Nicanor Abelardo was born in San Miguel de Mayumo, Bulacan to Valentin Abelardo and Placida Santa Ana, on February 7, 1893[1] His mother belonged to a family of artists in Guagua, the Henson. He was introduced to music when he was five years old when his father taught him the solfeggio, the bandurria, and the guitar at 6. His quick mastery of the instruments has made him a prodigy in town. He could play his father's arrangement of Rossini's "William Tell Overture" on the guitar at age 6. He also learned the violin and other string instruments given to him by his father, and learned how to play quickly without much difficulty. In 1901, he wrote his first composition, "Ang Unang Buko" and dedicated it to his grandmother.
In 1902, Nicanor's uncle, the painter Juan Abelardo, took him to Manila to attend several schools. During this time Nicanor became the favorites among the haranistas who admired him of his skill at such a young age. This was also the time where he learned how to play the piano. He saw a piano for the first time at a factory of one of his uncle's clients, and immediately taught himself how to play it. By the time his uncle's job was finished, he can already play an air on the piano. The household was even more surprised when he started accompanying his cousin's singing on the piano. This has led his uncle to enroll him to a private lesson in voice under Enrico Capozzi, who was so impressed by Nicanor's abilities that he refused to accept any fee whatsoever. The same thing also happened when he started formally studied Bandurria under Jose Silos. By this time he was 13 years old, the famed pianist Francisco Buencamino took note of his skill in playing the piano, and helped him take a job at a saloon as a pianist.
However, in 1907, he returned to his hometown and finished his 6th grade there after which he was teaching music in various barrio schools around town. but after a year he went back to Manila permanently.
Time in Manila
In 1908 he returned to Manila and took employment in various small theaters and cinemas. He soon climbed up to the bigger and better class theaters in the city. He eventually became the leader of Cine Majestic Orchestra, an orchestra from a famous cinema. During this time he met Sixta Naguiat at a cinema, who would become his wife in later years.
Career
In 1916, Abelardo entered the newly-established University of the Philippines Conservatory of Music, taking courses under Guy F. Harrison and Robert Schofield. During his studies, he composed the melody of the university's official anthem, U.P. Naming Mahal in 1917. The Conservatory instantly noticed his musical ability and by 1918, he was appointed assistant instructor in solfeggio and harmony. He took lessons in piano under Jose Estella, violin under Bonifacio Abdon, and voice under Victorino Carrion. He continued conducting cinema orchestras and play the piano at saloons and cabarets during this time, and this is also the time where he learned to drink alcohol. in 1921 he finally received his degree in science and composition, and thereafter took a post-graduate course which he finished the next year. On 1924 he became head of the composition department of the conservatory, and at night taught private music lessons to some prominent families.
He wrote most of his important works while teaching at the conservatory. His graduation piece, a Piano Sonata in G Major, was the first Sonata made by a Filipino composer[a] and his post-graduate piece, the Piano Concerto in B-flat minor, was the first concerto made by a Filipino composer. Almost all of his kundiman was written during his time as well.
He asked a leave of one year because "There is a greater demand in my activities which demand my whole personal attention." He resigned his post in 1930 only to be reinstated in the same year. In 1931 he received a grant to pursue advanced musical studies abroad. He accepted the offer despite his little savings, seeing his bright prospects in the future.
Alcoholism
Abelardo began to drink in the early 1920s, and ever since then, he did not pass a day without drinking alcohol. In later years, his alcoholism became uncontrollable which affected his life. In one instance in 1923 he directed the Jazz Band at the Manila Hotel with himself at the piano, or he picked such instruments as he pleased. This greatly amused the people, but he did not stay long because he had lost control of his drinking, and became hospitalized for a month because of it. Another instance while rehearsing the Santa Ana Cabaret Orchestra, the manager found him in a corner drunk with a bottle of booze at one hand, which led him to be dismissed from the job. However the manager reinstated him, as no one can lead the orchestra as good as him.
