Page 89 - April.indd

sity where he received the Irene L. are the clouds tuation, or as a seemingly onomato-
Crocker Music Award. Nilo works to will hope to see poeic device. The whispers/spoken
mentor high school composers with even mere fi refl ies words also help paint a picture of
the “Listening to the Future” pro- gloom.”
gram for the Pasadena Master Cho- In Túntun Balágon, Nilo is a master The polyrhythms that are indica-

rale. You will find in Nilo’s catalogue of the idiom, exploiting the full po- tive of his Filipino culture are used
alongside the choral works, musical tential of a divisi choir. His work is to perfection. Cascading lines and
theatre (Miracles of Jesus) and fi lm/ an incredible introduction to groups cluster chords, as well as the use of
animation soundtracks. like the Philippine Madrigal Sing- the overtone series and layer upon

Túntun Balágon (“fi refly” in Bi- ers and their literature, the same layer of ostinato, are all devices that
colano) was commissioned by the “Mads” that have so often toured the make Túntun Balágon the magnifi cent
University of the Philippines Cho- United States with stunning perfor- work that it is. Nilo gives the example
ral Ensemble for their international mances. Here is an opportunity to of Kulintang (bossed gongs) which
competitions in 2019. It is an ex- showcase soloist that do not have the is music of Southern Philippines or
traordinary piece to showcase at fes- typical vocal timbre. bamboo percussion of the Northern
tivals and in competitions. The text “When creating harmonies, I still Philippines.
of Túntun Balágon is by Joey Gianan focus on individual lines, to make Túntun Balágon is an extraordinary
Vargas and resonates today with them singable, even as the resultant work, and Nilo Alcala reveals his ge-
every audience. The texture, eff ect, harmonies may sound extremely nius. Listen to his suggestion to not

and tonality grow from the dark tricky for the listeners’ ears especial- pre-judge difficulty based on hear-

beginning to a promising end. It is ly when I want to evoke ‘harshness’ ing. Early in his musical career Nilo
the hope of the composer that you or ‘darkness.’ On their own, their defi ned his path in composing and
will be able to recognize the organi- lines are quite singable. This then is arranging and sought after it with
cally related motifs in the piece as a an opportunity to develop the sing- positive energy. This integrity makes
whole. This was a collaboration with ers’ ears in maintaining the integrity him one of the most interesting
his friend and fellow alumni of the of the ‘resultant arpeggiated chord’ forces in choral music. His words…
University of the Philippines Choral of their own phrase ‘in isolation.’ “Celebrate every step of your jour-
Ensemble. “We both wanted to col- The challenge is to maintain the in- ney with gratitude and humility.”
laborate on a work that celebrates tegrity of this phrase in context with
hope even while still in the midst of the other voices.” Sandra Chandler
darkness gloom. This was the prod- An example of his devices for Douglasville, GA
uct.” abrupt harmonic shifts within a
phrase is a Major 3rd relationship
when the spirit is startled between the root note of two consec-
by dreadful utive “chords” or “harmonic fi elds.”
rain, thunder, lightning There is a recurring motif of vocal
in the depths of darkness slides that is surprisingly “impres-
of the night sionistic” and depicts the fl ickering
will look, wait light of the fi refly. This word paint-

for the stars ing could be used pedagogically to
demonstrate the concept. “Whis-
in life so it is pered or sung note clusters in trip-
sometimes tightly lets depict the word “makangirhat”
darkness embraces meaning dreadful. Words function
so that even when thick at times as of percussion, or punc-

CHORAL JOURNAL April 2021 Volume 61 Number 9 87