~ music is a sort of passion and of parents whose iS ancestry can be traced back to a long line of music- lovers, with certain musicians among them, Nicanor Abe- lardo took to music naturally. ‘He was born on the 7th of February, 1893, at San Miguel de Mayumo, Bulacan, and was there baptized in that faith from which he never deviated. He was the oldest son of poor parents and his legacy, besides a love for music, was the pride they took in honesty. His father, Valentin Abe- lardo, isa photographer by profession, and was for some time ‘a councilor of the Municipality of Sibul. He had picked up the rudiments of music from a study of the Solfeo by Eslava, which he later transmitted to his son, Nicanor, and his other children. He also played the violin and so taught this art to his son. The custom of teaching the children the a, b, o's of music is common in Filipino homes where it is thought that they must know at least how to play the guitar or bandurria or whatever instrument is available in the house. Nicanor’s mother, Placida Sta. Ana, was a church singer. ‘She had @ natural voice quite unusual in quality, and this voice was so often the inspiration of the violin-player, that the church loft was the original setting of the romance between @ pair who were to be the parents of a genius. Plicida Sta. Ana is a woman of great fortitude and this strength transmitted formed later the mainstay of her son in the difficulties of his life. Valentin Abelardo and his wife were born at a time when education for the poor was utterly neglected, but they gotenough to be able to teach their children the funda. mentals. Nicanor was the first pupil of the mother. The other children received similar maternal attention, but there were wide spans between their ages, and Nicanor as the ‘oldest child and only son was not only the favorite of the mother but also her constant companion, and, in later years, the chief support of the family. There was always a deep understanding, a friendship, between the mother and the son, When barely seven months old, according to the father, Nicanor evinced a peculiarity that supports my assertion of the natural inheritance of music in him. ‘The baby did not like the monotonous reading of the pasion for a lullaby, ‘but would stop crying only when rocked to the tune of some gay martial air. In his childhood he displayed a remarkable precocity, In his fifth year he could play a bandurria expressly made to a size suitable for him. He was already enrolled as a first grade pupil in the public school. At six he could pley the overture to William Tell on the guitar end thereby became an object of admiration in his home town. When hhe was seven years old, his father began teaching him to play on the violin. Even as a child he was of a retiring nature. He mingled little with other boys of his age. But he loved to go with the haranas, the young men who with their guitars go out serenading their ladies. The native kundiman and kumintang was the earliest music he became acquainted with. It was perhaps this atmosphere in which he was 50 early steeped, which height- ened the romanticism in his nature. He ever held women in high regard, and his spiritual passion for them inspired many of his compositions. His academic education constantly suffered undesirable checks owing to financial reverses in the family. At the age of nine, having completed the work in the sccond grade of the prescribed primary course in the American system of education, his parents decided to let him continue his studies in the city. ‘The year before he had composed his, first piece of music, to which he gave the title “Ang Unang Buko". It was a waltz and was dedicated to his grand- mother. We are not informed as to whether the name he gave to the piece was significant of the career he intended to follow or was a mere childish caprice. In Manila he studied in a school established by Pablo Paguia under the Spanish régime and which therefore followed the tedious Castilian system of education, He completed the primera enseflanza course and after that entered the Liceo de Manila where he took the segunda enzeftanza, finishing up to the third year. This is accord. ing to the records of the father, but another record refers to his having graduated in 1905 at the Quiapo Elementary School. He must have taken both the Spanish and English courses cither simultaneously or alternately. At was during this period that he learned to play the piano, He lived with an uncle whose daughter, Virgin was studying the piano. Nicanor would watch his cousin fat her lessons, and after the teacher was gone, would take her place at the keys, Thus largely by self-study he acquir- ed a knowledge by which he profited much in later years. For a time he was engaged by Francisco Buencamino to play the piano in a saloon at Aceiteros for thirty centavos a night. It was during this period also that he composed a two-step that was a further indication of where his talents lay. But it seemed that he would never attain the desire of his young heart, for he was recalled to the province by his parents. Back in San Miguel, he enrolled in the inter- mediate school. This was in 1907. In 1908, after having finished the sixth grade, he was offered a position as teacher