The Piano Compositional Style of Lucrecia Rocks Kasilag
The Piano Compositional Style of Lucrecia Rocks Kasilag
The Piano Compositional Style of Lucrecia Rocks Kasilag
D.M.A. DOCUMENT
By
________________________________________________________
UMI Microform 3081959
Copyright 2003 by ProQuest Information and Learning Company.
All rights reserved. This microform edition is protected against
unauthorized copying under Title 17, United States Code.
____________________________________________________________
2002
ABSTRACT
performance.
iii
Dedicated to
my parents,
and to my sister,
iv
ACKNOWLEDGMENTS
document.
v
To Dr. Estela Matriano and Ms. Carole Caparros,
Lim, Ms. Rena Iwai, Mr. Rob Choe, Ms. Michelle Seiler,
vi
VITA
1995................Bachelor of Music,
Wright State University
1997................Master of Music,
University of Cincinnati
College-Conservatory of Music
FIELDS OF STUDY
vii
TABLE OF CONTENTS
Page
Abstract............................................ii
Dedication..........................................iv
Acknowledgments......................................v
Vita...............................................vii
List of Examples.....................................x
List of Tables....................................xiii
Introduction.........................................1
Chapters
1. Biography....................................13
Conclusion..........................................89
Appendix
viii
A. Songs..............................93
B. Piano..............................98
E. Organ.............................101
G. Incidental Music..................107
Orchestra.........................110
K. Choral............................113
Orchestra.........................119
Kasilag’s Works........................122
Bibliography
Books.........................................123
Published Scores..............................125
Unpublished Manuscripts.......................126
ix
LIST OF EXAMPLES
Example Page
x
4.1 “Walay Angay” Partial Theme.................60
xi
4.17 Rachmaninoff, Prelude in C-sharp
Minor, Op. 3, No. 2, mm. 1-6..........74
xii
LIST OF TABLES
Table Page
xiii
INTRODUCTION
1
to my dismay, I was not able to find any. To my
250 works.
2
to extend knowledge of Kasilag’s piano works and to
survival.
3
séances. These practices of the Filipinos were
guitar.3
1
William R. Pfeiffer, Music in the Philippines:
Indigenous, Folk, Modern (Philippines: Silliman Music
Foundation, Inc., 1975), 3-4.
2
William R. Pfeiffer, Music in the Philippines:
Indigenous, Folk, Modern (Philippines: Silliman Music
Foundation, Inc., 1975), 3-4.
3
Elena Rivera Mirano, Musika: An Essay on the Spanish
Influence on Philippine Music (Philippines: Cultural Center of
the Philippines, 1992), 4.
4
In order to clear the way for the Christian
was mixed with the music of the new faith, many forms
5
begins in a minor key and shifts to the major key in
4
Angelica Rosario Franquelli, “Lucrecia R. Kasilag: The
Western and Oriental Influences in her Compositions” (D.M.A.
diss., Peabody Inst. of The Johns Hopkins University, Peabody
Conservatory of Music, 1979), 10.
6
schools, like the University of the Philippines
7
undertaken both by foreign and Filipino scholars,
Concerto.
5
Ramon P. Santos, An Essay on the American Colonial and
Contemporary Traditions in Philippine Music (Philippines: The
Cultural Center of the Philippines, 1994), 4-5.
8
Orchestra (Luis Valencia, conductor), the University
of the Philippines.
western music.6
6
Ibid., 9.
9
community. The music of important western composers,
7
Ibid., 13.
10
tonalities and impressionist tonal structures.
11
two will be devoted to her piano compositional style
12
CHAPTER 1
BIOGRAPHY
children.
8
Visitacion R. de la Torre, Lucrecia R. Kasilag: An Artist
for the World (Visitacion R. de la Torre and the Friends of LRK:
Philippines, 1985), 1.
13
solfeggio lessons. Mrs. Kasilag taught music and
9
Ibid., 3-4.
10
Ibid., 7.
14
Tirona Benitez, co-founder of PWU, advised Kasilag to
11
Ibid., 9.
12
Ibid.
15
Medtner’s Poeme, Chopin’s Nocturne in G Major, and
13
Lucrecia Roces Kasilag, Lucrecia Roces Kasilag: My
Story (The Philippine Women’s University System: Philippines,
2000), 13.
