Professional Documents
Culture Documents
Lucrecia Kasilag
Lucrecia Kasilag
D.M.A. DOCUMENT
By
Document Committee:
Approved by
_______________
Document Adviser
School of Music
Copyright by
Caroline Besana Salido
2002
ABSTRACT
The
The selected
iii
Dedicated to
my parents,
Engr. Isidro Seeris Salido and
Dr. Monica Aguila Besana-Salido,
and to my sister,
Dr. Joan Florence Besana Salido
iv
ACKNOWLEDGMENTS
Mom, Dad
vi
VITA
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
2. Piano Compositional Style....................28
3. April Morning (Fantasie Tone-Poem)...........47
4. Theme and Variations (based on a Filipino folk
tune Walay Angay)..........................58
5. Elegy on Mt. Pinatubo........................78
Conclusion..........................................89
Appendix
Complete List of Works.........................93
viii
A. Songs..............................93
B. Piano..............................98
C. Marches and Hymns..................99
D. Violin and Piano..................100
E. Organ.............................101
F. Miscellaneous Chamber Works.......101
G. Incidental Music..................107
H. Voice and Orchestra...............110
I. Indigenous Philippine Instrumental
Orchestra.........................110
J. Music for Movies..................112
K. Choral............................113
L. Ethnic Background Music...........118
M. Piano and Orchestra...............118
N. Mixed Chorus, Solos, Chamber and
Orchestra.........................119
O. Trumpet and Piano.................121
Contact Information for Lucrecia Roces
Kasilags Works........................122
Bibliography
Books.........................................123
Published Scores..............................125
Unpublished Manuscripts.......................126
ix
LIST OF EXAMPLES
Example
Page
2.1
2.2
2.3
2.4
2.5
2.6
2.7
2.8
2.9
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.8
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10
4.11
4.12
4.13
4.14
4.15
4.16
xi
4.17
4.18
4.19
5.1
5.2
5.3
5.4
5.5
5.6
5.7
5.8
5.9
xii
LIST OF TABLES
Table
Page
2.1
3.1
4.1
5.1
xiii
INTRODUCTION
As a Filipina, I find it
I continued
However,
To my
She is a
Because
This discussion
The
sances.
Not only
As a whole, the
Much of
was mixed with the music of the new faith, many forms
of secular indigenous music assimilated elements of
European secular genres introduced from Spain.
Musically, its diatonic melodies and chordal
accompaniments showed the influence of Western melody
and harmonic progression.
An example of the oldest and most popular song
among the Christianized Filipinos is the kumintang, an
epic set to music designed to inspire warriors.
The
This
From
These would
Another is
In addition, the
In the
Other concerts
This new
Ibid., 9.
community.
Ibid., 13.
10
Kasilag studied
Her
Chapter
The
The analyses
Following is a
It is
12
CHAPTER 1
BIOGRAPHY
Kasilag was
13
solfeggio lessons.
While
Because
Aware that
10
Ibid., 3-4.
Ibid., 7.
14
While
11
Ibid., 9.
12
Ibid.
15
In addition, she
a woman
days was quite
and raise
did!13
de la Torre, 13.
16
At that time,
Teaching piano
She
The
15
Ibid., 15.
17
Komposer with a K,
Ibid., 17.
17
Kasilag, 22.
18
Kasilags
Dean
According to Helena,
Ibid., 29.
19
de la Torre, 31.
19
composition.
20
Ibid., 24.
20
as secretary-registrar at PWU.
After
In an attempt to
21
Ibid., 26.
21
In fact, there
At this
conference, Kasilag served on two panels and was cochairman of the workshop on individual and private
music instruction.
22
Ibid., 28.
22
While at PWU,
The
Since
23
Ibid., 31.
24
Ibid., 33.
23
With such
In
These include
He set
After he
25
Kasilag, 113.
25
This
26
Ibid., 114.
26
And in
27
de la Torre, 91.