in the barrio of San Ildefonso, Sibul Springs, Bulacan, at a salary of eighteen pesos a month. He went with a glad heart, Friday evenings he would take the train back home, and return to the barrio again the next Monday. For five years he followed this monotonous routine, but he never forgot his music, and composing became an obsession with‘him. During the first year of his teaching he composed a march, “Banaag at Lakas”, which he dedicated to the Confederacién Bulakefa. It was his first published ‘composition. This carly accomplishment aroused the admiration not only of a few of his acquaintances of good standing in the town, but a number of others among whom was the Com- mandant Sartou. The village priest's attention was also drawn to the boy and developed into such an interest that he wanted to send him to Spain to study. But the youth's strong love for his parents and his desire not to leave them, ed him to turn away from that carly opportunity. At eighteen he began to suffer from a visual defect which was an after-effect of an attack of small-pox when he was barely four years old, and was forced to make use of eye- lasses. In 1912 he was practically the only support of the family, and he determined not to marry until his sisters—Marina, Victoria, and Vivencia—who were then studying in the Philippine Normal School, should have finished thei studies. The cares prematurely cast upon his young shoulders, did not in any way embitter him, however, and his amiability and modesty endeared him to many young men of his own age. In 1916 he decided to enter the Conservatory of Music of the University of the Philippines. This was the first serious study of music he had ever undertaken. To support himself and the family while studying, he worked in saloons and showhouses, making use of his chance knowledge of piano-playing. He played in a show-house on Principe street at sixty pesos a month, later at various other cine- matograph and vaudeville theaters, and finally at the Empire Theater on Echague (now the Plaza). Sixta Naguiat, of Sta. Rita, Pampanga, a ticket-seller at the theater, opened the eyes of the pianist to a new interest, and it was not long before he, having fulfilled his duties to his mother and sisters, married her. In the meantime, he made remarkable progress in his musical education. His professors, Guy Harrison and Dr. Robert Schofield, soon recognized his ability, and in the third year of his stay in the Conservatory (1918) he was appointed assistant instructor in harmony. He wanted to know something of everything in music, and even took up voice culture under maestro Capozi, and later under maestro Victorino Carrion’, who himself had been a pupil of Capozi. He also studied the ban- durria with José Silos, the violin with Bonifacio Abdon, and the piano with Jos¢ Estella. He received his teacher's certificate in musical science and composition from the Conservatory of Music in 1921, ‘and took up the post-graduate course, offered in the Con- servatory in 1922, completing the work the following year. From 1921 on, when he composed no less than thirteen songs and piano pieces, several quartets, and a sonata in four movements, he began writing music in earnest. He was never very particular with regard to the external conditions under which he worked. Whether he compos- ed at mid-day or at mid-night, it was all the sam: to him. Noises did not bother him. Amidst all the pande- monium that can be created by children, and in his case by his own children, he could calmly concentrate on his bars. In 1925 he took charge of the Sta. Ana Cabaret orchestra, ‘This employment caused no little trouble for him in the Conservatory with which he was still connected as an in- structor, for Alexander Lippay, the Director, would not have him engage in an occupation outside the University derogatory to the name of the institution, But he felt it necessary for him to think first of the needs of his family, and he tendered his resignation, which was, however, not accepted. During all this time, he had in mind one thing,—he wanted to study abroad. The public recognition of him, far from making him content with his achievements, spur- red him on the greater effort. He wanted to do many things, great things. Not that he sought personal exalta- tion; his desire was most unselfish; he sought to glorify not his name but his country. His work at the Sta. Ana Cabaret and later at the Manila Hotel brought him quite a fair remuneration, but what he was able to save from his earnings was not enough to enable him to carry out his intention of studying in America, He therefore wrote to the President’ of the University of the Philippines through Dr. Francisco Santiago, who had become Director of the Conservatory, asking for a fellow- ship. The request was approved by the Board of Regents of the University, and, with various letters of introduction and recommendation, he left his native land in pursuance of his greatest aspiration. {Noe Soe" Maestro Victorino Cation, *PAippine Afapaine, November, 1938. (Continued on page 138) At Sunset By Winnifred Lewis Can even speak of you and lightly smile; So wholly have I learned forgetting’s grace, But sometimes when I see a child at play, And sunshine lighting up his thatch of