14
de la Torre, 13.
16
pianist, teaching was her only option. At that time,
15
Ibid., 15.
17
occupation and PWU was transformed to serve as a
hospital.16
first time:
16
Ibid., 17.
17
Kasilag, 22.
18
An interesting feature of this
concert is the presentation for
the first time of Miss Kasilag’s
compositions, two of which will be
sung by Miss Aldaba. A
composition for the pianoforte
will be played by the pianist
composer herself.”18
18
Ibid., 29.
19
de la Torre, 31.
19
Travel Grant and a PWU fellowship, Kasilag decided
Wayne Barlow.
twentieth century.
20
Ibid., 24.
20
After Eastman, Kasilag planned to stay in the
21
Ibid., 26.
21
Kasilag gave up hope of ever having a career as a
22
Ibid., 28.
22
both, something that Kasilag would espouse in her
later compositions.23
23
Ibid., 31.
24
Ibid., 33.
23
and Mexico, as well as the former Soviet Russia and
24
Through those years, Kasilag’s fascination for
25
Kasilag, 113.
25
much as in the works I showed you.” He gave her a hug
26
Ibid., 114.
26
Arts from St. John’s University in New York.27 And in
and composing.
27
de la Torre, 91.
27
CHAPTER 2
composition.
28
King’s creative life as a composer began in the
29
TITLE DATE REMARKS
30
Table 2.1: Continued
* Published
** Manuscript Burned During World War II
♫ Copied Manuscript Supplied by the Composer
31
During World War II, Kasilag still managed to
32
stated, she studied theory with Dr. Allen I. McHose
Example 2.1]
33
consisting of scale passages, chordal chorales, light
34
concepts of major or minor keys. Elegy (1960) is an
example of this.
2.2]
2.3]
35
Example 2.3. Elegy, mm. 107-111.
36
extent that the sonata seems to be one continuous
third section.
measure.29
28
Angelica Rosario Franquelli, “Lucrecia R. Kasilag: The
Western and Oriental Influences in her Compositions” (D.M.A.
diss., Peabody Institute of the Johns Hopkins University.,
Peabody Conservatory of Music, 1979), 102-03.
29
Ibid., 107.
37
(Hendai-Hogaku) (1966) and Derivation IV (Orientalia)
(1969).
percussively.
38
Example 2.4. “Kojo no Tsuki” melody.
39
Battig (for two pianos) (1976). Sr. Baptista Battig
pointed out:
27, 1976.31
choral music.
30
de la Torre, 68.
31
Franquelli, 84.
41
In the 1980s, Kasilag received commissions from
32
de la Torre, 83.
42
Example 2.7. Scherzino, mm. 1-11.
Armovit.
43
Mt. Pinatubo in Chapter 5. This particular work is
programmatic.
33
Webster’s New Universal Unabridged Dictionary (USA:
Random House Value Publishing, Inc., 1996), 1748.
44
Kasilag was a deeply religious woman. She
“....there is no secret, no
formula [the driving force that
impels me to write music] but the
same guiding philosophy of the old
masters like Johann Sebastian
Bach. For I, too, firmly believe
that man must look not only
straight ahead but up. Just as a
child tilts his face to seek
guidance from its father so must
the composer look upward, ever
upward. For the object of all
music should be the glory of
God!”35
34
Lucrecia Kasilag, “The Composer Speaks,” in Lucrecia
R. Kasilag: The Western and Oriental Influences in her
Compositions, Angelica Rosario Franquelli (Peabody Institute
of the Johns Hopkins University., Peabody Conservatory of
Music, 1979), 65.
35
Ibid.
45
Gratias,” which is Latin for “Thanks be to God.” [See
Example 2.9]
46
CHAPTER 3
APRIL MORNING
(FANTASIE TONE-POEM)
is as follows:
April Morning
36
Edna Zapanta Manlapaz, The Complete Poems of Angela
Manalang Gloria (Manila: Ateneo de Manila University Press,
1993), back cover.
47
I reached for the sky, but it
glistened
In whitening unconcern,
And when I stood still and listened,
Morning hid under a fern.
37
Hugh MacDonald, “Symphonic Poem,” in The New Grove
Dictionary of Music and Musicians, Vol. 24, ed. Stanley Sadie
(London: Macmillan Publishers Ltd., 2001), 802.