27
CHAPTER 2
28
29
TITLE
DATE
Spinning Song**
Prelude and Fugue**
Scherzo in D**
Sonata quasi una
Fantasia**
Nocturne in A-flat**
Valse Tendresse
1940-1941
1940-1941
1940-1941
1940-1941
April Morning
Variations on a Philippine
Theme: Si Nanay, si Tatay
di co Babayaan
Philippine Suite
(Allemande, Courante,
Sarabande, Minuet, Gigue)
Passacaglia
Rondo in E Minor
Sonata in G Minor
Variations on a Philippine
Folk Theme: Walay Angay*
1940-1941
1940-1941 Unpublished; Late
intermediate to early
advanced level
May 6,
Unpublished; Fantasie
1941
Tone Poem based on a poem
by Angela Manalang-Gloria;
Late intermediate to
early advanced level
Aug. 30, Unpublished
1941
Nov. 16,
1949
Unpublished
Jan. 8,
1950
Jan. 16,
1950
March 13,
1950
April 17,
1950
Unpublished; Advanced
level
Unpublished
Burlesque*
Jan. 27,
1957
Alitaptap
July 31,
1957
Nov. 8,
1960
Elegy
Derivation I: Buphali
raga
Jan. 3,
1961
Sonate Orientale
Dec. 10,
1961
March,
1962
REMARKS
Unpublished; Advanced
level
Published by Peer
International; Late
intermediate to early
advanced level
Published by Silliman
Music Foundation; Late
intermediate to early
advanced level
Unpublished
Unpublished; Late
intermediate to early
advanced level
Unpublished; For prepared
piano; Early advanced
level
Unpublished; Advanced
level
Unpublished
30
(continued)
* Published
** Manuscript Burned During World War II
Copied Manuscript Supplied by the Composer
31
piano works.
By the
As previously
During her
However, this
In addition, she
34
Elegy (1960) is an
example of this.
Along with quasi-modal harmonies, this
composition is an lugubrious lament in ostinato, with
alternating 3/2 and 2/2 time signatures and a
characteristic triplet sobbing figure. [See Example
2.2]
The lamenting
This
between exposition and development during the ClassicRomantic period is no longer observed.
In fact,
There is
He achieved that
These
28
Ibid., 107.
37
This is helped
38
This
She
Kasilag was
30
de la Torre, 68.
31
Franquelli, 84.
41
In addition to
Because these
Kasilag continues
32
de la Torre, 83.
42
The
43
programmatic.
Serendipity was composed for her friend, Dr.
Helena Z. Benitez, in honor of her 80th birthday.
Dr.
33
44
She
As
34
Ibid.
45
46
[See
CHAPTER 3
APRIL MORNING
(FANTASIE TONE-POEM)
This composition is
The poem
is as follows:
April Morning
I ran to the garden this morning
To scatter my thoughts of you
And empty my heart of yearning
And fill my arms with the blue.
36
47
48
Example 3.1]
49
The words come from the poem Verstohlen geht der Mond
auf and are set to music.
The poems
translation is as follows:
German:
Verstohlen geht der Mond auf,
Blau, blau Blmelein!
Durch Silberwlkchen fhrt sein Lauf;
Rosen im Thal, Mdel im Saal,
o schnste Rosa!
English:
Stealthily the moon rises,
blue, blue little flower!
Through silver clouds it makes its way;
Roses in the valley, amiden in the hall,
50
38
51
Section
Description
4/4; Moderato;
Very simple, lyrical,
descending melody with
accompaniment playing a
bass note on the main
down beat and first
inversion chords on all
the offbeats;
Reminiscent to Faur
4/4; Same melody as
above but in octaves
and forte but calmando
towards the end
4/4; Allegretto; Melody
and accompaniment are
playing triplets; Left
hand is playing a
rhythmic ostinato
containing open-fifth
octave intervals that
is ascending and
descending
4/4; Begins chorale
style; Key is ambiguous;
Lot of descending and
ascending scalar lines
in all voices; Octaves
and open-fifth octaves
in left hand; Can hear
a clear cadence to C
minor but does not
really stay there
Exposition
First Theme 1
1-13
A-flat
Major
Second Theme 1 2
(still the
same)
14-23
A-flat
Major
Theme 2
24-44
F Minor
Development
45-64
C
Minor
Recapitulation
Only Theme 1
5
65-85
A-flat
Major
52
The left-hand
As soon as Verse 1
Theme 1 is restated,
53
[See
Example 3.5]
Instead of moving
rhythms.
55
This C Minor is
In measure 64, there
The
57
these
CHAPTER 4
Its
58
Measures Variation
Key Description
1-8
Theme
9-16
17-24
25-33
34-44
45-52
53-60
61-75
76-85
86-97
98-108
10
59
(continued)
11
118-144
Finale
61
The
Triplets are
62
The
63
Between
Afterwards they
hand follows.