curls, I see your burnished hair reflecting back Its shafts of light into my dazzled eyes. And sometimes, when a bow of molten gold Is drawn in music o'er a singing cloud, The same mad flame will thrill my leaping heart As that I knew with you in other days. I could not long endure such throbbing light Without recurring midnight, blind with pain; And I am glad that God in kindness draws The curtain of his night o'er sky and sea.138 PHILIPPINE MAGAZINE March, 1996 Nicanor Abelardo (Continued from page 127) He returned on the 15th of August, 1932, coming home without a diploma because he had been unable to submit the required academic credits. He later completed the necessary work at the National Institute, however, and was able to pay the necessary diploma fee through a con: tribution from the Constabulary Band. After his return from the United States, his health suffered gradual decline. Early in the month of December of 1933, he began to show symptoms of the illness which was the cause of his sudden and lamentable death. He refused at first to follow the advice of his family that he consult ‘@ doctor. His ascetical symptoms plus a complication of the liver proved a great hindrance to his work, and was no doubt the reason that he left so many unfinished works. By February he had to admit that his case required medical treatment, and decided he would enter the hospital after the closing of the classes a month thence. By the end of February, however, he decided to sever connections with the Conservatory, probably both for reasons of his health and because of his desire to dedicate his time more fully to his own work. But he grew rapidly worse, and during his last days deplored his idleness and uselessness, fighting death, not because of fear but because of his desire still to accomplish something more worthy than anything he had thus far achieved. To his way of thinking he had not accomplished anything. On the evening of March 19, 1934, he was taken to the hospital and the next day at 2:00 a. m. he expired of a hemorrhage of the intestines, leaving behind him his be- loved wife and children. The oldest of his six children—three boys and’ three girls Who Says He Doesn’t Like Vegetables? Mothers who complain that their children don't like vegetables will find their problem solved with Campbell's Vegetable Soup. Here are 15 of the finest garden vegetables in a rich, tasty soup. See how the children enjoy it-ask for second helpings. Only Campbell brings you such fine quality and flavor in this peerless vegetable soup. VEGETABLE SOUP Sold by all grocers —is a fourth year high school student and is also taking courses at the Manila Conservatory of Music. Mr. Antonino Buenaventura states that Abelardo Jr. is a very promising music student. Arturo is a second-year high school student; Aurora, a seventh grade pupil; Nilda, fifth grade; Cresencio Tristan, first grade. Cecilia is the youngest. Nicanor Abelardo was a musical luminary in our own world and time. He made of the kundiman a veritable classic through his “Wasaan Ka Irog” and numerous other works, He combined within himself an unrestrained Germanic passion and an utter disregard for what the world might say, with a Polish languour and romanticism that touched the heart of many. Wagner, Beethoven, Chopin were his masters, his models, his inspiration —and yet he never lost the native in him, COMPLETE LIST OF THE WORKS OF NICANOR ABELARDO ‘(Arranged in Chronological Order) 1901—"~Ang Unang Buk", a walte dedicated to his grandmother. 1908—"Banaag at Lalas”, march, (iis rt pubbahed compostion,) 1917 —U. B. (University of the Philippines) Beloved, a hymns (Pare son Rng ies dopey maseal competion cone) 1 Fire Quartette in F-major, Op. te No. 2. Somaee in four Mowements- Allegro, Andante alla Minuet, Rontos Alera Mera” 3. Mountain Suite (Tome Pleture 1 Vang Liwayway” (Ihe Dawn) and Dance of the “Diwatas” (Nymph) “Ang Matenda ox Punsa” (The Old man ut, mm, by. Abelarda:himse.) 4. Fughetta in Can a theme by Mozart, a quartette for strings. 5. Ave Maria, a song solo for tenor or soprano with viein obligato, 6. Academie Overture, a composition for orchestra. 7. An Old Love Song, a song solo for contralto or baritone (Adapted from Bowland's Song Book.)1923 1924 1995 8. Romanza, for ‘cello and piano 9. First Nocturne, for piano solo 0. Cavatina, Op. 7, for violin and piano. 1. The Violet, a trio for female voices. 2, Valse Caprice, for piano solo. 13. Sonata in C-major, for piano sol. 1. Serenade, for ‘cello and piano. 2. “Ang Aking Bayan", a patriotic song, with words vaitten by Abelardo. 3. “Paraluman”, walts-song 4. Valse in D flat, Op. 11, for piano soto. 5 6 ‘An Offertory to St. Cecilia, for voice and piano, or organ. ‘Kung Hindi Man’, transcribed from the original, for voice, violin, ‘cello, and piano. 7. An Historical Pageant, staged in the auditorium of the Philippine Carnival for 1922, A. “SNasaan Ka Irog", a “kundiman”, 2. “Kundiman”, for violin and piano. 3. Capriccio Espagnole, Op. 15, for violin and piano 4 s. Fantesia-Impromptu, for piano solo. Processional March, a march, (Prize-winning piece in a ‘contest in Naga.) 6. Concerto in B flat Minor, Op. 12, for piano and orchestra, the first concerto ever written in the Philippines 1. Pearl of the Orient, @ march. 