48
movement (three lines from the poet Sternau), and
Example 3.1]
49
Example 3.2. Brahms, Sonata in C Major,
Op. 1, Andante, mm. 1-12.
The words come from the poem ‘Verstohlen geht der Mond
translation is as follows:
German:
English:
50
o most beautiful Rosa!38
38
George S. Bozarth, Brahms Studies: Analytical and
Historical Perspectives (Oxford: Clarendon Press, 1990), 351.
51
Section Verse Measures Key Description
Exposition
Recapitulation
Only Theme 1 5 65-85 A-flat 4/4; Not repeating
Major exactly as the original
Theme 1, just some
phrases; The last bars
of the piece are the
same as the first few
bars, except switched
and played in different
octaves
52
This piece begins with two open-fifths on A-flat
53
Example 3.4. April Morning, mm. 14-17.
Example 3.5]
55
Example 3.7. April Morning, mm. 45-53.
second Theme 1.
56
ending is just like the beginning only backwards. [See
Example 3.8]
57
CHAPTER 4
58
Measures Variation Key Description
59
Table 4.1: Continued
60
Example 4.2. Th. & Var. on “Walay Angay” Theme, mm.
1-8.
Example 4.3]
61
Variation II is “Slightly fast” and at a mezzo
they are now found in the left hand. [See Example 4.5]
62
Example 4.5. Th. & Var. on “Walay Angay,” mm. 25-30.
63
Example 4.6. Th. & Var. on “Walay Angay,” mm. 34-40.
4.7]
64
Example 4.7. Th. & Var. on “Walay Angay,” mm. 45-46.
65
Example 4.8. Th. & Var. on “Walay Angay,” mm. 53-58.
4.9]
But for the second ending (m. 75), this variation ends
68
Example 4.11. Th. & Var. on “Walay Angay,” mm. 85-86.
69
This particular variation is reminiscent to
4.14]
71
Example 4.15. Mendelssohn, Rondo Capriccioso, Op. 14,
Presto Section, mm. 27-30.
72
Example 4.16. Th. & Var. on “Walay Angay,” mm. 108-
112.
73
the same way, a sonorous chord on the beat followed by
the Finale.
74
Example 4.18. Th. & Var. on “Walay Angay,” mm. 118-122.
137 to 141.
4.19]
75
Example 4.19. Th. & Var. on “Walay Angay,” mm. 142-144.
of the measure.
76
especially Theme and Variations. These compositional
compositions.
77
CHAPTER 5
1991.
78
far-reaching lahar effects widely felt around the
globe.
39
Lucrecia Kasilag, notes written by the composer, n.d.
79
Section Measures Key Description
Intro
80
Elegy on Mt. Pinatubo is in ternary form inserted
Example 5.1]
81
The following measures (mm. 5-12) consist of a
Example 5.2]
83
Example 5.4. Elegy on Mt. Pinatubo, mm. 21-28.
84
Example 5.5. Elegy on Mt. Pinatubo, mm. 41-48.
85
The pitches seem to focus on B-flat, C and D-flat,
86
“reality of Nature’s power,” which is the stretto in
the Coda.
5.9]
87
Example 5.9. Elegy on Mt. Pinatubo, mm. 91-95.
88
CONCLUSION
90
Through the years, people have remembered Kasilag
performers.
Dance—Philippines) as:
40
de la Torre, ii.
92
APPENDIX
A. Songs
Title Text by Date
Title Date
98
Rondeau 1981*-NAMCYA June 1981
Commissioned Contest
Piece Cat. C (Published
by NAMCYA)
Derivation V: Caprice 1982*- July 4, 1982
NAMCYA Commissioned
Contest Piece Cat. C
(with prepared piano)
(Published by NAMCYA)
Derivation VIII-for St. August 1989
Cecilia’s Concert, for
duo-pianists Della G.
Besa and Mary Ann
Armovit
Elegy on Mt. Pinatubo-for Sept. 16, 1991
piano solo; Written
for Jovianney Emmanuel
Cruz
Serendipity-for piano solo; June 27, 1994
Dedicated to Dr. Helena
Z. Benitez on her 80th
Birthday
Title Date
100
Sonata for Violin and Piano Nov. 8, 1984
(originally for organ,
written for Las Piñas
Bamboo Organ Festival-
Performed by Carmencita
Lozada in February 1985)
Sonata for Violin and Piano March 7, 1999
(Commissioned contest
piece for the NAMCYA
Violin Competitions, Cat.
