With ?Igorot Rhapsody? and the immortal ?Iyo Kailan Pa Man,? he?s an undisputed music master
TWO GREAT COMPOSITIONS??IGOROT Rhapsody? and the kundiman ?Iyo Kailan Pa Man??have catapulted composer Angel M. Peña to the ranks of Filipino music masters.

?Iyo? was composed in 1953 and became even more memorable with the achingly romantic lyrics by National Artist Levi Celerio. A staple in recitals, this kundiman continues to draw sighs from the matronas when interpreted by, say, a young and handsome tenor like Rogelio ?Jun? Peñaverde.

Peñaverde?s version (as coached by accompanist Najib Ismail) won plaudits from musicologist Felipe M. Padilla Jr., who declared: ??Yung ibang tenor ?pag kinakanta ito, gusto kong batuhin ng kamatis (When other tenors sing this, I feel like throwing tomatoes at them).?

The groundbreaking symphonic poem ?Igorot Rhapsody? won first prize in the 1960 national composition contest of the University of Santo Tomas Music Alumni Association, and was premiered by the UST Symphony Orchestra under the baton of Bernardino Custodio.

Disappearing aboriginal music

In his notes, Peña said he was motivated to compose this pioneering work out of ?a sincere desire to preserve, in my own small way, what little is left in our fast disappearing aboriginal music.?

Peña has written many other compositions, like Philippine Festival Overture, ?Peace Beyond? (dedicated to the late Lito Molina), ?ROTO? (written for jazz musicians and UST Conservatory professors Roger Llado and Tots Tolentino), Divertissement for Brass Quintet, Philippine Serenade and Divertimento for String and Orchestra.

The composer later turned to jazz, and also gained renown in this field here and abroad. He stayed in the US for many years and was, in fact, honored by the Hawaii House of Representatives in 1997 ?for his contributions to the enhancement of culture and the arts in the field of music.?

Peña was born in Laoag, Ilocos Norte, in 1921 to self-taught musicians Gregorio Peña (a telephone operator) and Rosario Matias (a schoolteacher).

When he was two, his parents decided to return to Malabon, Rizal (now part of Metro Manila), and that is where Peña grew up. His mother taught him the ukulele and solfeggio when he was 9, but unfortunately she died when he was 11.

He left the country in 1969; spent 20 years working, composing and performing in Hawaii; retired in California; and returned to the Philippines for good in 2002.

Still composing at 89

Today, Peña, 89, lives quietly with his wife Jo in a dead-end family compound in Valenzuela City, Metro Manila, which is almost like an oasis amid narrow streets and congested areas. There are trees around and a field behind the compound.

A double-bass and a piano stand in the living room, along with souvenir photos, plaques of recognition, awards and family photos.

Frail of health and with vision somewhat impaired, Peña nevertheless has military bearing. He is ?ramrod-straight,? as longtime friend Bert Robledo of dzFE put it. He has lived a full life, with memorable, pleasant and not-too-pleasant incidents.

There was the time when, at a night club, a drunken politico (now in the news again) threatened him with bodily harm for not knowing a requested movie song. And there was the manager who did not pay the composer what was due him after the performance of an acclaimed Peña composition.

Maestro Peña is not one, however, to dwell on such negative thoughts. He is still mentally alert, and the good news is that he is still composing, his piano and music sheets before him. In fact, he is returning to indigenous themes. His latest works are Manobo-inspired.

Alpha Kankana-ey (Igorot). Omega Manobo. We look forward to hearing the new Peña compositions in the near future.