Studies in Chicago
In May 1931 he left Manila for Chicago and enrolled at the Chicago Musical College under Wesley LaViolette. During this time he got influenced by the musical innovations of the Second Viennese School, Hindemith, and other post-romantic composers of Europe. In barely a month he fully absorbed the new musical style he was exposed to, as evident in his Violin Sonata which he had written in 3 weeks after he started studying there. His music became popular in the college and with his Cinderella Overture, he was granted the LaViolette Scholarship award. But even with the scholarship, the depression-stricken Chicago, and his alcoholism made it hard for Abelardo to live in the city. He returned to Manila in 1932 without his diploma, because he did not have enough academic credits. He received the diploma after studying at the National University.
Later years
He resumed his teaching at the Conservatory after returning to Manila. While he was in Chicago, his family ran a boarding house near the conservatory to support him. He eventually ran the boarding house himself when he returned. The boarding house was nicknamed "The Little Conservatory" because he would teach the students there at night, among them the composers Lucino Sacramento and the future National Artist Antonino Buenaventura. His final large complete work, Requiem, was written in 1934 in memory of the composer Marcelo Adonay.
Death
On March 19, 1934, he went to the Philippine General Hospital for a surgical operation.[2] He died on March 21, 1934, to heart failure due to alcoholic causes. He was buried at the La Loma Cemetery on March 25, 1934 with a Rose Croix Ceremonial.[3] He left behind various sketches of unfinished music, among them a symphony and an opera.
Nicanor Abelardo, along with Francisco Santiago, is known for redefining the kundiman, bringing the form to art-song status. Abelardo's kundiman songs, such as "Mutya ng Pasig", "Nasaan ka, Irog?", and "Bituing Marikit" proved to be popular among the Filipino people, and his compositions are regularly played in concerts in the Philippines.
Nicanor's relative Richard Abelardo made a film in 1950 called "Mutya ng Pasig" which is based on Nicanor's kundiman of the same name.[4]
In E. Arsenio Manuel's Biography of Abelardo (1955), Manuel lists 149 works. Some works not included in Manuel's 1955 list is included here. His famous or important works are highlighted below.
for String Quartet. In 4 movements: Allegro, Andante, alla Minueto, Rondo: Allegro Moderato. [b]
Lost
1921
Sonata in G Major
Piano, Sonata
3, no. 1?
In 3 movements: Allegro, Adagio, Presto. The first Piano Sonata made by a Filipino composer. It was submitted as a graduation piece. The work was lost.[8]
Lost
1921
Sonata in C Major
Piano, Sonata
3, no. 2
In 3 movements: Allegro con moto, Adagio, Rondo: Allegro con moto quasi vivace. It was submitted as a graduation piece.[9]
Ms.
1921
Sonata
Piano, Sonata
3, no. 3?
In 4 movements: Allegro, Andante alla Minueto, Rondo, Allegro Moderato. [c]
Lost
1921
Longing
Vocal, Chamber
Quartet for three voices
1921
Fughetta in C on a Theme by Mozart
Chamber
for String Quartet
Ms.
1921
Mountain Suite
Orchestral
In 4 movements:
Ang Liwayway (Dawn), Sayaw ng mga Diwata (Dance of the Nymphs), Ang Matanda sa Punso (The Old Man of the Anthill), Ang Sayaw ng mga Ita (Negrito Dance)
The material for this suite was reworked from his sarswela Akibat. Originally called Mountain Scenes.
1921
Ave Maria
Vocal, Chamber, Sacred
Published
1921
Nocturne
Piano solo
From Three Pieces for the Pianoforte
Lost
1921
Valse Caprice
Piano solo
From Three Pieces for the Pianoforte
Lost
1921
Fantasie-Impromptu
Piano solo
From Three Pieces for the Pianoforte
Ms. copy
1921
The Violet
Vocal
a trio for 3 sopranos
1921
U.P. Spells "Up"
Vocal
from The First University Song Collection of the University of the Philippines. English text by Guy Potter Benton.
Published
1921
Alma Mater U.P.
Vocal
from The First University Song Collection of the University of the Philippines. English text by Gerardo Monden.
Published
1921
Conservatory Commencement Hymn
Choral, Hymn
from The First University Song Collection of the University of the Philippines. English text by Robert Schofield.