1. “Ultimo Adios", composed on the poem of Dr. José Rizal. 2. Meditation, for harmonium solo. 3. Petite-Serenade, for violin s. “Kundiman Ng Luba" ( Wedding March, a march. (Prize-winning piece in @ contest held to commemorate the golden-wedding anniversary of Mr. and Met. Marcelo Adonsy. 1. “Mag:balik Ka, Hirang”, a song for mezzo-soprano with violin obligato and piano accompaniment. “"Pahimakas!” (“Awit Ng Naghihingalé") (Song of @ dying person) (Still unpublished). 3. “Canto del Viajero", another composition on a poem by Dr. Rizal. 1926-1. Health Service Hyma, « hymn. (Prize-winning piece in a 1927 1928 Contest conducted by the Philippine Health Service.) 2, “Mutya Ng Pasig”, a “kumintang”. -A Trio for violin, ‘cello and piano. 1, “Hfimutak’’, 8 “kundiman", with words by Abelardo bim- sell 2. Valee Extase, a concert waltz for saxophone and piano. 3. National Heroes’ Day, a hymn, (Prize-winning piece in a contest held for the celebration of the occasion.) 1929-1, Into Your Eyes, a ballad 1930 1931 2. “Balitaw", with Tagalog words by Abelardo himself. “Paniwatig”, a ballad, Reverie, for violin and piano. Another prize-winning piece. (Title not given by the source of information.) “aKumintang Ng Bayan", with words by the composer. “kung Ako'y Unibig’, a vernacular lyre by the composer. ‘Himno Mas6aico", = hymn. (Prize-winning piece in fa contest held by the Grand Lodge of Manila.) 4. “Halika... Magandang Mestiza", a serenade for tenor ‘with words by the composer. Intermezzo. (Prize-winning piece at the Philippine Ca hival under the pseudonym “Batong-buhay", Manila, Jan. 10, 1931.) 2. Vala Elegante. (Another prizewinning piece at the Phil ippine Carnival in the same year under the pseudonym “Araw”, Manila, 1931.) 3, Waltz Ballad, (Chicago, June 8, 1931.) 44. The Flower and the Bird, « eaprice for flute and violin with piano accompaniment. (Chicago, June 28, 1931.) 5. A Summer Idyll, for violin and clarinet B fat with piano accompaniment. (Chicago, July 5, 1931.) 6, ‘The Naughty Nymph, a charecteristic Polka for fute and iano, (Chicago, July 22, 1981.) 1. Fifes and Castagnettes, a bolero for lute and piano. (Chi- cago, July 28, 1931.) 8. Sonate, for violin. (Chicago, July 25, 1931.) 9. Cinderella, an overture, which won for Abelardo the La Viclette Scholarship. | (Chicago, 1931.) 19321, Second Fugue, for string quartette. (Chicago, Jan. 2. A Study in “Kumintang". (Manila, Oct. 7, 1992.) 1933—Spirit of "96, « tone poem, intended for the Bicentennial eee bration of the town of Baliwag, Bulacan, 19341, “Sa Tyong Kandufigan”, with a vernacular lyric by Abelardo himmelt 2. Unfinished Symphony, the piece on which he was still work ‘ng when he died. 1992.) ‘MUSICAL COMPOSITIONS BEARING NO DATE: 1. Zerzuelae, unpublished but have been performed. One of them is “Akiba. 2. Salve Regina Mater, a solo for soprano or baritone with violin ‘obligato and piano or organ accompaniment. 3. “Libertador”, with lyric in Spanish by the famous Filipino poet, ‘Manuel Bernat LITERARY COMPOSITIONS BY NICANOR ABELARDO 1, Music Appreciation, an essay published in the Graphic, August ‘m4, 1933, 2. On Paycho-Analysis of Music, an ertay, published in The Music ‘Magazine, February, 1934. 3. On Conducting, an essay. Unpublished.) 4. On the Different Stages of Music Development, an unfinished easay, eprescatative of his philosophy. Unpublished.) 5. A Treatise on Modern Harmony (unfinished), a delineation of the ‘harmony of modern music, written in the question-and-answer form. 6. “Ang Tatlong Pagribig"—an unfinished lytic poem in the verna- ‘cular, expressing hit thoughts on death. (It was apparently intended for a song.) Samoan Black Saturday (Continued from page 124) nesses. The hearing was entirely one-sided. No defense witnesses could attend, they having either been jailed and unnotified, or suffering in hospitals from the wounds of the dum-dum bullets used by the New Zealanders. The only available lawyer had been retained by the Court, If Mr. Greene read the judgment given by Judge Luxford, then he must also have read the condemnation therein of the rifle fire indulged in from the Court House balcony by snipers as having been unnecessary. More than 50 policemen were on duty, having ready two Lewis machine guns, and fifty more police could be called from barracks a few blocks away. Mr. Greene's picture of a few panic- stricken white men stormed by two thousand rock-throwing natives would seem to me amusing were the memory of the whole affair not so tragic. To be called the “Irish of the South Seas” is, I aver, a compliment. May I at this point, as a proof of the fierceness and inflammatory nature of the Samoan people, recall the incident of the hurricane in 1899 when they at the risk of their own lives swam to and rescued the crews of the very warships which had on the previous day bombarded their villages? Although the incident brought recognition from Germany, America, and England, Mr. Greene has apparently forgotten it. When he requests that you “look up the records of the German occupation to see what a time the Germans had” with the Samoan people, I am completely at a loss. I know of no unruliness during the German occupation, with the pos- sible exception of one incident when the Chiefs of Savaii