C, November 1999)
E. Organ
Title Date
Title Date
101
R. Urtula for Mindanao
Saga, produced by the PWC
of Davao City (written
for piano, string and
percussions including
varied moro gongs and
drums)
Toccata for Percussion and Feb. 6, 1958
Winds (Scored for Muslim
Percussions and Orthodox
Western Instruments)
March Royale and Moro Feb. 7, 1958
Ceremonial for Leonor
Orosa’s Ballet for
Coronation Myth-Scored
for piano, percussions
and winds
Homage to Sister Baptista April 10, 1961
Battig, OSB (for two-
piano II. Festal Ode)
Legend of Sarimanok (Suite in Mar. 16-30, 1964
Pentalogy for Chamber
Orchestra and Indigenous
Philippine Instruments)
Completed in Honolulu,
April 1963
International Interlude (for Aug. 25, 1965
oboe, bassoon and piano)
Filiasiana-A Choral Dance Jan. 4, 1965
Kaleidoscope of Asia for
mixed voices and Asian
instruments
Piano quintet-Capriccio October 1963
-Fantasie Jan. 7, 1965
Introduction and Frolic on a Jan. 19, 1966
Tone Row (for piano,
violin and cello)
Whims and Repartee (for piano, Jan. 28, 1967
violin and cello)
Trichotomy for voice, Asian Mar. 28, 1967
orthodox instruments and
tape recorder
To St. Cecilia-Quartet for November 1968
woodwinds and tape
recorder
Two Love Songs in Monologue Feb. 10, 1969
(for voice, piano,
violin, cello and
contrabass)
Images: A Day’s Span-Parody November 1969
102
for voice, amplified
piano, flute, strings,
percussion and electronics
Anak ng Araw (for baritone, January 1970
English horn, flute,
cello, contrabass,
guitar and piano)
Amada (for chamber orchestra) February 1970
for Alice Reyes Modern
Dance Choreography
Pamana-An Allegory in music, March 1970
dance and speech choir,
for the PWU 50th anni-
versary
Noche Buena-for two pianos, Nov. 29, 1970
strings, flute and
percussions (Choreo-
graphy by Antonio
Fabella)
Essay to C.B.: Elegy and March 1971
Eulogy-for flute,
strings, piano and
percussions
Halina’t Maglaro-for Band September 1971
(Choreography by
Rosalia Merino-Santos)
Epitaph to T.C.B.-for flute Oct. 19, 1971
strings, piano and
percussions
Five Portraits (Parody for Oct. 16, 1973
2 amplified pianos,
kubing, gongs and
transistor)
Handog sa Kababaihan (for January 1975
voice and string
orchestra)-Commissioned
by Manila Little
Symphony Orchestra
Paghahandog (for International March 1975
Women’s Year)-for
orchestra
Ode to CEU (for chamber March 1975
orchestra) for CEU 68th
Commencement Exercises
and Conferment of honorary
Doctor of Music degree
on Dr. Lucrecia R. Kasilag,
March 18, 1975
Diversions (for strings, harp, August 1975
percussion and ethnic
103
instruments) (taped)-
Commissioned by Japan
Foundation for TOKK
Ensemble Tokyo
Kori-Kori (Haro-Haro) for 1975
Koto-composed for and
premiered by Ricardo
Trimillos at the CCP
Main Theater Stage
Alamat ng Mariang Makiling February 1976
(Suite for soprano and
bass solos mixed voices
and chamber orchestra)-
Commissioned by Alberto
Lysy for the NAC
Inaugural Concert
Fanfare for Woodwinds, Brasses November 1976
and Percussions (Written
for the Eastman Wind
Ensemble)
Five Psalms (#5,8,22,149 and 1978
180) for Narrator,
Choir, Winds and Plucked
strings, percussions and
organ-Written specially
for the 3rd Las Piñas
Bamboo Organ Festival
‘78
Paco Park Interlude for piano, January 1980
strings, percussions (for
RP-Germany 1st year Paco
Park at the request of
Dr. Christoph Jessen)
A Paean to PWU-“a Wordless Mar. 17, 1980
Thanks” for soprano,
organ and string quartet-
written for the PWU
Commencement Exercises
on Conferment of Doctor
of Laws by the Philippine
Women’s University
(composed in Taipei)
Diversion II: for four harps Apr. 23, 1981
(for the New York Harp
Ensemble)
Orientalia-Suite for Piano July 22, 1981
Chamber and Philippine
percussion instruments
(composed for Sr.
