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Biography
Ryan Cayabyab was born on May 4, 1954 in Manila, Philippines. His mother died
when he was only 6, and his father struggled to support him and his three other siblings. His
mother's dying wish was that none of her children would pursue music as a profession,
knowing how hard life is for a musician with insufficient earnings (she was an opera singer).

In the beginning, Cayabyab took up Bachelor of Science in Business Administration

in the University of the Philippines, Diliman. But at the same time, he looked for a job in order
to support his studies, and eventually landed with then-Senator Salvador Laurel as
accompanist for the G
 
   G  
   . Noticing
Cayabyab's exceptional talent on the piano, Laurel offered Cayabyab a scholarship which
would allow Cayabyab to change his course and pursue an education in music.

And so Cayabyab later graduated from the UP College of Music earning a Bachelor
of Music, Major in Composition degree. Later, he became a full time professor for the
Department of Composition and Music Theory in the UP Diliman for almost two decades.

At the turn of the century, Cayabyab was about to bring his family and migrate
abroad. But when Danding Cojuangco (President of the San Miguel Corporation) offered
him a command post that would give him full access in producing and performing new
music that would bring forth a fresh wave to the Philippine music scene, Cayabyab
accepted the offer. Today he is currently in his 7th year as Executive and Artistic Director of
the San Miguel Foundation for the Performing Arts.

As music director, conductor and accompanist, he has performed with leading

Philippine music personalities at Avery Fisher Hall in the Lincoln Center in New York City;
Carnegie Hall (both the Main and Recital halls) in New York; the Kennedy Center and the
Washington Convention Center in Washington D.C.; the Shrine in Los Angeles; the Orpheum
in Vancouver; even at the Circus Maximus of the Caesars Palace on the Las Vegas Strip.
 He has traveled, as music director in most of the Southeast Asian cities, in the cities of
Australia as well as in Germany, France, Spain, The Netherlands, Japan and the United
States. He has worked in the same shows with S
G

 and 
S

, as well as
conducted the Philippine Philharmonic Orchestra for special performances of the American
jazz singer G
 Sc  and the pianist 
 .

He has performed as music director in command performances for King Hasan II in

Rabat, Morocco; King Juan Carlos and Queen Sophia of Spain in Manila; King Fahd of
Saudi Arabia in Tangiers; Queen Beatrix at the Noordeinde Palace in The Netherlands; and
U.S. President Bill Clinton in Boston, Massachusetts.

6asterpieces
Êc Bato sa Buhangin
Êc Maalaala Mo Kaya
Êc Minamahal Kita
Êc Dahil Sayo, Ikaw, Ikaw ang Mahal Ko
Êc Saan ka man Naroroon
Êc Lahat ng Araw
Êc Mimamahal o Sinasamba
Êc Tuwing Umuulan at Kapiling Ka

Yompositions
Êc Tuwing Umuulan at Kapiling Ka Êc Hibang sa Awit - lyrics by Jose
(winner, 18th Awit Awards, Best Javier Reyes
Musical Arrangement) Êc Kampana ng Simbahan
Êc Iduyan Mo Êc Heto na Naman - music and lyrics
Êc Kahit Ika'y Panaginip Lang by Ryan Cayabyab
Êc Paraisong Parisukat Êc Namamasko
Êc Tunay na Ligaya Êc Tuloy na Tuloy pa rin ang Pasko
Êc Nais Ko Êc Sa Paskong Darating
Êc Limandipang Tao Êc Maligayang Pasko at Manigong
Êc Tsismis Bagong Taon (Ang Pasko ay
Êc Da Coconut Nut Sumapit)
Êc Iniibig Kita Êc Kumukutikutitap*
Êc Paraiso Êc Mano Po Ninong, Mano Po Ninang
Êc Awit ng Pagsinta (Epithalamium) - Êc Noche Buena
from Ryan Cayabyab and Êc Heto na Naman ang Pasko**
Bienvenido Lumbera's pop-ballet Êc Maligayang Pasko**



; lyrics by Lumbera Êc Pasko na Naman
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Biography
Levi Celerio was born on April 30, 1910 in Tondo, Manila. He received a scholarship to
the Academy of Music in Manila and became the youngest member of the Manila
Symphony Orchestra. He wrote several number of songs for local movies, which earned for
him the Lifetime Achievement Award of the Film Academy of the Philippines. Celerio has
written lyrics for more than 4,000 Filipino folk, Christmas, and love songs, including many that
became movie titles.

