The National Commission for Culture and the Arts (NCCA) through its Program Management Division (PMD) – Arts Section, congratulates the winners for the 2022 NCCA COMPOSITION PRIZE.

The National Commission for Culture and the Arts (NCCA) Composition Prize is a biennial award given to deserving composers for each category. Initiated in 2016, it is a competition on concert hall music, which calls for extended works that go beyond popular or traditional music-writing or improvisation, and thus can be better judged or evaluated if codified with acceptable standard notation that may be published and recreated later through a performance.

The 2022 installment of the prize ended its call for scores last June 30, 2022. There are four categories for this year: Solo Piano, Standard Chamber Orchestra, Standard Full Orchestra, and Sypmhonic Band. The participants were judged via blind adjudication, in which the deliberations was held last August 23, 2022 via Zoom online, and winners were declared by a prestigious jury for all four categories.

 

Franz Augustine Mallari won the prize for the Solo Piano category for his work entitled: “Laro-Laro-Laruan.” Mallari is currently a sophomore in the University of the Philippines College of Music majoring in Music Composition and with a Minor in Chorale Conducting. He is a student-composer who has experience in writing for chamber orchestra and solo instruments, and is also currently training as a choir conductor, with an experience as a singer for a church choir for 5 years.
 

Jonathan Domingo was declared the winner for both Standard Chamber Orchestra and Standard Full Orchestra categories for his works entitled: “syn(es)thesis 1: particles in motion” and “Mga Musika at Tagpo sa Tinubuang Lupa” respectively. Domingo holds a Diploma in Creative and Performing Musical Arts and a Bachelor of Music, with a Dean’s Medal (both in Composition) from the University of the Philippines Diliman. He was under the supervision of Josefino “Chino” Toledo. He has also received commissions and world premieres around Asia, Europe, and the United States. Additionally, he is a former faculty member at the UP College of Music Extension Program and taught music theory, sight-singing, and composition.
 

Finally, Alejandro Consolacion II, with his winning piece entitled “Celebration Suite,” won the prize for the Sympphonic Band Category. Consolacion enjoys a dual career as organist and composer. He finished his Graduate Degree of Organ Performance at Westminster Choir College and received his Performance Diploma in Organ Performance from the Associated Board of Royal Schools of Music in London and Licentiate in Organ Performance at the Royal Schools of Music with His prolific compositions vary from small to large-scale choral works, music for solo instrument, chamber music and orchestra.

ABOUT THE WINNING PIECES. Get to know how the composers created their winning pieces through reading their notes on their respective compositions:

I. Laro-Laro-Laruan by Franz Augustine Mallari (Solo Piano)

“When a time as depressing as COVID-19 comes, there is almost no escape in feeling the repercussions of loneliness, of tiredness, and of despondency. We were all locked in our own homes and rooms with no clue as to when we will be able to go out again or breathe fresh air without having to fear the virus. Ironically, we built prisons in our own homes to protect ourselves from the virus, but by doing so, we locked ourselves in a situation of desperation and near-madness. This time, however, made most of us cherish those “normal” times which most of us know we would not be able to go back into. I had these same moments during the pandemic and when I entered this stage of introspection, I always thought of some of the games I played when I was a child.

In this composition entitled Laro-Laro-Laruan, I used the games Habu-Habulan, Tagu-Taguan, Ubusan Lahi, and Patintero to be the different movements in the piece and to reflect on our situation during the COVID-19 pandemic. In writing this piece, I resorted to the repetition of the different motifs from different movements to serve as a reminder of those “normal” times but as well as an eye-opener that the pandemic has brought us in this cycle of repetition – a cycle between influx and a perception of safety. I also used playful rhythms, most especially for the first and fourth movements, however, as the piece progresses, this playfulness withers away and is replaced by melancholic and tense harmonies. Rhythmic passages, however, still linger in the piece – a mark of “what was” in a condition where nobody has anywhere else to go to. Moreover, during this piece’s composition, I was inspired by the different modes of limited transposition, but I did not use these extensively since I only wanted to utilize this to introduce certain ideas of anxiety and tension. The rhythmic motifs, on the other hand, can be more described as chromatic, mirroring the idea of naivety that I want to produce.

