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YouTube singing sensation turned international star Charice Pempengco returns to Manila for a one-night concert for Filipino fans. An up-and-coming international artist, Pempengco has performed with foreign artists like David Foster, Celine Dion, Josh Groban and Andrea Bocelli. She has appeared in popular television shows including Oprah. In this video, INQUIRER.net multimedia reporter Anna Valmero talks to Pempengco about her plans.

Marjorie Gorospe INQUIRER.net MANILA CITY, Philippines -- Most kids at the age of eight are probably busy playing their favorite toys or the computer. Julian Duque, 8, is unlike those kids. He loves to play but using his little fingers on the violin. Duque was six years old when he started playing the violin. None of his parents were interested in music. But that didn’t stop him from learning the instrument. At his current age, he can already play classical music from Mozart, among others. He can also play music medleys that can give comfort on a stressful day. Duque’s talent was discovered when he was chosen to portray the role of a boy named "Onyok" in the film "Boses" by Ellen Marfil. Boses is a finalist in the 2008 Cinemalaya. Through the film, the young lad showed that he also had a knack for acting, as he took on the role of a mute child battered by his father. So it was through music that he finds healing and solace. Ian Keneth Duque, Julian’s father, admits that it takes greater responsibility to take care of a gifted child. He says it is a blessing to have a gifted child. But it is also important that the young Duque enjoys his childhood. The young lad dreams of becoming a pilot someday. But at the moment, the young Duque is preparing for his upcoming competition in National Musical Competition for Young Artists (NAMCYA) in 2009. “Someday, when he can choose which career he wants to pursue, we will let him. But for the meantime, I will guide him as his father,” Duque says.

Marjorie Gorospe INQUIRER.net ANTIPOLO City, Philippines -- Who would have thought that I would catch the world-renowned Loboc Children's Choir in Antipolo City instead of Bohol? The Loboc Children's Choir is composed of young kids ages 6 to 15 years. Just this October 8, 2008, they went all the way to Assumption College of Antipolo together with the Loboc Youth Ambassador's Band to render series of song and music for peace. It was a concert for a cause and the proceeds will go to the scholarship and development fund of Loboc Children's Choir and Loboc Youth Ambassador's Band. Before their concert, I spoke with Maestra Alma Taldo, the conductor of the famous children's choir that was born in 1980. According to her, she never really expected that they will go this far. Here's the video interview I conducted:
"We assembled a choir because there was a memorandum from National Musical Competition for Young Artists (NAMCYA ) to organize a choir and so we did for the sake of organizing,” Taldo says. But no one had a clue that they will eventually earn recognitions and invitations from different parts of the world after winning three times in the National Champion Prize in the NAMCYA. The choir won its first NAMCYA in 1993. The group has also performed before royalty in Spain and has received other invitations from Europe, United States and some parts of Asia. After winning several awards and receiving royal invitations, Maestra Taldo still feels humbled by the accolades the group has been getting. She believes that it was God's plan and she is just an “instrument” set on a mission. Honing the wholesome personality of the children fulfills her mission. Taldo sees the member children of the choir developing into adults with discipline and humility. "I am touched when the audience is moved by our group and see them tearing up while listening to our pieces -- and so am I", Taldo adds. Their innocence might be their secret, as they sing songs. Taldo believes that since children sing from the heart, they can easily move the audience and eventually promote peace. Charlene, 15, and member of the choir for five years now says that every morning when she wakes up, she vocalizes right away. I remember hearing her angelic voice as she hummed a tune. "It is an honor", she says when asked how she feels about being a member of the choir. She admits that she is now more confident than before when she used to be shy. Charlene sampled a song, titled “Music brings people together and once again.” I must admit I got mesmerized and even got goose bumps because of her sweet voice and her emotions. When I asked her about her feelings about promoting peace, she answers, "Like the teachings of her maestra, I believe that talent must be put to good use because it is God's gift. My brief stay in Antipolo was indeed worth the wait and travel. I remember listening to choir, their voices filling the serene theater. As I closed my eyes, the words that these children hummed brought me to different places. I opened my eyes and looked at Maestra Taldo conducting. As I watched them, I saw Charlene and felt like a proud mother watching her child perform on stage. Charlene was beaming with confidence, as she sang. I went home late that night exhausted from the long hours of travel. But I felt relaxed and rejuvenated. My conversation with two people – Maestra Taldo and Charlene -- made me want to become a child again.

