ACKNOWLEDGEMENT UNIVERSITY OF SANTO TOMAS

CONSERVATORY OF MUSIC

Rev. Fr. Jose Ma. Tinoko. OP

Regent presents...

Asst. Prof. Antonio P. Africa, Ph. D.

Acting Dean Joseph John E. Mar
Asst. Prof. Peter John Marie L. Porticos student of
Faculty Secretary
Mr. Sixto Carlos Escoda Butch Roxas
in a

GRADUATION RECITAL
as partial fulfilment of the requirements for the degree of

Bachelor of Music
Major in Music Education Guitar Emphasis

May 16, 2017

Tuesday, 7:30PM
Recital Hall 1, 5th Floor, Albertus Magnus Bldg.
University of Santo Tomas
Espaa Blvd., Sampaloc Manila

This serves as an invitation

ELOGIO DE LA DANZA by L. Brouwer (1939 ) PROGRAMME
Cuban composer Leo Brouwer has written a substantial body of
work for the guitar throughout his career. The piece, Elogio de la
Danza (Homage to the Dance), comes from his earlier years, but Fugue, BWV 998
already exhibits a fairly advanced expressive manner within its tonal J.S. Bach
framework. It is cast in two movements, each having duration of
about three minutes. The first is marked Lento, while the second, a Etude No.1
homage to the famous Ballets Russes of Serge Diaghilev, carries the H. Villa-Lobos
designation Ostinato. The work opens slowly and tentatively, Brouwer
content to create a dark atmosphere before introducing dance Variations on a Theme by Handel
elements. A lively rhythm soon appears, but the music still struggles M. Guiliani
to get going, at times becoming animated, at others slackening off
and turning timid and ponderous. This section ends with the music Etude No. 1
fading into a grayish mist, the ensuing movement proceeding without
G. Regondi
pause. Here, the music is livelier in its driving rhythms and features
tapping effects that provide percussive color and invoke images of
Etude No. 2
flamenco feet slapping the floor. While there are Cuban and even
F. Hand
Spanish national elements surfacing in the notes, Brouwer steers clear
of obvious folk influences, tempering his music with a cosmopolitan
and quite serious manner. (Robert Cummings)
(intermission)

Cordoba from Cantos de Espaa

I. Albeniz

Elogio de La Danza
L. Brouwer

Kapilas na Giting
B. M. de Leon
FUGUE in Eb, BWV 998 by J.S. Bach (1685 1750)
The fugue from Bach's Prelude, Fugue and Allegro (BWV 998) is
one of only three fugues that Bach wrote in ternary form, and is the
only one with a literal repetition of the opening. The unusual
repetition of so large a section seems to be the impetus for the strong
use of narrative and rhetorical devices in this piece. In particular, the
gradual motion away from the subject and its omission at key points
makes the repetition of the opening material seem a necessity.
Renwick points out that the contrapuntal plan for a fugue is typically
organized from simple to complex: is fugue reverses that order, so
that the most complex counterpoints occurs in the framing A
sections, while the B section is concerned with the gradual
disintegration of material from the subject. (A Fugue in Ternary Form
by David R. Walker)
ETUDES by Villa-Lobos (1887 1959), Regondi (1823 1872), and
Hand (1947 ) added in the 1898 edition. Cordoba celebrates one of Albenlz's
An etude is an instrumental musical composition, usually short,
of considerable difficulty, and designed to provide practice material
for perfecting a particular musical skill. The tradition of writing etude
emerged in the early 19th century with the rapidly growing popularity
of the piano. (Wiki)
Etude No. 1 by Villa-Lobes focuses on right hand technique but
includes challenging left hand chord patterns. On the other hand,
Etude no. 2 by Frederic Hand focuses on left hand technique despite
also being an arpeggio etude just like Villalobos etude. Etude no. 1 by
G. Regondi is a romantic etude focusing on ornaments such as
appoggiatura and acciaccatura.
VARlATIONS ON A THEME BY HANDEL by M. Guiliani (1781 1829)
The famous Handel theme with accompanying variations known
as the Harmonious Blacksmith is the concluding movement of a suite.
It was published in 1720. However, the variations in this setting do
not follow those of Handel but are Giuliani's own composition. Theme
and variation is a specific kind of form in music wherein the
piece begins with a theme that is the main melody and is followed by
one or more variations of that melody. A variation is music that is
similar to the theme but is also different enough that it does not
repeat the melody exactly.
CORDOBA (from Cantos de Espana) by I. Albeniz (1860 1909)
Cantos de Espafia is a suite of originally three, later five pieces
for the piano by Isaac Albeniz, Prelude, Orientate and Sous le palmier
were published in 1892, and Cordoba and Seguidillas were
favorite cities. In the heart of Andalusia, the city of Cordoba is home
to Spain's famous "great Mosque". The city is rich in history, both
Christian and Moorish, and Albeniz captures the mood and feel of
both in Cordoba. The piece begins with the sound of tolling church
bells. The sound of a hymn in dorian mode plays in a faux bourdon
style, rhythmically ambiguous so as to resemble liturgical singing. The
first section ends in contrasting character, reminiscent of a gusla
playing a serenade with a Moorish sound. The second section sounds
of flamenco dancers and Spanish folk song rhythms as it mounts to a
moving climax. There is a repeat of the first section and then a brief
coda. (Wiki)
KAPILAS NA GITING by B. M. de Leon (1942 2013)
Kapilas na Giting came from Bayani Mendoza de Leon's Three
K's for Solo Guitar. The publication features the first 3 guitar solos
written by the composer. Kapilas na Giting was written for Filipina
guitarist Agnes Narciso in 1975 who gave the premiere performance
of the work in Alicante, Spain. The work features an ABA form in which
the A part is a moderately fast duple meter movement that draws a
picture of a warrior preparing for war. Strumming patterns in the
movement creates an atmosphere of impending armies marching to
battle. On the other hand, the contrasting B part is a slow meditative
movement that is somehow reminiscent of peace; the calm before the
storm. As the movement reach its end, the A theme comes back again
bringing agitation to the piece as it reaches to the final climax of the
battle.