University of Santo Tomas

Conservatory of Music
Presents

ACKNOWLEDGEMENTS Ma. Joebelyn V. Adona

Student of
Rev. Fr. Jose Ma. B. Tinoko, O.P., J. C. D. Mr. Edgardo C. Silangcruz
REGENT
In a
Assoc. Prof. Antonio P. Africa, Ph. D. GRADUATION RECITAL
DEAN
In Partial Fulfillment of the Requirements for the Degree of
BACHELOR OF MUSIC MAJOR IN MUSIC EDUCATION
EMPHASIS IN FLUTE
Assoc. Prof. Peter J. M. L. Porticos, Ph. D.
FACULTY SECRETARY With
Maria Donna Bautista, piano

December 11, 2020 (Friday) - 2:00 p.m.

Performed via Zoom Cloud Meetings

Live streamed via Facebook Live

________________________________________________
this serves as an invitation
 PROGRAMME

Sonata No. 2 in G minor ..………… George Frideric Handel

(1685-1759)

Meditation for Flute ……………………… Rosendo Santos

For Flute and Piano (1922-1994)

INTERMISSION

Saan Ka Man Naroroon, ………………………Restie Umali.

Solo for Flute (1916-1998)

Concerto in G Major. Op. 29

I. Allegro
II. Andante non troppo moderato
III. Rondo………………………………. Carl Stamitz
(1746-1801)
Sonata No. 2 in G minor George Frideric Handel Handel’s long series of overtures (mostly in the French
(1685-1759) style), his orchestral concertos (Op. 3 and Op. 6), his large-scale
Concert music for strings and winds (such as the Water Music and
the Fireworks Music), and the massive double concertos and organ
George Frideric Handel, a German – born English composer concertos all show him to have been a complete master of the
of the late Baroque Era, noted particularly with his operas, orchestral means at his command.
oratorios and instrumental compositions. He wrote the most famous
of all oratorios, Messiah (1741), and is also known for such This sonata is originally written for recorder and
occasional pieces as Water Music (1717) and Music for the Royal harpsichord. The autograph manuscript, a fair copy made most
Fireworks (1749). likely in 1712, gives this instrumentation in Italian: “Flauto e
cembalo”. The work is also referred to as Opus 1 no. 2, and was
Handel spent the years 1706–10 traveling in Italy, where he published by Walsh in 1732. Later on, it was indicated that the
met many of the greatest Italian musicians of the day, including work is for recorder “Flauto”, and published it as Sonata II or
Arcangelo Corelli and Alessandro Scarlatti and his son Domenico. Sonata no. 2.
His years in Ita;y had greatly influenced the development of his
musical style. His fame had spread throughout Italy, and his The work consists of four movements: Larghetto (G minor),
mastery of the Italian opera style now made him an international Andante (G minor), Adagio (E flat minor) and Presto (G minor).
figure. On the other hand the influence of French style Jean-
Bapstiste Lully and, later, that of English composer Henry Purcell
are also evident from his works that gives it a very English quality.

Within fifteen years, Handel had started three commercial

opera companies to supply the English nobility with Italian opera.
Musicologist Winton Dean writes that his operas show that "Handel
was not only a great composer; he was a dramatic genius of the first
order.". As Alexander's Feast (1736) was well received, Handel made
a transition to English choral works. After his success with Messiah
(1742) he never composed an Italian opera again. Almost blind, and
having lived in England for nearly fifty years, he died in 1759, a
respected and rich man. His funeral was given full state honors, and
he was buried in Westminster Abbey in London.

Though the bulk of his music was vocal, Handel was

nevertheless one of the great instrumental composers of the late
Baroque era.
Meditation for Flute Rosendo Santos more than 1,000 musical compositions in the library of the
For Flute and Piano (1922-1994) University of the Philippines.

An honored member of the Senior Mozart Club of Wyoming

Rosendo E. Santos, Jr. was born September 3, 1922, in Valley, PA, Mr. Santos privately taught more than 2,000 children
Cavite City, Philippines, son of the late Rosendo and Castora since arriving in the Wyoming Valley in 1968. His last musical
Santos, and died November 4, 1994 at home in Swoyersville, work, “Melinda’s Masquerade,” his only ballet, was performed in
Pennsylvania. He was educated in Cavite schools. He was a 1995, after his death in 1994.
graduate of the University of the Philippines, Conservatory of
Music, where he later served as a faculty member. He received his He was a true artist, a Filipino patriot, an inspirational
master’s degree in theory and composition from the Catholic educator, and a loving husband and father. His reputation is
University of America in Washington, D.C., and later served on the internationally recognized, as his music is still being performed in
faculty of the Catholic University, West Virginia University, and the Philippines, America, and elsewhere.
Howard University.
He was acknowledged in the world of contemporary music
At age 11, he started composing band marches, instrumental wherein different styles are acquired from the diverse styles of 20th
and vocal scores and Catholic masses. He was later named a century music in the West. Avant-garde styles are embrace such as
UNESCO scholar and received the Composer of the Year Award. In impressionism, expressionism and neoclassicism. However, his
Manila he was Composer of the Year in 1956 and 1957, and won 12 musical style is primarily regarded as neoclassicism that was evident
prizes consecutively in composition contests. Most recently, he from his works counting the Meditation for Flute and Piano.
received the title of “The Philippine Composer of the Century.”