By Quay Evano, Contributor INQUIRER.net DUBAI, United Arab Emirates--During the press conference of award-winning composer and rock balladeer (l-r) Wency Cornejo, sexy actress-turned-singer Ara Mina and saxophone player John Ray for their show in Dubai called "Rock Ballad, Soul and All That Jazz," one of the members of the Filipino Press Club-UAE asked the three artists how they want to be remembered by people when they are no longer famous. Wency quickly answered: "More than anything else, I think I will be remembered for my songs. I believe I have composed many songs that have touched the hearts of many Filipinos. For an artist, I believe that is what is important -- to have a legacy in the lives of people. Even if I pass away, my songs will live on and in some sense, so will I." Yes, for millions of his Filipino fans, Wency Cornejo, the unique and soulful voice behind beautiful ballads such as "Habang May Buhay," "Hanggang" and "Only You" and generation-defining rock anthems like "Next in Line," "Mangarap Ka," "Pagtawid" and "Panahon," he will surely be remembered for his songs. His immortality is clearly defined in his music. But for most of his closest friends, it is his true friendship, more than his music that he will be remembered for… because that’s what he really is aside from being a true musician -- he is a true friend. It is what I always remember about Wency, being one of his closest friends back home and in Dubai. Without a doubt, I am one of his biggest fans not just because I am his friend, but because his music is obviously the work of a true musical artist and genius. His songs are true works of art -- simply melodic, with lyrics that are profound and meaningful, and envelope you with their truthfulness every time you listen to them. But just like his music that has never ceased to touch me, it is his almost twenty-year-old friendship with me that has continually enveloped me with truthfulness. Our friendship perhaps is the biggest hit of our lives and the favorite song we like to listen to. Here's a photo of Wency and me. The last time Wency was in Dubai in 2004, Burj Al Arab was still the icon of the city, construction and other developments in the city were still in their early stages, and I was still single, didn’t have a car and was working for a fashion company. Now, four years later, Dubai is known for having the world’s tallest building, the Burj Dubai; there is mind-boggling fast-paced construction everywhere; and I am happily married with two children (one of whom is Wency's inaanak), own a car and work for another company. Many things have changed in the city and in our lives, but one thing that has remained constant is our friendship. Here's a photo of us with my wife and kids when Wency visited our flat. You could also say whenever Wency is in Dubai, he performs magnificently for the homesick Filipino expatriates and that I am always here for my friend. Wency arrived in Dubai on March 10 after coming in from a show in Kuwait -- his first time to perform there. It was his third time to be in Dubai, performing in 2003 and 2004, both for the Philippine Independence Day celebration, and this time he had more time to shop around, promote his and Ara’s show and just explore the city. It also gave us ample time to catch up on each other’s lives after not seeing each other for three years (the last time we saw each other was when he performed during my wedding reception in 2005). Here's a photo of Wency with members of the Filipino Press Club-UAE. At Chi Garden. And at the City Centre. I learned from him that Afterimage is back with a new album that will be released after he gets back to Manila. (I knew since last year that they were back in the studio but he finally confirmed to me that they are ready to hit the airwaves again with some new singles). He let me listen to one of their songs, "Musikero," and I was instantly blown away by it. He showed me the song's music video on his iPhone and gave me a copy of their yet-to-be-released album "Our Place Under the Sun," their fourth album but this time without the original lead guitarist Chuck Isidro, who is now with 6CycleMind, and original drummer, Rogie Callejo. Two new members have filled in for them but the sound of Afterimage is still the same or, actually, much better. With Wency's voice driving the songs, it is plainly superb. He asked me for my opinion on the album, if I liked it and how I rated it compared to their previous ones. I honestly told him that their third album "Bagong Araw" was still my favorite although it wasn't commercially that successful. But I said that this new album could be as big or bigger than their platinum-award winning second output, the album "Tag-Ulan, Tag-Araw." I've listened to the new songs that he and Arnold Cabalza, Afterimage's keyboardist, have written in the album and I must say that they just grow on you. This album will clearly put Afterimage in their rightful "musical place under the sun." Four years ago, in my article about Wency's second visit to Dubai published in what was then INQ7.net, using the titles of his famous songs, I wrote "tag-ulan man o tag-araw, habang may buhay at hanggang kailanman," Wency and I will always be friends. Using the lines in his new ballad (the fourth song in the album), "Habang ako ay narito asahan mo ako ay kasalo, kung dumilim ang iyong mundo, kumapit ka sa kamay ko," this time I write, as long as I am here, Dubai will always be Wency's place under the sun… the Middle Eastern sun. Editor's note: Photos taken by Quay Evano

SAMAON SULAIMAN of Mama sa Pano, Maguindanao received the Gawad sa Manlilikha ng Bayan or National Living Treasure Award in 1993 for outstanding artistry in the Maguindanao kutyapi, a two-stringed plucked lute. Watch him play this difficult-to-master Filipino instrument.
