Art Studies 161 Music Critique

8/10/2019 Art Studies 161 Music Critique

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SANTOS, Gerald P.

AS 161 Music Critique

“Maikli at magulo ang kasaysayang ito,…

Kung alam lang ninyo, kung ano ang totoo,

Nauwi lahat sa pamumulitiko…”

The melody of “ Maikling Kasaysayan” still plays in my mind four days after I watched the

musical, “Ang Huling Lagda ni Apolinario Mabini” . With the male chorus so strong, full of rage,

rhythm full of action and movement and melody fitting the words, it is one of the songs in the

production that impacted me the most (and because it is really catchy).

The composer of Huling Lagda’s music is Ms. Krina Cayabyab with the lyrics and script of

Mr. Floy Quintos. The music set to words, like Mabini, is a sublime one. The music and lyrics

just flow together and do not just act as two separate entities, portraying what the scene is all

about.

The musical was accompanied by a piano, a cello, two violins and a viola. While the piano put

the “rhythmic” layer and lay the “foundation” for the other instruments, with its “romantic feels”,

the cello offered a kind of mystery while it sustains the notes. Violins and viola on the other

hand , were the vehicles of the ensemble into fluctuating instances of “glory” and “forlorn”. In

addition, the piano served also a web from one theme to another resulting to seamless transitions

of arias and choruses. Of course, the male chorus was an indispensable instrument in Cayabyab’s



composition. Full of bruteness, strength, well balanced and in full cooperation with each other

and the ensemble, keeping the right tempo and rhythm.

In contrast to Ms. Cayabyab’s previous compositions which were “jazz like”, “Huling Lagda”

was a new take to her music. Listening to the play, it seemed that it had kundiman inspirations, a

style to fit the time setting of which the musical revolves, where it had unexpected melodic

progressions, flowing from one theme to another, travelling from one key to another, employing

dissonances especially in the introductory part where the male chorus really shook me out of my

seat (I was seated in front). The humming was full of strength and wrath, dissonances to prick

out my emotions. It was really a very good start suggesting that this will be a very good musical

and a serious type. I even heard my seatmate crying. I was also about to let my tears shed out my

eyes at one point but I don’t want to catch any attention so I kept my stern face throughout the

musical but inside it was really hard to contain! This, I believe, was because of the music; it does

penetrate the whole of you.

Dissonance was a main element in the Huling Lagda’s music. There were some points I

thought the singer was out of tune, or reciting in a different key but as you listen to the music,

you’ll appreciate the confusion dissonance brought, on what feelings it tried to convey. Rhythm

also was a remarkable part. I found also the beat so catchy and alive especially on the

introduction and in the “Maikling Kasaysayan”. Even the rhythm grows fresher and fresher

throughout experimenting on variations together with the melody.

The significance of Salud, as the only female soloist was for me, to make contrast or to

balance the strength of the men’s voices. She made a lullaby out of the high notes in the “Sapat

na Ito”, offering peace and gratitude to Mabini’s contributions.



It was very emotional at the end of the musical where most of the DUP cast entered the stage

and sung the final chorus. I like how the music was set not for biriteros and biriteras but the

melodic progressions were given attention especially, rhythmic and key changes. I thought the

end cadence would be on a high note but it culminated in a warm chord. I have been wondering

on how the singers studied their parts with such complicated and unexpected transitions between

thematic materials.

Since it was my very first time watching a DUP production, “Huling Lagda” was a very good

start for me and it made me to expect more from the DUP cast and from the composers. The blast

it had left on me and on the audience as well was very tremendous because of the talented actors

and actresses, musicians, librettist and of course the composer. I’m planning to watch it again but

I heard that the tickets were already sold out. I’ve been thinking if it will be good if this will be

shown on a bigger stage and employing an orchestra for the accompaniment?

Art Studies 161 Music Critique

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