Professor Santos joined the faculty at Wilkes University,

Pennsylvania in 1968, where he performed as a timpanist, pianist,
and conductor with several orchestral groups. He has also
conducted church choirs in Maryland, New Jersey, and most
recently at Lehman, Huntsville and Shavertown United Methodist
Churches in Pennsylvania.

Mr. Santos is listed in the “New Groves Dictionary of Music

and Musicians.” A prolific composer, his works include concertos,
sonatas, symphonies, and symphonic poems, five operas in
Philippine dialect, numerous band overtures and more than 200
marches. He wrote 50 masses in Latin and 20 in English and has
Saan ka man Naroroon Restie Umali Academy of Movies Arts and Sciences or also known as FAMAS
Solo for Flute (1916 – 1998) Awards.

Futhermore, he gathered the “Best Music Awards” for Bitter

Restituto Aquino Umali or also known as Restie Umali was – Sweet at the 1996 Manila Film Festival and Ang Agila at Ang
born in Paco, Manila on June 16, 1916. His early exposure to music Araw at the 1973 Olongapo Film Festival.
was due to the influence of his father who taught him violin as well
as his exposure to the regular family Rondalla. He taught solfeggio
and score reading at the Mapa High School where he became an
active member of the school glee club and orchestra.

He can play the E-flat horn, trombone, and tuba (University

of Santo Tomas) Band. He also taught choral arranging and
orchestration at the UST Conservatory of Music. He majored in
Composition and Conducting at the Conservatory of Music,
University of the Philippines (UP) and Commerce at the Jose Rizal
College. He even passed an electrician’s course at the Philippine
School of Arts and Trades before embarking on a rewarding career
as musical scorer for movies.

He had arranged the performance of Maestro Federico

Elizalde’s Manila Little Symphony aired on radio stations DZRH
and DZPI, apart from his stint as musical director for Sampaguita
Pictures. He also arranged the Philippine National Anthem and the
local classic Kataka - taka for the Boston Pops Orchestra when it
performed for the Philippine Independence Night in Boston in 1972.

Umali composed approximately 120 movie theme songs and

more than 250 scores for movies. Among Umali’s most popular
songs are Saan Ka Man Naroroon, Alaala ng Lumipas, Ang
Pangarap Ko’y Ikaw, Sa Libis ng Barrio, Di Ka Nag-iisa, and
Paano Kita Lilimutin.

His musical scores for the movies Sa bawat Pintig ng Puso

(1969). Mga Anghel na Walang Langit (1970), and Ang Alamat
(1972), won for him “Best Musical Score” honors at the Filipino
Concerto in G Major Op. 29 Carl Stamitz The opening movements of Stamitz's concertos and
(1746 – 1801) orchestral works are regularly constructed in sonata form. Their
I. Allegro structure is additive in nature and does not exhibit the thematic
II. Andante non troppo moderato development that is considered typical of the Viennese classical
style.
III. Rondo
The middle movements are expressive and lyrical,
sometimes called 'Romance'. The final movement is often a
Carl Philipp Stamitz was a German composer of the last
French-style rondo, mostly evident in the concertos he wrote.
generation of Mannheim symphonists. He was the son of Johann
Stamitz preferred minor keys, as he generally used a variety of
Stamitz, the founder of Mannheim school. He played violin in
keys.
the court orchestra at Mannheim in 1762 and was also a viola
and viola d’amore player there, before leaving for Paris in 1770.

He spent several years in Paris with his brother Anton, also

a violinist and composer, and then toured widely as a virtuoso
after 1777, spending time in England and The Hague, where on
one occasion he shared the stage with then 12-year-old
Beethoven.

As a composer, he was the most productive of the Stamitz

family; he wrote more than 50 symphonies, at least 38
symphonies concertantes and more than 60 concertos for violin,
viola, viola d'amore, cello, clarinet, basset horn, flute, bassoon
and other instruments. He also wrote a large volume of chamber
music. Some of the clarinet and viola concertos that he
composed are considered to be among the finest available from
the period.

Stylistically, Stamitz's music is not too far removed from the

galante works of the young Mozart, or those of Haydn's middle
period. Stamitz's works are characterized by regular periods and
appealing melodies. However, writing for the solo instruments
are idiomatic and virtuosic, but not excessively so.