Online Videos by Veoh.com Video produced and provided by Tesoros.ph.

By Gerald Gene R. Querubin Inquirer BOAC, Marinduque--The Muslims have their “singkil” and the Visayans, their “Usahay” and “Dandansoy.” But what do the people of Marinduque have? This question has inspired an advocacy by a music educator since childhood to learn and preserve songs and folk dances that are truly Marinduqueño. “I heard old folks in my place singing old short songs aside from the kundiman and love songs with positive values. I listened to some of them and there, my research began,” says Prof. Rex Manuel Asuncion, who is now director of the Center for Cultural Arts Studies of the Marinduque State College in Boac town. Asuncion started playing simplified versions of Filipino folk songs on the piano during his elementary school days. He was also actively involved in folk dance presentations in schools and town fiestas. While growing up, he noticed that the students’ most-sought performances were limited to folk songs and dances of other provinces. They were not taught to sing or dance any Marinduque songs and dances. “If we have ‘Sarungbanggi’ of Bicol, ‘Atin Cu Pung Singsing’ of Pampanga, ‘Pamulinawen’ of Ilocos, ‘Usahay’ of Cebu and ‘Dandansoy’ of the Visayas, Marinduque has its own folk songs which are unheard of yet existing,” Asuncion says. The professor envisions that the island-province will soon be proud of its songs that speak much about its traditions, culture, beliefs and lifestyles. Asuncion has so far documented and notated the following folk songs: “Alamat ng Dalawang Puting Gansa” (The Legend of the Two White Geese), a legendary myth about two lovers who jumped into the river and became white geese. “Sulong, Aking Tandang” (Charge, My Rooster), a courtship song that depicts the intention of a rooster to a beautiful hen. “Isang Buong Dayap,” a song of longing for a dear someone who died. “Lahat ng Bagay” (All the Things), a song that compares life to the scent of a flower. “Dalagang Parang” (Lady of the Fields), a nationalistic song that describes the ability of a Filipino woman to live and succeed in everyday life by helping her husband in the field. Asuncion is now working on different versions of the traditional “putong” (royal welcome) and other songs. Folk songs, he explains, are short songs that express love, loneliness, festivities, harvests and religious activities, and have no particular composers. Just like the Tagalogs’ “Bahay Kubo” (Nipa Hut), these continue to exist in the community and are sung by old-timers, he says. People long ago tended to make songs because it was one of their activities that they did in lieu of modern technology, he adds. Authenticity “Before we perform music in terms of solo singing or choral rendition, we look first for its authenticity—and that is the beginning of research,” Asuncion says. Music authenticity or originality, he explains, covers the exact melodic pattern, lyrics, time signature, key signature, tempo, style, influence, purpose, event and function, and how it evolves in the community. Moreover, respondents must be at least 60 years old for music validation, Asuncion says. “I made them sing and record their voices individually and join them in singing to intensify the music. After a long hour of staying with them, music analysis follows and this demands more time.” “I go back once I finish my notated music and check some discrepancies with the old folks until I finalize it with them with their approval,” he adds. Old folks are willing to share what they know because they see themselves in the studies being made and they feel that they are part of the songs, Asuncion notes. Learning the ropes Asuncion learned music research and how folk dances and songs were documented through close interviews with National Artist for Dance Ramon Obusan, Dr. Larry Gabao of the National Commission for Culture and the Arts and other music professors. He obtained his Bachelor of Science in Music Education degree from the Centro Escolar University in 1995, and a Masters in Music, Major in Music Education, also from CEU, in 2006. He received a gold medal for excellence in research. A baritone-tenor, he teaches humanities, music education and curriculum development under the MSC’s School of Education and prepares music modules for early childhood programs. “The only thing that makes them different is that dance focuses on figures while music is on tonal approach,” Asuncion says. “I have also seen how a Peking Opera was documented in Beijing, China, in 2006 and I could not imagine the level of patience on their performances. You know how slow some parts of the Chinese opera are,” he says. “I was even more challenged to document our own music, instruments, rural costumes (if there’s any) regardless of its musical mood and tempo as long as it will identify my own native land.” Local folk songs, he says, must be included in the learning competencies of the music curriculum because they also comprise the basic elements of music. “It gives full identity to the locality and has the power to develop every learner to become more patriotic to his native land. This also magnifies the love for native tongue or dialect.” Folk songs can be further improved once they are written in simple piano pieces for beginners and set into recording for production intended for income-generating purposes in the form of video compact discs, he said. Asuncion is looking forward to promoting Marinduque’s identity in terms of music heritage. He simply wants to respect, adore and appreciate his ancestors, who had lived and believed in the beauty of music. He is grateful for the moral and intellectual support of his superior, Dr. Carlos Andam, vice president for research and extension of the MSC, and his co-author, Prof. Liza Marie Manoos, who does the technical aspects of his research.