This
The time
The texture is
65
The
The time
The left
direction.
Languidly, suggests.
68
The
69
71
But
The
72
The
73
It follows in
While
Kasilag composed
Other
These compositional
77
CHAPTER 5
After a 460-
78
39
79
Section
Measures Key
Description
1-29
Phrygian
on F
21-38
Phrygian
on F
39-54
Phrygian
on F
55-64
Phrygian
on F
65-81
Phrygian
on F
21-34
Phrygian
on F
82-95
Phrygian
on F
Intro
Adagio
A
Andante
Lugubrioso
B
Andantino
Brief
Interlude
Penseroso
B
Allegretto
A
Andante
Lugubrioso
Coda
Coda
80
The Introduction
The
This is followed by a
81
The
The
83
84
This is only
85
This interlude
Instead,
86
The conclusion, Adagio, returns to the quasitrill melody [See Example 5.2] played in octaves.
Immediately, an explosive ffff sforzando chord is
played on extreme sides of the keyboard. [See Example
5.9]
87
88
CONCLUSION
Although she
Atypically,
Even with
The piano
Upon
They appear
For
40
de la Torre, ii.
92
APPENDIX
A.
Songs
Title
Text by
Date
The Rosary
Sampaguita
Heaven-Sent
A Star Bent Low
The Forget-MeNot (also for
voice and
orchestra)
At Nightfall
Souls Soliloquy
Aurelio Alvero
Ana Maria Chavez
Aurora C. Dino
Aurora C. Dino
Anonymous
Aug. 9, 1944
May 10, 1944
June 9, 1944
Sept. 13, 1944
Sept. 24, 1944
Charles Towne
Menonah Stevens
Abbot
Sidney King Russel
Adelaide Ann
Proctor
Gail Brook Burket
Thomas S. Jones,
Jr.
Anonymous
Gail Brook Burket
Abelardo Subido
Oct. 6, 1945
Oct. 13, 1945
Sonnet
The Message
For You
Dusk at Sea
Nuptial Prayer
Earthbound
There Shall be
no Returning
You Shall be
Free
Soft Night
Song Cycle (Dawn,
Noon, Night)
The Legend of
Maria Makiling
Trinidad Tarrosa
Subido
Abelardo Subido
Leroy V. Brant
Abelardo Subido
Feb. 2, 1950
93
1947
Anonymous
Anonymous
Alice Meynell
Glen Allen
Visayan Folk Song
Thomas Moore
Anonymous
Visayan Folk Song
Visayan Folk Song
Visayan Folk Song
Robert Louis
Stevenson
May 5, 1955
Oct. 27, 1955
Feb. 2, 1956
May 1956
May 1956
Oct. 30, 1956
Tarrosa Subido
94
Lulay
Widmung
No Sicay,
Nanonotan
No Siak, So
Mangaro
Daw Asu Nga
Lumalabay
Paruparo at Uod
Manang Biday
Three Tagalog
Serenades:
O Ilaw
Ala-ala Kita
Lulay (revised)
Two Humorous
Tagalog Songs:
Doon po sa Aming
Maralitang
Bayan
Leron, Leron
Sinta
Three Love
Sonnets:
One Glance at
You
If We Must
Part,
Beloved
Across the
Land and
Seas
Songs of the
East: I (for
voice, instrumental ensemble and prepared piano)
From Rizals
Pamana ng Lahi
(also arr. for
duet)
Visayan Folk Song
Visayan Folk Song
Visayan Folk Song
(also arr. for
duet)
Ilocano Folk Song
(also arr. for
duet)
January 1959
January 1959
Feb. 3, 1959
Feb. 4, 1959
95
BalletongTardel
(Philippines)
Dorachi Taryung
(Korea)
Piari (India)
Shalom-Mayim
Mayim (Israel)
Sariling Awitin: A
Cycle of Philippine Songs
(for voice, prepared piano,
guitar and percussions)
Nan-aantooaychua-ay (Igorot)
Tawarem lo,
La, ama, aPanekodTaadagara
(Bagobo)
Ohoy, Alibangbang (Visayan)
Tilibum, TilibumSa Tulay ng
Kolgante (Tagalog)
Muslim Trio Set
Based on original
(for voice,
melody research
piano and
of the late
Muslim
Emilia ReysioIntruments)
Cruz
Bon Fio Libon
Lindugan
Sua-Sua
Never a Woman
Helen Cranville
Barker
Three Philippine
Songs:
Uwak (Visayan)
Ano Dao Idtong
sa Gogon
(Bicol)
Mahal na Ginoo
(Tagalog)
Songs of the
East: II
96
Nov. 9, 1964
Meng-Ku Ching
Lo (Mongolia)
Trek Tek Tek
(Malaysia)
Sado Okesa
(Japan)
Dayo Dayo
Kupita
(Philippines)
Nagsaway a
Pintas Mo
(Philippines)
Songs of the East: III
Two Love Songs
In Monologue
Ulan, Ulan!
