LIFESTYLE ARTS AND BOOKS - LIFESTYLE ARTS AND BOOKS ARTS AND BOOKS
Fitting tribute to Lucio D. San Pedro Antonio C. Hila Philippine Daily Inquirer
March 01, 2010
THE MUSIC OF MAESTRO Lucio D. San Pedro (1914-2002) took center stage on Feb. 11, his 97th birthday, during the Philippine Philharmonic Orchestra’s (PPO) sixth performance for its current concert season at the Main Theater of the Cultural Center of the Philippines.
Former resident conductor Agripino “Nonoy” Diestro conducted the PPO with soprano Ferleoni Medina as soloist. Needless to say, the concert was a fitting tribute, a meaningful celebration of the composer’s natal day.
This concert is laudable. It is a paean to our national composer and a boost to Philippine music, which is brought close to the appreciative attention of our concert habitués.
Featuring an all-Philippine program on its sixth series has become a tradition for the PPO. It is done in keeping with the celebration of the National Arts Month observed during February.
It would certainly be good for our people’s cultural literacy, if the PPO would do a similar programming in the next concert seasons to come, that is, featuring outstanding works of a prominent Filipino composer.
Many of our top composers have been conferred the National Artist Award. Cultural literacy in Philippine music certainly complements the achievement of literacy in global music.
Creative nationalist
Lucio D. San Pedro was conferred the National Artist Award for Music in 1991. He has been dubbed the “creative nationalist,” owing to his philosophy that nationalism can be expressed through the creative use of folk songs, not their literal use.
The composer, he said, should “squeeze from the folk material the essence, style, atmosphere and common touch that is Filipino and express it in terms of his personality, style and temperament.”
San Pedro did not only draw from the country’s vast folk heritage. He also sought inspiration from the history of the country, and Philippine settings, notably his hometown Angono, which his music strongly evokes.
In some instances, while there may be no direct lifting of folk material in his works, they evoke a polished style, a subtle effect exuding the folk spirit, because they are based on folk sensibility—all expressed in a stylized manner.
Featured works were “Ang Buwan sa Kabundukan” (Moon over the Hills), a tone poem, and “Lahing Kayumanggi” (Brown Race), a symphonic poem, and the “Jubilate March.”
The soprano rendered “Sa Ugoy ng Duyan (Lullaby), “Diwata ng Pagibig” and “Lupang Mahal ng Araw.”
Depressing moment
Diestro has to infuse more life in wielding the baton. His wielding failed to convey the noble sentiment that inheres in the works of the composer. The idea or program upon which the works were based did not vividly come out. Rather than ennoble, he instilled a depressing moment of listening.
The soprano’s voice has to mature yet to meet the demand of the songs’ texture, which calls for a resonant, dramatic flair as the melodic lines are intertwined with the orchestra.
Though it sounded amplified, Medina’s voice was not palpable enough to tower beyond the orchestra. It was such a baptism of fire for her, so to speak, singing with the PPO for the first time in its season concert.
Many vocal artists who had become great had some uncomfortable beginnings. It is our hope that soon Medina would come up to the measure of her art; no time should be lost honing her instrument to add more weight and brilliance.
At the end, the conductor announced the presence of the late composer’s family, led by his widow Gertrudez San Pedro, who is fondly addressed Nanay Ude by people close to her. The orchestra played the “Happy Birthday Song,” which the audience heartily sang, followed by an energetic burst of applause.
A medley of folk songs, “Mga Katutubong Awitin,” composed by the maestro as the opening theme of Concert at the Park, which the late Regalado José had conducted for the Metro Manila Symphony Orchestra, was encored to the delight of the audience.