By Ma. Diosa Labiste Inquirer ILOILO CITY--Inspired by stories that her grandfather was once a conductor of a local orchestra and that school orchestra competitions drew huge crowds in Iloilo decades ago, a 36-year-old Filipina, born in Manila but who grew up in Canada, has set her mind on forming an orchestra in Iloilo City. Finding nothing to start with, Melissa Lopez-Exmundo opened classes in violin, teaching children from three years old and up, hoping to build a base for a chamber orchestra she dreams of. Exmundo is among those who reversed the migration of professionals to North America and elsewhere. In 1998, she decided to stay in Jaro district and teach because she was amazed by the talent she was able to coax from her young students, who are now saying they want to be musicians playing in an orchestra. In a country where beauty parlors and movie theaters overwhelmingly outnumber concert and music halls, Exmundo’s effort caused naysayers to shake their heads, probably until they saw her students straining their bows to get the right sound from their violins. “I missed watching opera and playing in orchestra (in Europe and Canada). Sometimes I am invited to play in Manila. But if I create opportunities here, I could enjoy it too,” she said. In other countries, the way to join an orchestra is to take lessons and audition to join the orchestra. What Exmundo did was unusual. She gave group lessons to train children in orchestra playing. If they are serious about their music, they can audition for an orchestra later. Melissa taught violin at the University of San Agustin and Central Philippine University. She also taught French at the University of the Philippines-Visayas campus and West Visayas State University. But she wasn’t happy with the results of her violin classes because many of her adult students were taking lessons mainly for academic credits and less for the love of music. ‘Twinkle Twinkle’ “The problem with adults is that they have an expectation of what they should sound like, and if they don’t get results, they give up sooner. Their arms are not that supple. Adult students are more busy and hard on themselves. Kids are more resilient and they don’t mind playing ‘Twinkle Twinkle,’” she said. Exmundo started giving private violin lessons in June 2002. “I had no name, just a private class and all by word of mouth,” she said. Classes Her class of seven students grew to 20 and later an average of 25 to 30 per module. Since then, more than 50 students have attended her class, some of them on a continuing basis. Others have started coming, brought by their parents who heard about Exmundo or have seen her students perform in a recital. She didn’t turn them away even if her classes were already big because many of the children showed promise even at the tender age of three or four, which is about the same age she started to play a violin. Exmundo and her family migrated to Canada when she was two years old. She remembered playing with pseudo violin when she was three. She had a Hungarian violin teacher until she was six years old and she continued to take private lessons. She graduated from the University of Toronto with a bachelor’s degree in Music Performance. In Toronto she played in and coached youth orchestra and ensembles. She went to Prague in 1993 and stayed for a year to take private lessons in violin under Professor Ivan Strauss. She went to Japan to teach English and in preparing for her trip she took lessons on teaching English as a second language. The experience helped her prepare for violin teaching years later. Even if she was not trained in music education, she reads up on strategies in teaching music and designs modules that combine the Suzuki method and the conservatory way of learning music. Each module ends with a performance, which is the most-awaited part by students and their parents.