Baptista Battig
104
Anniversary Concert on
August 8, 1981)
Peking Interlude for Kucheng Nov. 29, 1981
and Chamber Orchestra
(Written for PROC visit
in 1981)
East Meets Jazz “Ethnika” October 1982
(for Jazz Friends for
the 1982 Asian Arts
Festival in Hong Kong)
Si Pagong at si Matsing, one- May 1984
act opera for children
of all ages (for soprano,
tenor, piano and
orchestra) with libretto
by Rene O. Villanueva
Trio for Piano, Cello and June 1985
Violin-composed for the
Bolipata brothers’
Homecoming Concert
Serenade for String Orchestra- 1985
Dedicated to Dr. Gerrit
Bretzler
Ang Apoy ng mga Hayop sa Gubat- Oct. 14, 1986
a musical tale for ethnic
instruments-libretto by
Rene O. Villanueva,
commissioned by Ma. Teresa
E. Roxas and CCP. Written
in Xiamen, PROC
Aguinaldo sa Nino-a Christmas Nov. 22, 1986
Cantata for children
(libretto by Rene O.
Villanueva, commissioned
by Asian Institute for
Liturgy and Music/Fran-
cisco F. Feliciano
Fanfare and Rondo for the Jan. 29, 1987
Manila Brass Quintet of
CCP for 1987 German
Anniversary, Paco Park
Hula!-for Denise Reyes’ June 30, 1987
choreography
Kleine Suite-for Manila Brass Feb. 15, 1989
Choir, written specially
for the Philippine-German
Anniversary, Paco Park
Presents, Feb. 24, 1989
(Commissioned by Dr.
Francisco F. Feliciano)
105
Ibong Adama (3-act ballet) for Oct. 10, 1990
ethnic instruments, winds,
percussions and synthe-
sizer. Choreography by
Edna Vida, Libretto by
Nic Tiongson-for Ballet
Philippines’ Christmas
Season
Ang Basura for voice, guitar,
kulintang, dabakan and
RAP
“Maraming Basura” (text: Oct. 8, 1998
Roy Alvarez)
“Ang Basura, Bow” (text: Oct. 9, 1998
Odette Alcantara)
Composed for MOTHER EARTH,
premiered on Dec. 30, 1998
at the Quirino Grandstand,
Rizal Park
Liebeslied: Love’s Query for May 8, 1999
piano and solo; Composed
for the 85th birthday of
Helena Z. Benitez (June
27, 1999)
Millennium String Quartet in Aug. 15, 1999
3 movements
Composed for the Alexander
String Quartet for the
80th anniversary of PWU
at the request of Helen
Marte
“Poetry by the Bay” For voice, Sept. 17, 1999
flute, guitar & percus-
sions, as musical back-
ground for Jose Garcia
Villa composed specially
for the CCP’s 30th
anniversary
Millenium Trio (flute, cello, June 10, 2000
flute with percussions)
Millenium Duo (Guitar and
Percussions) Marilag na
Kasilag; Lyrics by
Dolores B. Lasan
106
G. Incidental Music
Title Date
107
(Shakespeare’s Merchant
of Venice” in Tagalog
translations by R.S.
Tinio)
Romeo at Julieta (Shake- June 1978
speare’s “Romeo and
Juliet” in Tagalog
translations by R.S.
Tinio)
Anino ng Bukas (for PWU Feb. 11, 1978
Anniversary)
Camille (for Teatro October 1978
Pilipino)
Ang Kuripot (for Teatro August 1978
Pilipino)
Sisa (for ballet) for CCP Oct. 14, 1978
Dance Company (Chor-
eography by Cora G.
Inigo)
Ang Tagak (for Teatro February 1979
Pilipino)
Kambal (Plautus) (for April 16, 1979
Teatro Pilipino)
Hamlet (for Teatro June 18, 1979
Pilipino)
May Katwiran ang Katwiran Oct. 22, 1980
(melodies by R.S.