Jose Lardizabal
Song of the
Alexei Arbuzov
Circus
Narito Na!-Fun
Jose Lardizabal
Song (for
Bayanihan
Bravo 82)
Princess DatimMig Alvarez
bangs Song
Enriquez
In All the
Lang-Between
Two Seas
Indak Pambata
Rosa L.
Theme Song
Puertollano
Lamento:
VocaliseReset for
Dalisay J.
Aldaba for
soprano, flute
& guitar (originally composed for
Lilia T. Reyes
at behest of
Rolando S.
Tinio, May 30,
1985)
Huling Yugto-for
soprano and
piano on a
poem by
Auggusta de
Almeidda
97
April 1967
Feb. 10-12, 1969
July 1970
March 23, 1981
Sept. 18, 1982
Sept. 8, 1994
B.
Piano
Title
Date
Spinning Song**
Prelude and Fugue**
Sonata quasi una Fantasia**
Nocturne in A-flat**
Valse Tendresse
April Morning (Fantasie Tone
Poem based on a poem by
Angela Manalang-Gloria
Variations on a Philippine
Folk Theme: Si Nanay, si
Tatay di co Babayaan
Philippine Suite (Allemande,
Courante, Sarabande,
Minuet, Gigue)
Passacaglia
Rondo in E Minor
Sonata in G Minor
Theme and Variations Based on
a Filipino Folk Tune,
Walay Angay* (Published
by Peer International)
Burlesque* (Published by
Silliman Music
Foundation)
Alitaptap
Elegy
Derivation I: Buphali raga
(for prepared piano)
Sonate Orientale
Fantasy on a Muslim Theme
Derivation II: Shalom-Aloha
(for prepared piano)
Derivation III: Hendai-Hogaku
(for prepared piano)
Derivation IV: Orientalia
(for prepared piano)
Homage to Sr. Baptista Battig
(for two pianos)
Ang Tagak: Valse Lamentoso
(written for Teatro
Pilipino)
Scherzino 1980*-NAMCYA
Commissioned Contest
Piece Cat. C (Published
by NAMCYA)
1940-1941
1940-1941
1940-1941
1940-1941
1940-1941
May 6, 1941
98
Jan. 8, 1950
Jan. 16, 1950
Mar. 13, 1950
April 17, 1950
Rondeau 1981*-NAMCYA
Commissioned Contest
Piece Cat. C (Published
by NAMCYA)
Derivation V: Caprice 1982*NAMCYA Commissioned
Contest Piece Cat. C
(with prepared piano)
(Published by NAMCYA)
Derivation VIII-for St.
Cecilias Concert, for
duo-pianists Della G.
Besa and Mary Ann
Armovit
Elegy on Mt. Pinatubo-for
piano solo; Written
for Jovianney Emmanuel
Cruz
Serendipity-for piano solo;
Dedicated to Dr. Helena
Z. Benitez on her 80th
Birthday
C.
June 1981
July 4, 1982
August 1989
Date
1951
99
1955
1955
March 11, 1957
May 16, 1965
Nov. 15, 1968
Jan. 8, 1969
January 1975
Jan. 29, 1975
Editors Guild)
College Editors Guild March*
(Published by the College
Editors Guild)
Paghahandog (Lyrics by Julia
Calixto)-Ded. to Leticia
P. de Guzman
Alay sa PWU (with orchestra)
(Lyrics by Leticia P.
de Guzman on her
installation as 4th PWU
President)
Pusong Ginto (Lyrics by
Rodolfo C. de Leon)Written specially for
the Philippine Heart
Association)
GSP Ruby Jubilee Song (Lyrics
by Yolanda C. Hernandez)
Its Ruby Time (Lyrics by
Milagros A. Villasor)
The Asia Pacific-Ruby Jubilee
Encouragement Song
(Lyrics by Milagros A.