Known for being a good lyricist, his songs cherish life, convey nationalistic sentiments
and utter grand philosophies. Celerio wrote more than 4,000 songs, among them are
popular pieces, which many consider to be immortal. At one time or another, no Filipino
could miss the tune or lyrics of Levi's Christmas songs: Pasko na Naman, Maligayang Pasko
at Manigong Bagong Taon (Ang Pasko ay Sumapit), and Misa de Gallo.

His more popular love songs include: Saan Ka Man Naroroon?, Kahit Konting
Pagtingin, Gaano Ko Ikaw Kamahal, Kapag Puso'y Sinugatan, and Ikaw, O Maliwanag na
Buwan, Dahil Sa Isang Bulaklak, Sa Ugoy ng Duyan, Bagong Pagsilang, and Sapagkat
Kami'y Tao Lamang, while his folk songs include Ang Pipit, Tinikling, Tunay na Tunay, Itik-Itik,
Waray-Waray, Pitong Gatang, Ako ay May Singsing, Alibangbang, Alembong, Galawgaw,
Caprichosa, Ang Tapis ni Inday, Dungawin Mo Hirang, Umaga na Neneng, Ikaw Kasi, and
Basta't Mahal Kita. Celerio also wrote nationalistic songs such as Ang Bagong Lipunan,
Lupang Pangarap, and Tinig ng Bayan.

Celerio, for a time, was also recognized by the Guinness Book of World Records as
the only man who could play music with a leaf. Because of his talent, Celerio was invited to
The Merv Griffin Show, where he played "All the Things You Are" with 39 musicians. Using his
leaf, Levi wowed the crowd and got the attention of the Guinness Book of World Records.
The Book later listed the entry: "The only leaf player in the world is in the Philippines". He
would also later appear on That's Incredible!.

He died at the Delgado Clinic in Quezon City on April 2, 2002 at the age of 91, just
two days after the death of a fellow National Artist, Lucio San Pedro (who wrote the music
for Sa Ugoy ng Duyan). But his death was overshadowed by the death a few days earlier of
the popular matinee idol Rico Yan, thus, his death was received with little public attention.
He was buried with full military honors at the Libingan ng mga Bayani (National Heroes'
Cemetery).

Yompositions
Êc "Alembong" (music by J. Silos Jr.),
Êc "Bagong Pagsilang" (F.de Leon),
Êc "Kapag Puso'y Sinugatan" (T. Maiquez),
Êc "Galawgaw" (J.Silos Jr.),
Êc "Misa de Gallo" (J. Balita), "
Êc ‘Pasko na Naman" (F. de Leon),
Êc "Sa Ugoy ng Duyan" (L. San Pedro),
Êc "Saan Ka Man Naroroon" (R. Umali),
Êc "Tinikling" (folk song),
Êc "Itik-itik" (folk song),
Êc "Waray-waray" (J.Silos Jr.),
Êc "Tunay na Tunay" (J. Silos Jr.),
Êc "Ang Pasko ay Sumapit".
Êc Dahil sa isang Bulaklak
Êc Basta·t Mahal Kita
Êc Titingin Tingin
Êc Ligaw Tingin
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Leon Kirchner was born on January 24, 1919 of Russian parents in Brooklyn, grew up in
Los Angeles, and studied with Arnold Schoenberg, Roger Sessions, and Ernest Bloch.
Stylistically, Kirchner remained remarkably individual; earlier influences of Hindemith, Bartók,
and Stravinsky soon yielded to a wholehearted identification with the aesthetics, if not
necessarily the specific procedures, of Schoenberg, Berg, and Webern.