Tinio) arr. for instru-
mental ensemble
Tartuffe (R.S. Tinio) (for Oct. 7, 1980
Teatro Pilipino)
Mirandolina (by Jose Javier June 1, 1981
Reyes)
Quadrilogue (4 parts) (for Oct.-Nov. 1982
St. Cecilia’s Concert)
Violin Concerto: Violin/Piano Nov. 10, 1982
Orchestra Feb. 12, 1983
Written for Carmencita
Lozada, in world premiere
on Feb. 26, 1983 for the
First RP-USSR Music
Festival: Moscow premiere
in May 1984 by Grigori
Zhislin with Francisco F.
Feliciano, conductor
Woman of Setzuan (by R.S. July 1983
Tinio) for Teatro Pilipino
Impressions (4 movements) for November 1983
orchestra
Tapestry (in 5 parts) for Oct. 14, 1983
108
Ballet/Orchestra,
specially written for
Alice Reyes, Philippine
Music Festival 1983
Pang-Alay
Funfaire for Orchestra, Sept. 23, 1984
written for the 15th
Anniversary of CCP
(Alay sa Bayan)
Muslim Water Fantasy, for May 12, 1986
Indak Pambata Recital
under Bayanihan Alumni
Association at CCP
Little Theater, June 7,
1986
Leona Soliloquy-for CCP April 15, 1989
Women’s Desk Committee,
c/o Fe Mangahas
Violin Concerto No. 2 in g
(Piano/Violin score) July 11-31, 1994
composed for Carmencita
Lozada
(Orchestra score) July 1997
World premiere by Grigori
Zhislin with the Phil-
ippine Philharmonic Or-
chestra under Francisco
Feliciano, conductor, at
the CCP Aug. 30, 1998
Centennial Tribute to Filipino March 1998
Womanhood, a symphonic
cycle in four parts-for
orchestra, indigenous
instruments and mixed
media-with libretto by
Ma. Paz D. Lagdameo;
music by L.R. Kasilag,
Commissioned by the CCP
for the Philippine Cen-
tennial Year and premiered
on June 13 and 14, 1998
at the CCP with the Phil-
ippine Philharmonic Or-
chestra conducted by
Chino Toledo
109
H. Voice and Orchestra
Title Text by Date
I. Indigenous Philippine
Instrumental Orchestra
Title Date
110
orchestra. English script
by Jose Lardizabal,
transcribed into Tagalog.
Commissioned by the
First Lady, Imelda
Romualdez Marcos, as
the main inaugural work
for the opening of the
Cultural Center of the
Philippines, Sept. 8-10,
1969)
Improvisations No. 2 for July 3, 1970
Moslem gamelan and
tipangklong
Ekologie I: On a Day-Off (for March 5, 1972
tape and indigenous
instruments) Composed
for END ROOM Anniver-
sary, CCP
Games: Tayo’y Mag-aliw (CCP May 1972
Music Education Workshop
1972) Choral with indi-
genous instruments
Improvisations No. 3 for June 1974
Moslem gamelan and
tipangklong (for the
10th ISME, Perth)
Improvisations No. 4 for October 1975
Moslem gamelan and
tipangklong (for Battig
Music Circle)
Ekologie II: Composed for May 1979
Kamalig Art Group
Happening
Ekologie III: for Ray Albano February 1981
Ekologie IV: for CCP Art Sept. 6, 1983
Gallery 14th Anniversary
Ekologie V: for Asean May 7, 1984
Institute of Art Inte-
grated Arts Seminar
Ekologie VI: for Roberto May 1985
Chabet, Pinaglabanan
Gallery
Ekologie VII: Jeepney!-for September 1985
Ray Albano Memoriam
Interaction: East/West
Ekologie VIII: for Philippine May 1989
Music Ensemble
Ekologie IX: Alay-Sining (Rio June 6, 1989
Alma poem) Lupang Hini-
111
rang, for Fernando
Amorsolo Exhibit, Metro-
politan Museum of Manila,
6:30 p.m. (June 14,
1989)
Trojan Women: Muslim-a-babai, Feb. 20, 1994
music for drama, ethnic
instruments and chant.
