III. Sagayan (from Manga Pakalagian) NILO ALCALA - Philippine Madrigal Singers
Вставка
- Опубліковано 7 вер 2024
- III Sagayán (Pre-Battle Ceremony) from Mangá Pakalagián (Ceremonies)
Composer (Music and Text) - (Nilo Alcala)
Maguindanaon translation - Danongan Danny Kalanduyan
Philippine Madrigal Singers (Mark Anthony Carpio, Choirmaster)
performed at the 2017 European Grand Prix for Choral Singing
EGP 2017, Tolosa, Spain
- - - - - - - - - -
Composer's notes on MANGA PAKALAGIAN*)
(*Manga Pakalagian - was commissioned and premiered by the Los Angeles Master Chorale and Grant Gershon at the Walt Disney Concert Hall, Nov. 15, 2015)
I grew up in the Philippines where culture is as colorful and diverse as the number of its islands - all 7,107 of it. A quick Google search of “Philippine History” will give you a peak at our rich history of pre-colonial kingdoms (rajahnates, sultanates, etc.) which began to rise about 900 AD. Prior to Christianization of the Central and Northern parts, and even prior to the Islamization of the Southern parts of the country - these Philippine kingdoms shared with its neighboring Southeast-Asian lands a gong-chime culture that has, at the center of its music-making, a set of graduated and bossed pot gongs. The Philippines’ very own bossed gongs we call kulintang. Our rich pre-colonial kulintang music remained intact up to this very day, yet the general musical culture of the country has been arguably enriched by the active trading within the Asian region, as well as the Spanish colonial rule (for 300 years), the brief British Invasion, the American occupation, and the Japanese occupation.
CEREMONIES: music and community
The playing of kulintang (which refers both to the repertoire played as well as the actual instrumental set of bossed gongs) - is very much integrated in the everyday life of Mindanao communities especially in Maguindanao where the Kalanduyans hail from. In almost every occasion, there is a specific kulintang piece to be played; the playing of this music somewhat elevates a community event or ritual into “ceremony status”.
Mangá Pakalagián is a suite of 3 choral works that highlight ceremonies or rituals with kulintang at the forefront:
1) welcoming and honoring guests,
2) thanksgiving during harvest, and
3) invoking invincibility in a pre-battle/war ritual.
The three choral pieces are to be introduced by actual traditional kulintang repertoire specific to those ceremonies/rituals, namely
1) Kapagonor,
2) Kaluntang, and
3) Tagonggo.
CEREMONY 1: MIDTAGAPEDA (Fellowship)
CEREMONY 2: PAPEDSALAMAT (Thanksgiving)
CEREMONY 3: SAGAYAN (Pre-Battle Ritual)- The traditional kulintang music Tagonggo that inspired this 3rd movement is originally not intended to be played in concerts. It is actual ritual music used in 1) healing rituals, 2) driving away negative energy/spirits, and 3) at a pre-war ceremony to invoke invincibility and power. The playing of Tagonggo pre-dates Islamic Maguindanao and nowadays has interestingly evolved into music that signifies important festive events, like wedding ceremonies. Sagayan, the title of the choral work, focuses on the pre-battle aspect of the ritual and is also the traditional name of the dance ritual that is accompanied by Tagonggo.
Related to this pre-battle ritual is Kasalawat, a practice of chanting to seek for blessing. The choral piece begins with a Male solo chant, seemingly initiating the ritual which then proceeds to a rhythmic ritual dance music. This ritual dance music has a slow interlude to be sung by the women of the chorus in which I imagined the wives of the Maguindanaon warriors pleading for their husbands.
The work closes with the kulintang ensemble and the chorus coming together in a mélange of rousing traditional melodies and rhythms - all underscoring an imagined ancient battle.
An inspiration for the multi-layer and intricate rhythmic texture of the whole work are the intricate and very colorful designs of Mindanao textiles and tapestries. You will hear different layers of organically related motifs that are interwoven in various sonic atmospheres; this results in a texture that is both intricate, driven, and evolving. Evident in sections throughout the suite are interlocking rhythmic patterns, similar to a hocket, wherein a single melodic or rhythmic material is spread among the vocal sections, creating a resultant melody or soundscape.
video courtesy of TIM CHEN.
It was hard to believe that they did not win in the EGP 2017 which was held in Tolosa. Still, my ears could clearly hear and eyes my could vividly see that they won the hearts of the audiences. I leave it from there.... Congratulations Madz!
There was a saboteur. Someone played their phone ringing exactly right after the climax of Jake Runstead's "Let My Love Be Heard." I wanted to stand up and look for that person. If I could have just suggested to remove the person and allow Madz to sing from the beginning.
The sound they made is OUT OF THIS WORLD!!!!
Napagod ako for Ms. Riva ❤
One of the best choral arrangements that Madz made into life. Thanks Nilo Alcala for this arrangement. You made the almost degrading practices of pre-colonial traditions and chants take its flights on this stage.
This piece is really challenging. I wonder why didn't win this competition.
the shaking voice of altos are incredible!!
2020 na pero nagtataka pa rin ako bat hindi sila nanalo rito. Still the Best MADZ.
still can't believe they did not win.. this is a very hard song executed in a very amazing manner... amazing is even an understatement
I was there. A bass solo is good for performances and concerts but does not fly in competitions. Somehow choral festivals are where the incredible highest ranges win judges. Nil's was perfect. The Indonesian choir did the same thing with a bass singing some lines albeit not very appealing when lined up as a song in a contest.
Nakakalungkot nmn kung ganun sir, bilang baritone at bass 1 sa choral ay nagustuhan ko kaagad itong pyesa at ang solo ni sir Nils grabe kilabot tlga
I believe it's not the range of the soloist. As per this piece it was almost perfect. When I watched the entire competition, MADZ if I counted it right, sang 6 pieces where in other groups sang 7 pieces. I'm not sure if it has something to do with that but I just observed it.
For lack of perfect statement, the artists (singer, conductor, composer ) are real gods or beasts in this field ...oh my.... I cant believe this..so so brilliant..
what is the criteria?omg..its beyond excellent and bravo!its unique,hard arrangements,voicing and sharp attack of notes and with combinations of kulintang and other instruments while singing..it is so hard but executed so brilliant!
Mas konti sila kumpara sa ibang choir pero mas malakas ang impact. Yung ibang choir dinadaan lang sa dami
Multitasking
It was totally awesome 👏👏👏
The LEGENDS👏👏👏
Wow!!! Siguro Naman walang mamagaya nito ng inbang lahi hehe
Meron na haha
Totoo liban kung ituturo ng Madz. Alam naman natin na hindi madamot ang Madz sa pagtuturo.
I have probably watched this over 100 times.
Ang lapit nung nagkakalentong.
That was intense.
Amazing!! Truely the most deserved to win.
Galing ,HUHU
Muslim tone music love it
Name po ng soloist?
Nils flores
Nils flores
Nil's Flores
Whats their rank here?
The EGP does not announce rankings po, they only announce the grand prize winner
Kaya siguro di nanalo dahil di magaya ng ibang lahi. Haha
Tompak. Hindi na nila na iintindihan at mag si tayo na yata balahibo nila at hindi nila nagustohan