Extraordinarily gifted as both a pianist and a conductor, Kirchner was first and
foremost a composer. A member of the American Academies of Arts and Letters and of
Arts and Sciences, he was honored twice by the New York Music Critics· Circle (String
Quartets Nos. 1 and 2), and received the Naumburg Award (Piano Concerto No. 1), the
Pulitzer Prize (String Quartet No. 3), the Friedheim Award (Music for Cello and Orchestra),
and commissions from, among others, the Ford, Fromm, and Koussevitzky Foundations, the
New York Philharmonic, the Philadelphia Orchestra, St. Paul Chamber Orchestra, Spoleto
and Santa Fe Chamber Music Festivals, the Boston Symphony Orchestra, the Chamber
Music Society of Lincoln Center, and Elizabeth Sprague Coolidge. He was composer-in-
residence and a performer at the Santa Fe Chamber Music Festival; the Tanglewood Music
Center; Tokyo Music Today (Takemitsu Festival); and the Spoleto, Charleston; Aldeburgh;
and Marlboro Music Festivals. He also conducted at a number of leading music festivals
around the world, most recently at Ravinia. He taught for many years at Harvard University.

Kirchner·s most recent works included The Forbidden, for James Levine and the
Boston Symphony Orchestra; Music for Cello and Orchestra, for Yo-Yo Ma and the
Philadelphia Orchestra (recorded on Sony Classical); Trio No. 2 for the Kalichstein-Laredo-
Robinson Trio; Of Things Exactly as They Are, a work for orchestra, chorus, and soloists for the
Boston Symphony Orchestra; and String Quartet No. 4 for the Orion Quartet. Following their
premiere of String Quartet No. 4, the Orion Quartet recorded Kirchner·s complete quartets
³ works which span a 57-year period ³ for Albany Records. Other recent works included
piano pieces for Russell Sherman and Jonathan Biss, and a violin-piano duo premiered by
Ida Levin and Jeremy Denk.

Performers who have championed Kirchner·s work include Yo-Yo Ma, who has
toured and recorded both Music for Cello and Orchestra and Triptych for Sony; the
Chamber Music Society of Lincoln Center; Continuum; pianists Peter Serkin, who
commissioned and recorded Interlude (BMG), and Leon Fleisher; cellist Carter Brey; flutist
Paula Robinson; conductors Oliver Knussen, Hugh Wolff, and John Adams; and the trios of
Kalichstein-Laredo-Robinson and Buswell-Parnas-Luvisi. Other recordings include Kirchner·s
first three string quartets (Boston Composers String Quartet, Albany) and Nonesuch·s all-
Kirchner recording which includes the Concerto for Violoncello, Ten Winds, and Percussion;
the Piano Trio; Five Piano Pieces; and Music for Twelve, featuring the Boston Symphony
Chamber Players. Of Music for Twelve, Allan Kozinn of ÿ  ÿ  wrote: ‘There is
magic in the interplay between the 12 soloistic lines, and in the way instrumental colors
seem to grow from each other to form lengthy melodies.µ

Kirchner·s music is published exclusively by Associated Music Publishers.

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Êc The Forbidden Êc String Quartet No. 1
Êc Music for Orchestra Êc String Quartet No. 2
Êc Orchestra Piece (Music for Êc String Quartet No. 3
Orchestra II) Êc String Quartet No. 4
Êc Sinfonia Êc Trio
Êc Toccata Êc Trio II
Êc Concerto for Piano No. 1 Êc Triptych
Êc Concerto for Piano No. 2 Êc For Cello Solo
Êc Concerto for Violin, Violoncello, Êc For Violin Solo
10 Winds, and Percussion Êc For Violin Solo II
Êc Music for Cello and Orchestra Êc Five Pieces
Êc Music for Flute and Orchestra Êc Interlude
Êc Fanfare II Êc Interlude II
Êc Illuminations Êc L.H.
Êc Music for Twelve Êc Little Suite
Êc Lily (for soprano and chamber Êc Piano Sonata No. 3 (The
ensemble) Forbidden)
Êc Duo Êc Sonata No. 2
Êc Duo No. 2 Êc Words from Wordsworth
Êc Fanfare Êc Of Things Exactly As They Are
Êc Flutings for Paula Êc Happy Birthday David
Êc Sonata Concertante Êc The Twilight Stood
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Born in Philadelphia in 1960, Kernis, largely self taught on violin, piano, and
composition, attended the San Francisco Conservatory, the Manhattan School of Music,
and Yale University, working along the way with a diverse array of teachers: John Adams,
Charles Wuorinen, Morton Subotnick, Bernard Rands and Jacob Druckman. His West to East
coast trajectory is betrayed in the wild catholic range of his influences³everything from
Gertrude Stein to hard-edged rap to the diaphanous musical canvas of Claude Debussy.
Coming up when he did, in the 1980s and 90s, he took from what was around him ³ the
disparate musics and the collapsing aesthetic streams ³ and, gathering influence from his
broad swathe of teachers, forged a rich, distinctive, emotionally immediate music, neither
‘thisµ nor ‘thatµ but simply and clearly good. The brilliance of his work rests on the
exuberant splay of his instrumental palette (even when writing solo or chamber music)
crossed with a brooding, poetic depth cut in sharp relief: wild, visceral, violent passages
against calm, prayer-like quietude. ‘Kernis,µ Michael Fleming wrote in the St. Paul Pioneer
Press, wrote, ‘is a composer of fastidious technique and wide-ranging imagination.µ