Villasor)
CAWP Hymn for 3-part treble
Voices (Lyrics by
Leticia P. de Guzman)
ASEAN, Magkaisa! (Lyrics by
Leticia P. de Guzman)Made for BayanihanASEAN
D.
Aug. 6, 1976
Nov. 5, 1980
Dec. 8, 1980
Dec. 8, 1980
Feb. 5, 1986
Aug. 6, 1990
Title
Date
Rondo in F
Variations on Bahay Kubo
Theme
Ostinato
Intermezzo
Fantasie on a Four-Note
Theme for Three Violin
and Piano
100
E.
Nov. 8, 1984
March 7, 1999
Organ
Title
Date
F.
Title
Date
101
January 1955
November 1956
Jan. 4, 1958
102
Feb. 6, 1958
Feb. 7, 1958
October 1963
Jan. 7, 1965
Jan. 19, 1966
November 1968
November 1969
103
January 1970
February 1970
March 1970
March 1971
September 1971
January 1975
March 1975
March 1975
August 1975
104
1975
February 1976
November 1976
1978
January 1980
Anniversary Concert on
August 8, 1981)
Peking Interlude for Kucheng
and Chamber Orchestra
(Written for PROC visit
in 1981)
East Meets Jazz Ethnika
(for Jazz Friends for
the 1982 Asian Arts
Festival in Hong Kong)
Si Pagong at si Matsing, oneact opera for children
of all ages (for soprano,
tenor, piano and
orchestra) with libretto
by Rene O. Villanueva
Trio for Piano, Cello and
Violin-composed for the
Bolipata brothers
Homecoming Concert
Serenade for String OrchestraDedicated to Dr. Gerrit
Bretzler
Ang Apoy ng mga Hayop sa Gubata 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
Cantata for children
(libretto by Rene O.
Villanueva, commissioned
by Asian Institute for
Liturgy and Music/Francisco F. Feliciano
Fanfare and Rondo for the
Manila Brass Quintet of
CCP for 1987 German
Anniversary, Paco Park
Hula!-for Denise Reyes
choreography
Kleine Suite-for Manila Brass
Choir, written specially
for the Philippine-German
Anniversary, Paco Park
Presents, Feb. 24, 1989
(Commissioned by Dr.
Francisco F. Feliciano)
105
October 1982
May 1984
June 1985
1985
106
Oct. 8, 1998
Oct. 9, 1998
May 8, 1999
G.
Incidental Music
Title
Date
(unfinished)
107
November 1961
July-Aug. 1971
November 1971
Jan. 2, 1976
January 1976
June 1976
Feb. 4, 1977
(Shakespeares Merchant
of Venice in Tagalog
translations by R.S.
Tinio)
Romeo at Julieta (Shakespeares Romeo and
Juliet in Tagalog
translations by R.S.
Tinio)
Anino ng Bukas (for PWU
Anniversary)
Camille (for Teatro
Pilipino)
Ang Kuripot (for Teatro
Pilipino)
Sisa (for ballet) for CCP
Dance Company (Choreography by Cora G.
Inigo)
Ang Tagak (for Teatro
Pilipino)
Kambal (Plautus) (for
Teatro Pilipino)
Hamlet (for Teatro
Pilipino)
May Katwiran ang Katwiran
(melodies by R.S.
Tinio) arr. for instrumental ensemble
Tartuffe (R.S. Tinio) (for
Teatro Pilipino)
Mirandolina (by Jose Javier
Reyes)
Quadrilogue (4 parts) (for
St. Cecilias Concert)
Violin Concerto: Violin/Piano
Orchestra
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.
