Abelardo, Nicanor

(b San Miguel, Bulacan, 7 Feb 1893; dManila, 21 March

1934). Filipino composer, conductor and teacher. As a child he had violin
lessons from his father, and in 1901 he wrote his first composition, Ang unang
buko (The First Fruit), a waltz. He was sent to study at the Liceo de Manila and
he learnt to play the piano, but at the same time he had to take various jobs to
support himself and his family. In 1916 he entered the Conservatory of the
University of the Philippines, and in the next year he composed a march, U. P.
Beloved, which won first prize in an open competition. He studied with Victoriano
Carreon (singing), Jos Silos (bandurria), Bonifacio Abdon (violin) and Jos
Estella (piano); he received a teachers certificate at the conservatory in 1921,
and in 1923 he pursued postgraduate studies there.
The piano concerto, which he wrote for these later courses, was the first
concerto written by a Filipino. From the same period areNasaan ka irog (Where
are you, Beloved?) and Mutya ng Pasig (Muse of Pasig River), examples of his
work in developing thekundiman (love-song) into an art song form. Even before
graduating he had begun to teach at the University of the Philippines,
encouraged by his teachers Guy Harrison and Robert Schofield. But in 1925 he
came into controversy with the conservatory director, Alexander Lippay, when he
took charge of the Santa Ana cabaret orchestra. Among the awards he received
in the following years were two first prizes at the Philippine Carnival Contest of
1931. In that year he went to the USA under a fellowship from the University of
the Philippines, and in 1932 he took the MM at the Chicago Musical College.
These were his most productive years, which saw the composition of several
important works, among them the polytonal suite Panoramas and the concert
overture Cinderella, with which he won the La Violette Scholarship. He returned
to the Philippines in 1932 and rejoined the university staff. At his sudden death
he left incomplete a symphony and an opera, Florante at Laura. His contribution
to Philippine music lies not only in his abundant and profound output (he wrote
over 150 works), but also in his work as a brilliant teacher of theory and
composition. He published a number of treatises and scholarly essays.
WORKS
(selective list)

Orch: Academic Ov., 1921; Mountain Suite, 1921; Pf Conc., b , 1923; Valse
lgante, sym. band, 1931; Cinderella, ov., 1931; Sinfonietta, 1931; Sym., unfinished
Chbr and solo inst: Ang unang buko [The First Fruit], waltz, 1901; U.P. Beloved,
march, 1917; Cavatina, vn, 1921; Nocturne no.1, pf, 1921; Romanza, vc, 1921; Pf
Sonata, C, 1921; Str Qt no.1, F, 1921; Capriccio espaol, vn, 1923; Fantasieimpromptu, pf, 1923; Fifes and Castagnets, fl, pf, 1931; Naughty Nymph, fl, pf, 1931;
Panoramas, fl, cel, pf, vn, va, 1931; Sonata, str qt, 1931; Sonata, vn, pf, 1931; A
Visayan Caprice, pf trio, 1932

Kundiman: Nasaan ka irog [Where are you, Beloved?], 1923; Kundiman ng Luha,
1924; Magbalik ka Hirang, 1925; Pahimakas, 1925; Bituing marikit, 1926; Mutya ng
Pasig [Muse of Pasig River], 1926; Himutok, 1929; Sa iyong kandungan, 1932
Other vocal works: Ave Maria, S, vn, 1921; Ang aking bayan, 1v, pf, 1923; Kung
hindi man, 1v, pf trio, 1923; Health Service Hymn, 1924; Canto del viajero (J. Rizal),
1v, pf, 1925; National Heroes Day Hymn, 1928; Salve regina mater, S, Bar, vc, pf,
1932, Misa de Requiem, 1934; Florante at Laura, op, unfinished