During the 1980s and 1990s, Kernis composed two deeply contrasting symphonies,
works that were to him were pre- and post-tragic ³ the tragedy, in this instance, being the
first Gulf War of 1991, an event that affected him deeply. Before it struck, his 1989 Symphony
in Waves, a large-scale five-movement work, is of a particularly colorful bent, caffeinated
and lively, but with passages of overwhelming lyricism; in contrast, his Symphony No. 2
(1991), commissioned by the New Jersey Symphony, is an enraged, topical work,
delineated by aggressive, clangorous writing for percussion.

Other orchestral pieces by this accomplished colorist include Symphony of

Meditations(2009) with solo voices and chorus, Newly Drawn Sky (2005); Color Wheel (2001);
Musica Celestis (1990) for string orchestra; New Era Dance (1992), commissioned to mark the
New York Philharmonic·s 150th anniversary, which Edward Seckerson called ‘ Aaron Jay
Kernis' street-smart power-mix circa 1992. Latin salsa and crackmobile rap meets 1950s jazz;µ
a violin concerto, Lament and Prayer, written in commemoration of the 50th anniversary of
the end of World War II and the Holocaust; Goblin Market (1995), a setting of Christina
Rosetti·s puckish poem for narrator and large ensemble; and Air for violin and orchestra,
commissioned in 1995 by Joshua Bell (originally for violin and piano, but later reconfigured
for orchestra and premiered in 1996).

His chamber, solo and vocal repertoire is equally colorful and varied: Two
Movements (with Bells) (2007); the salsa-inspired 100 Greatest Dance Hits for guitar and
string quartet from 1993; Quattro Stagioni dalla Cucina Futurisimo (‘The Four Seasons of
Futurist Cuisineµ) for narrator, violin, cello and piano; and the piano quartet Still Movement
with Hymn (1993), commissioned by American Public Radio for Chrisopher O·Riley, Pamela
Frank, Paul Neubauer, and Carter Brey; a song cycle for soprano Renée Fleming, scored for
voice and piano and later orchestrated and performed by the Minnesota Orchestra; and
the piano suite Before Sleep and Dreams (1990) written for superstar pianist Antony De
Mare.

Kernis currently serves as Director for the Minnesota Orchestra Composer Institute.
Each season, in partnership with the American Music Center, eight or so composers are
given the chance to hear their music performed by a professional orchestra after a week-
long immersion under the trained and experienced eye of the composer.

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Êc cColor Wheel Êc Colored Field (English Horn
Êc Concerto with Echoes Concerto)
Êc Five Etudes Êc Concierto de ‘Dance Hitsµ
Êc Invisible Mosaic III Êc Double Concerto for Guitar
Êc Musica Celestis and Violin
Êc New Era Dance Êc dream of the morning sky
Êc Newly Drawn Sky (Cycle V, Part I)
Êc On Wings of Light Êc Lament and Prayer
Êc Overture in Feet and Meters Êc Simple Songs (soprano and
Êc Sarabanda in Memoriam chamber orchestra)
Êc Second Symphony Êc Toy Piano Concerto
Êc Symphony In Waves Êc Valentines
Êc Too Hot Toccata Êc a Voice, a Messenger
Êc Air (for Cello and Orchestra) Êc Invisible Mosaic II
Êc Air (for Violin and Orchestra) Êc America(n) (Day)dreams
Êc Colored Field (Cello Êc Ballad
Concerto) Êc Barbara Allen
Êc Cycle III
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Vladimir Martynov is a leader of the generation of composers of the Soviet Union,
born after World War II, who pursued avant-garde courses at a time when official disfavor of
such styles brought severe penalties to career development, but did not carry the physical
risks of earlier years in the USSR. He studied piano as a child and gained an interest in
composition. He enrolled in the Moscow Conservatory where he studied piano under
Mezhlumov and composition under Sidelnikov. He graduated in 1971.