Tinio) for Teatro Pilipino
Impressions (4 movements) for
orchestra
Tapestry (in 5 parts) for
108
June 1978
February 1979
April 16, 1979
June 18, 1979
Oct. 22, 1980
Oct. 7, 1980
June 1, 1981
Oct.-Nov. 1982
Nov. 10, 1982
Feb. 12, 1983
July 1983
November 1983
Oct. 14, 1983
Ballet/Orchestra,
specially written for
Alice Reyes, Philippine
Music Festival 1983
Pang-Alay
Funfaire for Orchestra,
written for the 15th
Anniversary of CCP
(Alay sa Bayan)
Muslim Water Fantasy, for
Indak Pambata Recital
under Bayanihan Alumni
Association at CCP
Little Theater, June 7,
1986
Leona Soliloquy-for CCP
Womens Desk Committee,
c/o Fe Mangahas
Violin Concerto No. 2 in g
(Piano/Violin score)
composed for Carmencita
Lozada
(Orchestra score)
World premiere by Grigori
Zhislin with the Philippine Philharmonic Orchestra under Francisco
Feliciano, conductor, at
the CCP Aug. 30, 1998
Centennial Tribute to Filipino
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 Centennial Year and premiered
on June 13 and 14, 1998
at the CCP with the Philippine Philharmonic Orchestra conducted by
Chino Toledo
109
July 1997
March 1998
H.
Title
Text by
Date
Song Cycle
Dawn-NoonNight
The Forget-MeNot
Love Songs-a
Cycle
Meeting
Communication
Wedding Day
Fulfillment
Evensong
Dichotomy(?) for
soprano,
voices, orchestra and
indigenous
instruments
Pitong mga Pasalitang Awit,
for tenor
and string
orchestra
(Text by R.S.
Tinio) (made
in Taipei)
Leroy V.
Brant
I.
Anonymous
Tarrosa
Subido
Nov. 7, 1956
Indigenous Philippine
Instrumental Orchestra
Title
Date
Improvisations on Maranao
Themes (for Moslem
gamelan)
Dularawan-Golden Salakot
(music-dramatic, choral
and choreographic work
for soloist, mixed chorus
and indigenous Philippine
February 1963
110
April 1969
111
July 3, 1970
March 5, 1972
May 1972
June 1974
October 1975
May 1979
February 1981
Sept. 6, 1983
May 7, 1984
May 1985
September 1985
May 1989
June 6, 1989
J.
Title
Date
Shell Documentary-directed
by Ben Osias The Land
of Happiness
Way-Waya-directed by Bert
Avellana
Hula-directed by Emmanuel
Borlaza and produced by
Ben Payumo
1960
112
1981
1983
K.
Choral
Title
Date
113
February 1950
Oct. 18, 1955
April 19, 1955
Oct. 12, 1956
Nov. 4, 1957
September 1959
September 1959
July 13, 1961
Jan. 3, 1963
Feb. 5, 1963
Jan. 2, 1963
114
August 1965
April 1966
June 1966
June 5, 1967
December 1969
September 1974
(childrens chorus)
Pinupuri Ka Namin (Te Deum)
for mixed chorus (Translated by Rolando S.
Tinio)
De Profundis (for double
chorus, solo and orchestra)*
Pusong Ginto (for chorus and
orchestra) Lyrics by
Rodolfo C. de Leon
Written for Philippine
Heart Foundation
A Meditation for Children
(Lyrics: U.N. Poem)
Specially composed for
the GSP International
Year of the Child
Himig Kabataan-written for
the Kabataang Barangay
Salmo I: Purihin si Yahweh*
(Text from the Bible)
Published by New Day
Publishers, 1982
Salmo II: Panalanging Pangumaga* (O Panginoon
Ko) Published by New
Day Publishers, 1982
Bakit I, II, III (for a
capella chorus)
Esperanza (composed specially
for PWU-CMFA Choral
Group 83 Anniversary
Concert) Text by Maxim
Gorky
Ang Buwan* (for childrens
chorus) Written for
Manila Childrens Choir
Festival, Lyrics by
Domingo Landicho (Published by NAMCYA)
Kahapon, Ngayon at Bukas*
(composed for 1983 NAMCYA
Festival. Written in
Wichita, KS) Text by
Rodolfo C. de Leon (Published by NAMCYA)
8 Hymns for four voices (a
cappella) Upon request
of Dr. Eliseo M. Pajaro
115
June 1975
Jan. 2, 1977
April 1979
Nov. 2, 1981
Nov. 2, 1981
October 1982
Jan. 31, 1983
June 1983
116
April 1984
June 1984
June 1985
June 3, 1989
(Benguet-Kankanay)
Where the Mind is Without
Fear-for mixed chorus
Text by Rabindranath
Tagore (From Gitanjali)
Written for Bhrama
Kumaaris
Ang Buhay Kristiano sa San
Antonio (for 4-part mixed
chorus, a capella)
Composed at the instance
of Willy Carbonel
Three Folksong-Airs for solo
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
3-part treble voices,
solos and piano
(Text: Fred A. Tiburcio)
Composed for the Manila
Childrens Choir for
their Canada and US
Tour, May 3 to June 5, 1999
Hymn to the New Millenium
For 4-part mixed chorus
Composed for the 80th
anniversary of the
Philippine Womens
University (Lyrics by:
Dr. Dolores Baja Lasan)
(Dedicated to Dr. Helena
Z. Benitez)
117
L.