By Pablo Tariman, Alcuin Papa Inquirer MANILA, Philippines--The Philippine Madrigal Singers won the prestigious European Grand Prix for Choral Singing Sunday night (Monday morning, Manila time) in Arezzo, Italy. The Madz, as the choir is popularly known, is the first and only choir to win twice in what is known as the choral Olympics of the world. It won the European Choral Grand Prix (GPE) for the first time in June 1997 when the Madrigals represented the Tolosa Competition, the first and only Philippine choir to win this competition. When it won the Florilege Vocal de Tours in France in 2006, the Philippine choral group earned the right to represent the Tours in this year’s choral Olympics, held on Sunday at the Church of Sta. Maria della Pieve in Arezzo, Italy. The Madrigals beat formidable choirs such as Russia’s Vesna Children’s Choir, Hungary’s Cantemos Mixed Choir, Cuba’s Schola Cantorum Coralina and the Taipei Chamber Singers. “Its overwhelming. Up to now we are very happy and pleased. No words can describe it,” Mark Anthony Carpio, the Madrigal’s choirmaster told the Philippine Daily Inquirer by phone from Italy. Carpio said the choral group performed a 20-minute program for the competition which included: John Pamintuan’s arrangement of “Pater Noster,” a French madrigal, a German art song, the American contemporary song “We Beheld Once Again the Stars” by Z. Randall Stroope and a children’s song from Maguindanao titled “Kaisa-isa Nyan” by Nilo Alcala. The 44-strong Philippine choir is scheduled to arrive in Manila on Tuesday at 10 a.m. Carpio said the Madrigals were set to perform a homecoming concert in October before leaving for the US. The Philippine Madrigal Singers was founded in 1963 by National Artist for Music Andrea O. Veneracion, who led the choir in winning various choral competitions from all over the world. Veneracion passed on her choirmaster’s task to Madz member Carpio, who led the choir in winning the latest choral Olympics. “I never had the ambition of becoming the choirmaster of a group I have admired for a long time,” said Carpio who took over in 2001. “But I trusted Prof. Veneracion’s decision. She had been praying intensely for this when the Madz won the 1997 GPE." Carpio was overwhelmed when the Madz made history by winning its second GPE, this time, under his leadership. “Nothing is more enjoyable than to see our hard work pay off. Feeling good about ourselves inspires us to even work harder. As Prof. Veneracion always said in the past, competitions are not the end; they are just means for us to see how well we are on track," Carpio said. "We worked hard to achieve what we believed is the composer’s desire for each of our pieces. We did a lot of studying and research. But most of all, we did a lot of rehearsals," he added. According to Carpio, there is no such thing as an ideal sound in any choral competition. The sound that the choir always tries to maintain is a free and relaxed sound but at the same time versatile and flexible. “I believe there is no ideal or perfect sound for a choir. I have made this conclusion after listening to so many choirs from different countries of different cultures and ages. Each one sounds good but different from each other," he said. "There are qualities that are common to choirs. They are homogenous and the different voice parts are well-balanced. This is what conductors find very challenging: How to make the different individual voices blend together. This is difficult but attainable," Carpio added. The GPE is an annual choral competition for the winners of six European choral competitions. It was inaugurated in 1989. The six competitions are the Concorso Polifónico Guido d'Arezzo (International Guido d'Arezzo Polyphonic Contest) in Arezzo, Italy; the Bela Bartok International Choir Competition in Debrecen, Hajdú-Bihar, Hungary; Concorso Cesare Augusto (C.A.) Seghizzi, (C.A. Seghizzi Competition) known more popularly as the Seghizzi contest in Gorizia, Italy; Concurso Coral de Tolosa (Tolosa Choral Competition) in Tolosa, Spain; the International May Choir Competition in Varna, Varna Province, Bulgaria; and the Florilège Vocal de Tour in Tours, France. By winning the Tours competition in June 2006, the Madrigals qualified to join the GPE. Despite its name, the GPE is not strictly for European choir groups. Any group from around the world can join in the competition in any of the GPE’s six member-cities. The competition is also not limited to adult choirs. Two past winners are children’s choirs. Sweden has produced the most number of GPE winners with four choral groups. Lithuania has three winners, Hungary and the US have two each. Denmark, Japan, Latvia, the Philippines, Russia and Slovenia have one each. The last winner of the 2006 GPE held in Tolosa, Spain is the University of Utah Singers from Salt Lake City, US.