He got a job in 1973 working at the studio for electronic music of the Scriabin
Museum, it was a meeting ground for the avant-garde. Sofia Gubaidulina, Sergei Nemtin,
Alfred Schnittke, and Edison Denisov were among the composers regularly working and
meeting there. Martynov helped form a rock group called Boomerang at the Scriabin
Studio. For them he wrote a rock opera, Seraphic Visions from St. Francis of Assisi.

He was a serious ethnomusicologist, studying the music of the Caucasian nations,

Tajikistan, and various ethnic groups within Russia. He also studied medieval Russian and
Western music and religious musical history and musicology. This was an acceptable field of
study, but it also allowed him to study theology, philosophy, and religious history as a means
to express his religious feelings.

He began studying early Russian religious chant in the late 1970s, and studied
Renaissance music of such composers as Machaut, Gabrieli, Isaac, Dufay, and Dunstable,
publishing editions of their music. He became interested in the brand of minimalism
developing in the Soviet Union in the late 1970s, a static, spiritually-inspired style without the
shimmering pulse of American minimalism. The timeless quality of chants and the lack of a
sense of bar lines in Renaissance polyphony entered into his version of minimalism.

At about this time, he began teaching at the St. Sergius Orthodox Theological
Institute, a Russian Orthodox institution located in Paris, where he has remained ever since.
There was a period of consolidation in the early 1980s where he wrote music specifically
tailored for use in church services, then resumed writing original music in his minimalist style.
Among his works from this period is Come in! for violin and ensemble of 1988 which was
performed by Gidon Kremer and by the composer's partner, Tatiana Grindenko.

One of his major compositions is a nearly hour-long piece called Opus Posthumum ,
devoted to the idea that "a man touches the truth twice. The first time is the first cry from a
new born baby's lips and the last is the death rattle. Everything between is untruth to a
greater or lesser extent." He also composed a much shorter Opus Prenatum and a work
called Twelve Victories of King Arthur of Seven Pianos.
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Êc PASSIONSLIEDER Êc Wind, is that you?
Êc Come In, mvmt. VI. (Tatiana Êc A-A-A O-O-O Eh-Eh-Eh Ee-Ee-Ee
Grindenko, Gidon Kremer, Oo-Oo-Oo
Kremerata Baltica) Êc Come In! (II Movement)
Êc Come In, mvmt. I. (Tatiana Êc Come In: VI. Movement
Grindenko, Gidon Kremer, Êc Come In! Movement IV
Kremerata Baltica) Êc Song of Morning
Êc Ever these shades draw me in Êc Come In! Movement II
Êc Like a black wind Êc Come In: I. Movement
Êc The meadow's lowing now is sinking Êc Come In!: Movt VI
Êc Come In, mvmt. III. (Tatiana Êc And there, in that other shade, you
Grindenko, Gidon Kremer, scatter the throngin clouds of flies
Kremerata Baltica) Êc Come In!: Movt II
Êc Wind, you hear, this deed is Êc Come In!: Movt V
frightful! Êc Come In!: Movt I
Êc Shepherds, hurry to your fields Êc Come In! Movement V
Êc La! La! La! Êc And there...
Êc Your lips are the black grouse's Êc Lux aeterna
brow Êc Autumn Ball Of The Elves
Êc Cold Summer Of The Fifty-Third Êc L'AprȖs Midi Du Bach
Year (The Final Theme) (Martian Êc Come In! Movement I
Chillout Mix) Êc Come In!: Movt IV
Êc As the future's my witness Êc Come In!: Movt III
Êc In the groge where the dog rose Êc Come In! Movement VI
blooms Êc Come In! Movement III
Êc Come In, mvmt. IV. (Tatiana Êc Come In: II. Movement
Grindenko, Gidon Kremer, Êc From an old rowoat's transom
Kremerata Baltica)