La Guitarra Filipina:
Angelito Agcaoili, guitar

Works by: Aguilar, Alcoy, Custodio, Dadap, Leon, Kasilag, Valdez

(2002)

It is seldom that I come across a recording as fresh and surprising as

this one. Here is a recording of music that is entirely new to me, and

of very high quality also. Every track on the CD save one (17 out of

18) is a premier recording of a work by a Filipino composer. Most of the

composers represent the current generation of writers for the guitar,

but there are also two born early in the twentieth century whose works

are heard here.

In style, the compositions are generally conservative and extend from

arrangements of traditional Filipino folk songs to abstract works that

are tonal but somewhat exploratory. There is a Spanish influence at work

in some of the pieces, not surprising considering the strong presence

the Spanish culture has had in the islands. Some of the compositions

(the Visayan Seranades of Michael Dadap, for example) borrow

heavily from folk music styles from various islands of the country. The most

compelling compositions were those of Bayani de Leon. His Kapilas Na

Giting is a very powerful work, despite its brevity. It has a modal

sound reminiscent of some of the works of Alexander Tansman, and is

propelled by a relentless energy. I also enjoyed the the two pieces by

Lucrecia Kasilag. Her Prelude Etnika and Toccata  had an

Asian air about them, especially the prelude, with its use of the

pentatonic scale. Jose Valdez' Himig bilang 4 is a charming, wistful

piece with a melancholy melody.

Angelito Agcaoili's performances of the pieces on this CD are

straightforward and presented with a pleasant tone and a clear sense of

phrasing. He is obviously strongly committed to the repertoire, and this

commitment is evident throughout the disc. There is no information as to

whether the music played here is published or not, but I would hope that it

is available, since much of it is very good. This is a laudable project

and a very enjoyable CD.

James Reid

GFA Soundboard Magazine (USA)

Vol. XXX, No. 1, 2004

“How quick of you to have played the piece so well! Thank you. I heard it and I think you are an artist

you make the guitar sing..... Thank you very much for your support. I am so happy to hear your artistic playing. You have a full control and command of the instrument that you can fully express the sentiment of the music you play.”

“I have heard Angelito Agcaoili in his performance of guitar solos and what amazes me is the way he plays my Prelude and Fugue in D minor. It is a piece that guitar players are not very interested, probably due to its difficulty but I was surprised how musically he does it at ease. He also played my other compositions, the kundimans and fantasies for solo guitar such as Iyo Kailan Pa Man, Langit Ka sa Lupa, and Philippine Serenade. These are all challenging pieces. Words are not enough to express my appreciation and praise for this guitar virtuoso.”

Angel Peña, composer, arranger and former member of the Honolulu Symphony Orchestra

“There are many facets to Angelito Agcaoili’s life journey as a classical solo guitarist, and I am delighted to have been exposed to them and taken part in some of their unfolding. These facets include a strong scholarly bent, the zeal of a trailblazer, keen musical intelligence and insight, dedication to worthy causes, altruism with his musical discoveries, and perfectionism in his art. It is thanks to Angelito that my passion for writing music for solo guitar, which found expression through my first original work, Kapilas na Giting (A Measure of Valor) in 1976, was rekindled. He first came into my life in 1999 while he was finishing up his doctoral dissertation on the Classical Guitar Music of the Philippines. He asked me to compose a guitar work that would incorporate motifs from the music of the kudyapi (a 2-stringed native Philippine lute). That idea excited and challenged me, and the result the following year was Kudyawit (Song of the Kudyapi). I was amazed by the speed and verve with which he had learned this new work. Since then, Angelito had also commissioned Kundimang Walang Titik, (Kundiman Without Words), which I completed in 2002, and Batang Laro (Child Play), a 7-part suite, which I completed in 2005.  I have a new commission from him, another suite for classical solo guitar using one of the Philippine song forms, the balitaw, but subjecting it to a decidedly contemporary treatment. This work is in progress.

   Angelito’s  life quest provides an excellent role model not only for Filipino artists but also for other people in general. He chose not to operate within the narrow confines of a traditional performer who in most cases merely regurgitates music from the standard guitar repertoire, but sought out interesting little known works and even commissioned new ones that dare to depart—thankfully—from traditional boundaries. “

Bayani Mendoza de Leon, composer

“I remember you from having seen your very fine performance of my “Five Studies” on YouTube several years ago. You play them very beautifully. I also enjoyed your performances of “Late One Night” and “Missing Her.”

Frederic Hand, guitarist and composer, faculty at Mannes College The New School for Music

“Angelito is endowed with great artistic and musical abilities.”

Jose Luis Rodrigo
Catedratico de Guitarra
Real Conservatorio Superior de Musica de Madrid