By listening to this piece, I can only hope that it can serve as a reminder of what was “normal”, of what “is”, and what the future needs to look like from the present point of perspective. 

II.

syn(es)thesis 1: particles in motion by Jonathan Domingo (Standard Chamber Orchestra)

“Upon seeing Velikov’s painting, these words first came into my mind: scientific, cell- like, celestial. When you zoom in the painting, you will see tiny specks of color swarming around each other, almost blending and sometimes overlapping. It makes the painting seem like it is moving or in motion; there is almost no “solid” type of color when you look at it closely.

I experimented with the concept of sound energy through a process of accumulation and dispersion, just as how different color shades are formed. The flow of the sound energy created by diverse timbres, registral shifts and dynamic contrasts function as the piece’s driving force.

This work is the first piece in syn(es)thesis, a collection of works based on different kinds of visual arts.”

Mga Musika at Tagpo sa Tinubuang Lupa by Jonathan Domingo (Standard Full Orchestra)

“This orchestral suite is a reimagining of some prominent indigenous Philippine music that incorporates Western compositional frameworks.

1. Ang Pagsikat ng Araw sa Hilaga: A morning call (Preludio)

This movement rooted its inspiration in the Kalinga lullaby, Wiyawi, and Salidumay (a word that has no precise translation), frequently heard in Cordilleran songs, and conveys worship, gratitude, and courtship, among other uplifting themes.

2. Halinhinang Hilaga’t Timog: A friendly exchange (Fuga)

This movement utilizes a fusion of Kalinga and Maguindanaoan influences. Incorporated elements include the interlocking technique found in *Tongatong music, a drum pattern by **Dabakan, and some melodic fragments derived from various Kulintang melodies and a Kalinga rice-pounding song, Mambayu.

3. Ang Takipsilim sa Katimugan: A children’s play (Capriccio)

This movement uses various rhythmic modes produced by each instrument in the ***Maguindanaoan Kulintang ensemble, and these modes are the basis for the material development of the piece.

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*bamboo percussion instrument in various lengths; played by hitting it against the earth.
**a single-headed drum in the Maguindanaoan Kulintang ensemble.
***the ensemble consists of: Kulintang, Dabakan, Agung, Gandingan and Babandil.”

II. Celebration Suite by Alejandro Consolacion II (Symphonic Band)

“It has always been a long desire of mine to write an entire suite for a symphonic band, especially your typical “local banda” – whose members are either school- based or community-based. 

Why? 

There is a pedagogical aspect that can be found both in building a playing technique and exploring different musical forms that can stretch the capacity of these musicians to go further. The pieces are not only limited to those musicians who fall under the “intermediate” level, but also for those who belong to the “advance” level; players who will find enthusiasm in learning, as there are still challenges that need to be addressed; both in musicianship and ensemble playing. 

Simply put, this was written with the purpose in mind of teaching music pedagogy to intermediate bands, yet at the same time contributing to an ever-growing concert repertoire for advance groups. 

Generally, the Suite is a collection of short pieces – presented either to be played as a whole for recitals or concerts but can also be played independently as individual pieces. The movements are short yet connected to each other. 

First, Fanfare 1: played “attacca” to Parade. (In like manner, further down, this will also be the form of Fanfare 2 to Hymn) 

These are joyous pieces that picture a grand processional – which we can witness either during a church service or a public procession (i.e. “Fiesta” Season). 

Next, Prayer: structurally, a slow lyrical piece.
The expressive legato passages challenge a smooth playing and balance. 

As mentioned earlier, Fanfare 2 follows suit to Fanfare 1: it introduces the theme of the second slow piece, played “attacca” as well, to Hymn. 

The joyous march-type fanfare heavily highlights the brass and percussion sections, while the Hymn features the woodwind section. The lush harmony demands a balance for each section – again; a great deal of work in ensemble playing. 

And finally, the last movement: entitled, Dance. 

The rhythmically challenging piece explores dexterity and confident playing for both the conductor and the players. 

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