Libretto by Sedfrey
Ordonez/Mars Cavestany,
Direction by Nikos
Shiafkalis
Kabayanihan: Saludo (Kataas- Apr. 11-12, 1997
taasan, Kagalang-galang)
(Written for the 40th
anniversary of the Baya-
nihan as its contri-
bution to the Philip-
pine centennial cele-
bration), CCP
Title Date
112
K. Choral
Title Date
113
guitar and organ) (also
for women’s voices)
Requiem Mass in Pilipino August 1965
(mixed chorus, guitar
and organ)
Awit ng mga Awit (Cantata for April 1966
women and men’s voices
with soprano, baritone
solo and organ, wind,
percussion (from “Canti-
cles” in Tagalog. Trans-
lation by Msgr. Jose
Abriol, adapted by Dom
Bernardo Perez, OSB.
Dedicated to Mrs.
Francisca T. Benitez)
Ang Pamana (mixed chorus, June 1966
organ and orchestra)-
Lyrics by Leticia P.
de Guzman and Jose
Lardizabal
Renewal (Lyrics by Aurora June 25, 1967
C. Dino and dedicated
to Helena Z. Benitez)
Teacher, Dearly Beloved June 5, 1967
(Cantata for solo,
speech, singing and
dance choirs, organ,
harp and percussion),
dedicated to Felicing
Tirona. Text from Kahil
Gibran’s “The Prophet”
with adaptation by
Aurora C. Dino
Sa Inang Bayan Pilipino (for December 1969
mixed chorus and orches-
tra)-Dedicated to Presi-
dent Ferdinand E. Marcos.
Lyrics by Leticia P.
de Guzman
In Memoriam (for women’s Jan. 23, 1970
voices) Dedicated to Sr.
Baptista Battig. Lyrics
by J. Mauricio Pimentel
Bagong Misa sa Libing (Text Sept. 22, 1971
by Msgr. Jose Abriol)
Misang Pilipino No. 2 (mixed August 1974
chorus) Choreography
by Eddie Elejar
Tayo’y Mangagsiawit September 1974
114
(children’s chorus)
Pinupuri Ka Namin (Te Deum) June 1975
for mixed chorus (Trans-
lated by Rolando S.
Tinio)
De Profundis (for double Jan. 2, 1977
chorus, solo and orches-
tra)*
Pusong Ginto (for chorus and
orchestra) Lyrics by April 29, 1978
Rodolfo C. de Leon
Written for Philippine
Heart Foundation
A Meditation for Children July 15, 1978
(Lyrics: U.N. Poem)
Specially composed for
the GSP International
Year of the Child
Himig Kabataan-written for April 1979
the Kabataang Barangay
Salmo I: Purihin si Yahweh* Nov. 2, 1981
(Text from the Bible)
Published by New Day
Publishers, 1982
Salmo II: Panalanging Pang- Nov. 2, 1981
umaga* (O Panginoon
Ko) Published by New
Day Publishers, 1982
Bakit I, II, III (for a October 1982
capella chorus)
Esperanza (composed specially Jan. 31, 1983
for PWU-CMFA Choral
Group ’83 Anniversary
Concert) Text by Maxim
Gorky
Ang Buwan* (for children’s June 1983
chorus) Written for
Manila Children’s Choir
Festival, Lyrics by
Domingo Landicho (Pub-
lished by NAMCYA)
Kahapon, Ngayon at Bukas* Aug. 12, 1983
(composed for 1983 NAMCYA
Festival. Written in
Wichita, KS) Text by
Rodolfo C. de Leon (Pub-
lished by NAMCYA)
8 Hymns for four voices (a Oct. 20, 1983
cappella) Upon request
of Dr. Eliseo M. Pajaro
115
O Dios Naming Mahal
Purihin and Hari
Si Jesus ay Nabuhay
Ilapit kay Jesus
Ipahayag sa Lahat
Ang Kristianong Sambahayan
Mahal ko ang Iglesia
Sa Likod ng Karimlan
Hymn to Saint Michael the April 1984
Archangel (for mixed
chorus) Written for San
Miguel Parish 400th
Anniversary
Alleluia for mixed chorus
Purihin ang Diyos for mixed June 1984
chorus (contest piece
for NAMCYA Children’s
Competitions 1984)
Awit 119 for children’s Sept. 23, 1985
chorus (for the Manila
Children’s Choir)