I. Sight of the Ship, II-IV. Untitled, V. Dance of the Bolomen, VI. Untitled, VII. Shields and Spears, VIII. Untitled, IX. Kumintang Dance, X. Untitled XI. Pasodoble for Exit, XII. Blood Compact.
Ms.
1922
Princess' Dance
Piano
Movement from A Historical Pageant arranged to piano.
Published
1922 September 13
Initiation Song
Vocal
for the Rizal Center Fraternity
1922
Ang Mestisa
Sarswela
libretto by Ingracio Valmonte
1922 November 30
Bonifacio Song
Vocal, March
English Lyrics by Francisco Carballo
1923
Nasaan ka Irog
Vocal, Kundiman
Tagalos Lyrics by Nemestio Asistio, Spanish version by Jesus Balmori
Published
1923
Kundiman
Chamber
for Violin and Piano
Published
1923
Piano Concerto in B-flat minor
Concerto
12
In 3 Movements: Allegro Moderato, Andante Romantico, Allegro Fantastico. It was the first Piano Concerto written by a Filipino Composer.
Ms. copy
1923
Processional March
Orchestral, March
1923
Capriccio Espagnole
Chamber
15
for violin and piano
Published
1923
Pearl of the Orient
Band, March
Recorded by the Baliuag Buenaventura Band in 1958[10]
for String Band. Composed for the Doce Estrellas Society of Licab, Nueva Ecija
1933
Carola
Foxtrot
a tango-foxtrot
1934 January
Dawn
Dance
A dance composed for a Pageant titled "The Triumph of Eros" held by the University of the Philippines on February 6, 1934.[12] Instrumentation by Antonino Buenaventura.
1934 March 15
Panghanga
Vocal, Kundiman
dedicated to Carnival Queen Clarita Tankiang
1934
Requiem
Choral, Orchestral, Sacred
Composed in memory of Marcelo Adonay.
Lost
1934
Florante at Laura
Opera
unfinished
Lost
undated
Violin Concerto
Concerto
unfinished; Exists as Violin and Piano; one movement completed and arranged by Antonio Molina for violin and orchestra[13] Exact date of composition unknown, but stylistic analysis of the work has estimated the composition date to be roughly 1920.
Probably composed 1920; probably the same piece as Himno Plaridel
undated
Modernista
undated
Ode to the Sampagita
Vocal
English Lyrics by Mauro Mendel. Composed for the Philippine Women's University
undated
Honor and Arms
Orchestral, March
undated
Sumilang
Sarswela
In 3 acts; libretto by Basilio Lanuza. Written after 1911
undated
Makabagong Dalaga
Play
In 3 acts. Lyrics by Mariano Velayo.
undated
Ang Tala ng Universidad
Sarswela
In 3 acts; libretto by Danding Gabriel
undated
Ang Batang Tulisan
Play
In 4 acts; libretto by Bernardino Buenaventura; Lyrics by Danding Gabriel
undated
Puri ng Mahirap
Sarswela
librettist unknown
Discography
Many of Abelardo's songs and kundimans were recorded during his lifetime by his friends and colleagues, such as Jose Mossesgeld Santiago and Jovita Fuentes. After the war his kundimans were frequently recorded by recording artists such as Sylvia la Torre, Conching Rosal, and Don David. The following is an incomplete list of recordings of some of his famous kundimans:
^Not to be confused with Francisco Santiago's "Sonata Filipina in D-flat" written in 1922 which is, according to Molina, "first sonata written in the Philippines introducing Philippine musical themes"
^Manuel (1955) lists a "Sonata" with the movements "Allegro, Andante alla Minuet, Rondo, Allegro Moderato" while Epistola (1996) Lists the F major quartet with the movements "Allegro, Andante, alla Minueto, Rondo: Allegro Moderato"
^Manuel (1955) lists a "Sonata" with the movements "Allegro, Andante alla Minuet, Rondo, Allegro Moderato" while Epistola (1996) Lists the F major quartet with the movements "Allegro, Andante, alla Minueto, Rondo: Allegro Moderato"
^ abcdefSpottswood, Robert (1990). Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893-1942. Vol. 4: Spanish, Portuguese, Philippines, Basque (Vol, 4). Illinois, Chicago: University of Illinois Press. ISBN0252017226.