Title
Date
July 1974
M.
September 1974
February 1978
Title
Date
Divertissement (Concerto in
three movements)
Concertante for Piano, Strings,
Brasses and Percussions
Commissioned by St. Scholasticas Music Alumni
Association for the 15th
Centennial of St. Benedict, Nov. 11, 1979
Orientalia (Suite for Piano,
118
N.
Title
Date
Oct.-Dec. 1976
119
Jan. 2, 1977
Nov. 29 to
Dec. 10, 1977
October 1979
(orchestration-Sept. 5)
In the Beginning-an oratorio/
cantata for baritone
soli, quartet, mixed
chorus and orchestra
(for NAMCYA 16th anniversary) Libretto by
Fred A. Tiburcio
(Orchestration-Sept. 12,
1988)
Benedictus Cantata (Canticle
of Canticles) Libretto
by Jose F. Hernandezfor soloists, mixed
chorus, trumpet, organ
and percussions (made
in Los Angeles, U.S.A)
The Spiritual Canticle-an
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
theater-piece/kaleidoscope of poetry, music,
dance and speech and
song choirs, and orchestra 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 Rededication
-Finale: That the Heights
Great Men Reached
120
Oct.-Dec. 1994
O.
Title
Date
*Published
**Burned during World War II
121
122
BIBLIOGRAPHY
Books
Bozarth, George S., ed. Brahms Studies: Analytical and
Historical Perspectives. Oxford: Clarendon Press,
1990.
de la Torre, Visitacion R. Lucrecia R. Kasilag: An
Artist for the World. Philippines: Visitacion R.
de la Torre and the Friends of LRK, 1985.
Franquelli, Angelica Rosario. 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.
Hila, Antonio A. Musika: An Essay on Philippine Ethnic
Music. Philippines: Cultural Center of the
Philippines, 1992.
Hood, Mantle and Jos Maceda. Music. Leiden,
Netherlands: E. J. Brill, 1972.
Jardin, Nestor O., Chairman. The National Artists of
the Philippines. Pasig City: Cultural Center of
the Philippines and Anvil Publishing, Inc., 1998.
Kasilag, Lucrecia R. Artista ng Bayan. Philippines:
Sentrong Pangkultura Ng Pilipinas (CCP), n.d.
__________. Lucrecia Roces Kasilag: My Story.
Philippines: The Philippine Womens University
System, 2000.
123
124
Published Scores
Brahms, Johannes. Complete Sonatas and Variations for
Solo Piano. New York: Dover Publications, Inc.,
1971.
Chopin, Frdric. Etden. Mnchen-Duisburg: G. Henle
Verlag, 1961.
Faur, Gabriel. Nocturne, Op. 99. Paris: Heugel & Cie,
1936.
Kasilag, Lucrecia R. Burlesque. Dumaguete City,
Philippines: Silliman Music Foundation, 1957.
__________. Derivation V: Caprice 1982. Philippines:
NAMCYA Cultural Center of the Philippines, 1982.
125
Unpublished Manuscripts
Kasilag, Lucrecia R. Ang Tagak Valse, February 12,
1979.
__________. April Morning (Fantasie Tone-Poem), May 6,
1941.
__________. Derivation I: Buphali raga, January 3,
1961.
__________. Derivation II: Shalom-Aloha, April 30,
1963.
__________. Derivation III: Hendai-Hogaku, February
28, 1966.
__________. Derivation IV: Orientalia, February 9,
1969.
__________. Derivation VIII, 1989.
__________. Elegy, November 8, 1960.
__________. Elegy on Mt. Pinatubo, September 16, 1991.
__________. Passacaglia in stilo tradizionale, Jan. 8,
1950.
__________. Serendipity, 1994.
__________. Sonate Orientale, December 10, 1961.
__________. Sonata in G Minor, March 13, 1950.
__________. Valse Tendresse, 1940-1941.
126