Philippine Ethnic Song Cycle June 1985
(for Manila Children’s
Choir)
(Lamplighter) for Bayanihan April 12, 1987
production for Manila
Hotel
(Thomasites) 40th anniversary,
May 11, 1987, with text
by Jose Lardizabal-
“Arpeggio”
Three Ethnic Mindanao Songs March 17, 1988
(for Manila Children’s
Choir)
Pentik Manok (Bagobo)
Sarampong (Maguindanao)
Temanden (T’boli)
Three Cordillera Airs (for June 3, 1989
Manila Children’s Choir)
for “Parangal” at CCP,
June 10, 1989
Dang-dang-ay
Ya-o, ya-o
Tek, tek, tek
Four Cordillera Airs (for May 25, 1990
Manila Children’s Choir)
Mentiktik nan Olas
Manok ko’y Bukbukiki
Anjit Sait (Benguet-Kankanay)
Daliliyan (Welcome Song)
116
(Benguet-Kankanay)
Where the Mind is Without May 30, 1990
Fear-for mixed chorus
Text by Rabindranath
Tagore (From “Gitanjali”)
Written for Bhrama
Kumaaris
Ang Buhay Kristiano sa San Sept. 11, 1994
Antonio (for 4-part mixed
chorus, a capella)
Composed at the instance
of Willy Carbonel
Three Folksong-Airs for solo Dec. to Jan. 1995
and chorus
Arr. for PWU 75th Diamond
Jubilee
Cordillera: Dangdang-ay
(Ivy Violan)-with
ethnic instruments
Visayan: Dandansoy (Fides
S.C. Asensio)-with
flute, harp, cello
& bass
Mindanao: Linggisan/
Kinjung (Lito Vale
Cruz)-with ethnic
instruments
Animal Sense, suite for Jan. 15, 1999
3-part treble voices,
solos and piano
(Text: Fred A. Tiburcio)
Composed for the Manila
Children’s Choir for
their Canada and US
Tour, May 3 to June 5, 1999
Hymn to the New Millenium Aug. 18, 1999
For 4-part mixed chorus
Composed for the 80th
anniversary of the
Philippine Women’s
University (Lyrics by:
Dr. Dolores Baja Lasan)
(Dedicated to Dr. Helena
Z. Benitez)
117
L. Ethnic Background Music
Title Date
Title Date
119
(orchestration-Sept. 5)
In the Beginning-an oratorio/ Jan. 31, 1988
cantata for baritone
soli, quartet, mixed
chorus and orchestra
(for NAMCYA 16th anni-
versary) Libretto by
Fred A. Tiburcio
(Orchestration-Sept. 12,
1988)
Benedictus Cantata (Canticle April 23, 1990
of Canticles) Libretto
by Jose F. Hernandez-
for soloists, mixed
chorus, trumpet, organ
and percussions (made
in Los Angeles, U.S.A)
“The Spiritual Canticle”-an Jan. 24, 1991
operatorio for Soprano,
Bass-baritone, Chorus,
Speech Choir and Dance,
and Chamber Orchestra.
Libretto by St. John
of the Cross, composed
for his quadricentennial
anniversary year (1591-1991),
at the instance of the
Carmelite Community, OCD
Carmel of St. Therese of
the Child Jesus, Gilmore,
Quezon City
Love: A Great Tradition-a Oct.-Dec. 1994
theater-piece/kaleido-
scope of poetry, music,
dance and speech and
song choirs, and orches-
tra with mixed media.
Composed for the PWU
75th anniversary (Diamond
Jubilee) with lyrics
by Aurora C. Dino
-Prologue
-Ivy on the College Wall
-The Philwomenian Loves
On/A Great Tradition
-Each and All Gave All
-Thanksgiving and Re-
dedication
-Finale: That the Heights
Great Men Reached
120
O. Trumpet and Piano
Title Date
*Published
**Burned during World War II
121
Contact Information for Lucrecia Roces
Kasilag’s Works:
Peer International
810 Seventh Ave.
New York, NY 10019
(contact local sheet music store first)
122
BIBLIOGRAPHY
Books
123
__________., composer. Interview by author, 19 April
2001, Paco, Manila, Philippines. Tape recording.
124
Published Scores
125
Unpublished Manuscripts
126