Acknowledgements

University of Santo Tomas

Rev. Fr. Jose Ma. B. Tinoko, O. P., JCD. Conservatory Of Music
Regent
Presents
Assoc. Prof. Antonio P. Africa, Ph. D.
Dean

Assoc. Prof. Peter P. Porticos, Ph.D.

Faculty Secretary Emmanuel John N. Mahipus
Percussionist

Student of
Mr. Daniel P. Bartolome
In a
Graduation Recital

In partial fulfilment of the requirements for the degree of

Bachelor of Music
Major in Percussion

Collaborating Groups:
UST Percussion Ensemble
UST String Orchestra

May 22, 2019

6:00pm
Tuesday
Recital Hall 1
5th floor, Albertus Magnus Building,
University of Santo Tomas, Espana, Manila

___________________________________________________________________________
This serves as an Invitation
 UST String Orchestra
Programme
Asventuras Alexej Gerassimez Violin I Violin II
Naobe Eizalon Lim Dianne Maceren
Ryan Monakil Airra May Punzalan
Fatima Aquias Hannah Daloiza
No. 2 Funk Todd Ukena Glendale Aquias Stacey Manjares
Gab Zagala, Drums Kate Mendoza JC Pilar
Jap Mendoza Antonette Marie Jingco
Trio Per Uno Nebojsa Zivkovic Viola Cello
1st Mvt. Ram Sajota Vanette Villanueva
EJ Mahipus, Player 1
Isaac Belostrino, Player 2
Miguel Gacer Michael Luke Rendal
Gab Zagala, Player 3 Zeryna Rodriguez Shelly Ann Isaga
Christian Aplaon Roie So
Min Mendoza Dom Abacar
INTERMISSION
Contrabass
Ace Gonzales
Colossus Eric Rodis Joshua Henry Endo
John Cerwin Salaguinto
UST Percussion Ensemble

Concerto for Marimba Ney Rosaurro

Conductor: Jedrick Itugot
UST String Orchestra
UST Percussion Ensemble Program Notes
Player I Asventuras
(Xylophone, Bass Drum, Tam-tam, Bowed Cymbal) By: Alexej Gerassimez
Isaac Belostrino
Player II Asventuras by Alexej Gerassimez is very different from most other
(Triangle, Woodblock, Temple blocks, Floor tom, Field solos for snare drum. This solo calls upon the performer to approach
Drum, Crash Cymbal) the instrument with the sole purpose of exploring the drum to find
Shane Agbisit all of the possible colors and timbres and that have been all but
Player III omitted in typical rudimental drumming.
(Sizzle Cymbal, Suspended Cymbal, Hi-Hat Cymbal, China
Cymbal, Ride Cymbal) Notated in the score are portions where the performer will play on
Christopher Adora the rim, every possible spot on the head, the shell, and even with
Player IV different implements like drum sticks, hands, felt mallet, and
(Snare Drum, Brake Drum, Bongos) brushes.
Krishna Zamora This is an amazing piece for college performers looking for a piece for
Player V a jury or recital.
(Marimba low (E), Glockenspiel, Chimes)
Koreen Trinidad Duration is 7 Minutes.
Player VI
(Marimba, Chimes)
Karsavina Vicencio No. 2 Funk
Player VII By: Todd Ukena
(Vibraphone)
Gabriel Zagala Todd A. Ukena is a composer and arranger of percussion literature
Player VIII and has been playing percussion since 1970. He received a B.M.E.
(5 Timpani) degree from Phillips University in Enid, Oklahoma, in 1980 studying
Ej Mahipus under Mr. Eddie Lockhart. Later, he completed a M.M. Degree in
Percussion Performance from the University of Oklahoma in 1988
Conductor: Jedrick Itugot studying with Dr. Richard Gipson. Other post graduate work was
done at the University of North Texas, studying under Ron Fink and
Dr. Robert Schietroma.
Funk #2 by Todd Ukena is an intermediate composition scored for
solo drum set. It's possible to adapt this performance for a duet with
timpani.
Trio Per Uno
By: Nebojsa Zivkovic
(1995/1999) Consist of three movements. The edge-movements
have some similarities in manner and appears as if they would
present a perfection of wildness in an archaic ritual cult. The opening
requires a bass drum (lying flat) played with timbale sticks by all
three players. In addition to that sound, pair of bongos and china-
gongs are used by each player. The claim for playing on the same
instrument makes in the music interesting effects at strict unison
performed parts which are “abrupt” by the contrasting sound of
other participating instruments. Possibility of improvisation in the
1st movement of the trio just makes the piece more interesting and,
at the same time, opens the way for the free streaming of the drum
energy, without any obligation to the “written text”.
Colossus
By: Eric Rodis
Colossus was written during Eric’s first year of study at the University
of North Texas. It was a year of continuous exposure to new and
exciting ideas for him. Being both a student of the
percussion and composition department, He sought a way to
combine all these experiences to a single endeavour.
For the timpanist, He recommends avoiding mallets that are overly
“harsh” throughout the majority of the piece, instead seeking a
balance between articulation and tone. The only exception to this is
the passage between measure 65 and 87 where you may go as far as
your taste allow in achieving an ultra-articulate sound.
The timpani part was written with five drums in mind, however a
sixth drum permanently set to the pitch ‘B’ may be employed to
drastically reduce the number of tuning changes.
Concerto for Marimba
By: Ney Rosauro
The Concerto for Marimba and Orchestra was written in June and
July of 1986 in Brasília and is dedicated to the composer’s son
Marcelo. The work was originally written for marimba and string
orchestra and was premiered in the USA the same year with the
Manitowoc Symphony Orchestra in Wisconsin under the direction
of Manuel Prestamo. The Wind Ensemble version is arranged by Dr.
Thomas McCutchen. With the commercial success of a 1990.
CD and video by Scottish percussionist Evelyn Glennie and the
London Symphony Orchestra, the Concerto rapidly came to be
regarded as part of the standard literature for percussion. It is
considered to be the most popular marimba concerto today, and has
been performed by more than eight hundred orchestras worldwide.