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    Marcelo Q. Adonay

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    Ramel Oñate
    Marcelo Q. Adonay (1848-1928) was an eminent Filipino composer and conductor born in Pakil, Laguna. [1] Though he lacked formal music education, he was recognized as a master of Philippine religious music. [2] He conducted the orchestra of San Agustin Church from 1870 to 1914, directing performances of major works and compositions of his own. [3] Adonay composed over 50 religious pieces inspired by Gregorian chant as well as secular works honoring national heroes. He was an influential teacher of music in the Philippines.

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    Marcelo Q. Adonay

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    Ramel Oñate
    429 views2 pages
    Marcelo Q. Adonay (1848-1928) was an eminent Filipino composer and conductor born in Pakil, Laguna. [1] Though he lacked formal music education, he was recognized as a master of Philippine religious music. [2] He conducted the orchestra of San Agustin Church from 1870 to 1914, directing performances of major works and compositions of his own. [3] Adonay composed over 50 religious pieces inspired by Gregorian chant as well as secular works honoring national heroes. He was an influential teacher of music in the Philippines.

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    Marcelo q. Adonay

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    Marcelo Q. Adonay (1848-1928) was an eminent Filipino composer and conductor born in Pakil, Laguna. [1] Though he lacked formal music education, he was recognized as a master of Philippine religious music. [2] He conducted the orchestra of San Agustin Church from 1870 to 1914, directing performances of major works and compositions of his own. [3] Adonay composed over 50 religious pieces inspired by Gregorian chant as well as secular works honoring national heroes. He was an influential teacher of music in the Philippines.

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    429 views2 pages

    Marcelo Q. Adonay

    Uploaded by

    Ramel Oñate
    Marcelo Q. Adonay (1848-1928) was an eminent Filipino composer and conductor born in Pakil, Laguna. [1] Though he lacked formal music education, he was recognized as a master of Philippine religious music. [2] He conducted the orchestra of San Agustin Church from 1870 to 1914, directing performances of major works and compositions of his own. [3] Adonay composed over 50 religious pieces inspired by Gregorian chant as well as secular works honoring national heroes. He was an influential teacher of music in the Philippines.

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    of 2

    MARCELO Q.

    ADONAY
    (1848-1928)

    Eminent Composer and Conductor


    Marcelo Adonay, the oldest of 11 children of Prudencia Quinteria and Mariano Adonay,
    was born on February 6, 1848 in Pakil, Laguna. He lived in an era when Philippine religious
    music had reached its pinnacle. Although he lacked a formal education in music, Adonay was
    recognized as a master and gained the respect of his fellow composers, who considered him a
    genius.

    In 1856, Adonay, aged eight, was enrolled by his uncle in the San Agustin Church
    Convent. There he learned the basics of piano and organ music as well as harmony. When he
    grew older, he joined the orchestra as organist and violinist. In 1870, Adonay who was 22 at the
    time became the conductor of the church orchestra, which he directed until 1914, but for a
    hiatus during the Philippine Revolution.

    His great passion was religious music. When not composing or conducting, he
    performed chamber music as a member of a trio or a quartet. He influenced the growth and
    public appreciation of Philippine music through concerts he often produced. He directed the
    first vocal rendition of Beethoven's "Solemn Mass in D Major, Opus 123," in August 1887 at the
    San Agustin Church. In 1891, he conducted a performance of the "Solemn Mass of Reparaz."
    Two years later, in March 1893, he led his orchestra in a joint presentation of Eslava's
    "Miserere" and a composition of his own, the "Benedictus."

    The priests of San Agustin sent Adonay's works to the eminent Spanish composer and
    their fellow priest, Fr. Arostegui, who was based in Madrid. The Spaniard was profoundly
    impressed by the perfect harmony in Adonay's music. Later, he gave the Filipino composer a
    study on fugue and counterpoint. In 1886, during Arostegui's visit to the country, Adonay
    graciously proffered to the cleric his place as choir conductor of San Agustin Church.

    In 1869, Adonay composed "Liberame," which he later performed in a requiem mass for
    Fr. Arostegui. His other religious compositions are "O, Vita Jesu," "A San Juan Bautista,"
    "Resposarium," written in 1894; "Hosana," 1889; and "Nuestra Seora de Antipolo," which was
    written in 1909. Two of his famous masterpieces are Grand Mass and Te Deum. Another
    masterpiece is the Pequea Misa Solemne, composed in 1903.

    Unlike other composers who wrote opera-like religious music, Adonay created music
    that was inspired by the Gregorian chant. Thus, his compositions are not overly dramatic or
    affected; rather, they are solemn, relevant and, more importantly, appropriate.

    Adonay also composed non-religious music, such as marches and commemorative
    pieces. These include a piece expressing the heroism and martyrdom of Rizal, entitled "Rizal
    Glorified," first played on December 10, 1911 at the Grand Opera House. His other secular
    compositions are "Himno Pakileo," written for his hometown: "Melodia," "Wari-Wari," "Mary
    Gavotte," and "Ang Quirot ng Reuma," written in 1912.

    Aside from being a composer, conductor and performer, Adonay was also a teacher. He
    gave private lessons and taught at the Centro de Bellas Artes. Some of his more famous students
    were Jose Vallejo and Pedro Navarro. He was an active member of the Union Artistico Musical
    and joined the Asosacion Musical de Filipinas in 1912.

    He was married to Maria Vasques of Malolos, Bulacan, on January 17, 1879 at the Manila
    Cathedral.

    He died on February 8, 1928.

    In 1983, on the occasion of his 135th birth anniversary, the National Historical Institute
    honored him by installing a marker in his hometown in Laguna.


    References.

    Gwekoh, Sol. Hall of Fame, Manila Times, 1965.

    Mojares, Resil. Encyclopedia of Philippine Art Volume 9. Nicanor G. Tiongson. Ed.
    Manila: Cultural Center of the Philippines, 1994.

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