Thursday, 6 August 2009
05:27:54 AM (GMT)
Severino Reyes - a Filipino writer, dramatist, and playwright, highly acclaimed as
one of the giants of Tagalog literature of the early 20th century. To many people,
Reyes was "Lola Basyang" from the popular Liwayway series he created entitled Mga
Kuwento ni Lola Basyang.
The son of Rufino Reyes and Andrea Rivera, Reyes was born in Sta. Cruz, Manila on
February 11, 1861. He attended his early schooling in an institution owned by
Catalino Sanchez. He then moved to San Juan de Letran College and later at the
University of Sto. Tomas, where he studied philiosophy.
Even while as a student, Reyes was employed as a laborer in the Tesoreria General de
Hacienda. He also worked in various industrial and commercial firms. As a sideline,
he also translated Spanish literary works in Tagalog, and vice-versa.
Reyes was imprisoned in 1896 by the Spaniards because he was suspected to be a
Katipunero. He was released afterwards and thereafter concentrated on writing
In 1902, Reyes founded and directed the Grand Compania de Zarzuela Tagala, which
became famous during its time. The company travelled extensively, giving shows on
neighboring towns and provinces.
On June 14, 1902, the company staged his play Walang Sugat (No Wounds), a drama set
in the historical events in Bulacan during the Philippine revolution.
In 1923, Reyes co-founded the Liwayway, a Tagalog literary weekly. There, Reyes
created the series Mga Kuwento ni Lola Basyang (Tales of Lola Basyang), a series of
fairy tale stories told by Lola Basyang- a character Reyes based on a neighbor named
Gervacia de Guzman.
Severino Reyes died on September 15, 1942, when the Philippines was under the
Japanese regime. The funeral procession was simple and quiet.
Born February 7, 1893
San Miguel de Mayumo, Bulacan, Philippines
Died March 21, 1934 (aged 41)
Nicanor Sta. Ana Abelardo (February 7, 1893 – March 21, 1934) was a Filipino
composer who composed over a hundred of Kundiman songs, especially before the Second
Abelardo was born in San Miguel de Mayumo, Bulacan. His mother belonged to a family
of artists in Guagua, the Hensons. He was introduced to music when he was five years
old, when his father taught him the solfeggio and the banduria. At the age of 8, he
was able to compose his first work, a waltz entitled "Ang Unang Buko," which was
dedicated to his grandmother. At the age of 13, he was already playing at saloons and
cabarets in Manila. At age 15, he was already teaching in barrio schools in San
Ildefonso and San Miguel Bulacan. All of these happened even before young Abelardo
finally took up courses under Guy F. Harrison and Robert Schofield at the UP
Conservatory of Music in 1916. By 1924, following a teacher’s certificate in
science and composition received in 1921, he was appointed head of the composition
department at the Conservatory. Years later, he ran a boarding school for young
musicians, and among his students were National Artist Antonino Buenaventura, Alfredo
Lozano and Lucino Sacramento. In the field of composition he is known for his
redefinition of the kundiman, bringing the genre to art-song status. Among his works
were "Nasaan Ka Irog," "Magbalik Ka Hirang," and "Himutok." He died in 1934 at the
age of 41, leaving a prolific collection of more than 140 works.
As a composition major at the University of the Philippines, he also composed the
melody for the university's official anthem, U.P. Naming Mahal.
The building housing the College of Music in UP Diliman (Abelardo Hall) is named in
Pascual H. Poblete
Kapanganakan Mayo 17, 1858
Kamatayan Pebrero 5, 1921
Si Pascual H. Poblete ay kinilalang mandudulang may maapoy na pagmamahal sa kalayaan
ng bayan. Ginamit niya ang kanyang panulat upang gisingin ang damdaming makabayan ng
mga Pilipino. Siya ay isinilang sa Naic, Cavite noong Mayo 17, 1858. Siya ay nagtapos
ng Bachiller en Artes sa Liceo de Manila.
Dahil sa pagtatanghal ng kanyang dulang Amor Patria, siya at ang mayari ng tanghalang
ginamit sa pagtatanghal ay nabilanggo, bagamat sila ay nakalaya rin. Siya ang
nagtatag at naging patnugot ng pahayagang El Resumen. Ginamit niya ito upang
tuligsain ang mga katiwalian at pang-aaping ginagawa ng mga makapangyarihang Kastila
na siyang naging dahilan upang siya ay mausig at ipatapon sa Africa.
Isa siya sa mga nagsalin sa Tagalog ng Noli Me Tangere ni Rizal. Siya rin ang
nagtatag ng mga pahayagang El Grito del Pueblo (Ang Tinig ng Bayan), noong panahon ng
Si Poblete rin ang sumulat ng dulang Pag-ibig sa Tinubuang Lupa na naging dahilan din
ng kanyang pagkakakulong. Taong 1879 nang maging katulong siyang mamamahayag sa
pahayagang La Oceana Espanola. Naging kolumnista siya ng Diariong Tagalog ni Marcelo
H. del Pilar na pinamatnugutan din niya nang si Del Pilar ay umalis patungong
Espanya. Kasama din siya ni Del Pilar sa pahayagang Revista Popular na naglathala ng
mga artikulong iba-iba ang paksa na naglayong imulat ang isipan ng mga Pilipino.
Ang itinuring na Ama ng Pahayagan ay bawian ng buhay sa taong 1921 sa gulang na 63.
Hermogenes Ilagan earned the accolade “Father of Tagalog Zarzuela” and “Father
of Philippine Zarzuela.”
He was born in Bigaa (now Balagtas), Bulacan on 19 April 1873 and passed away on 27
February 1943 because of coronary thrombosis. Singing became one of Ilagan’s early
preoccupation in his childhood. Endowed with a fine tenor voice, he became tiple and
leading singer of the church choir in his hometown.
A parish priest of Sta. Cruz, Manila who said Mass in Bigaa, discovered his talent.
After proper arrangements were made, the Ilagan family moved to Manila. Ilagan’s
voice filled the reverent atmosphere of Sta. Cruz Church and his compensation came in
the form of schooling at the Ateneo Municipal. But he was not to finish any degree.
He was discovered by a Spanish zarzuela troupe. And from that time on, the Sta. Cruz
Church gradually lost him to Philippine drama and theater.
The Spanish-American War erupted and the company returned to Spain. Ilagan thereafter
began to germinate on Philippine soil the seeds of zarzuela which his pioneering
spirit and inherent creative gifts nurtured. He pioneered in the production of
zarzuelas. He had forty years involvement in this drama form. Philippine theater
prospered, and in the hands of dramatists, most especially Ilagan, attained its
blossoming into what is now referred to as the “Golden Age of Philippine
In 1902, Ilagan organized a zarzuela company called Compania Lirico- Dramatica Tagala
de Gatchalian y Ilagan, the very first of its kind, which later on was transformed
simply into Compania Ilagan. Ilagan wrote and produced: Ang Buhay nga Naman, Ang
Buwan ng Oktubre, Bill de Divorcio, Dahil kay Ina, Dalagang Bukid, Dalawang Hangal,
Despues de Dios, el Dinero, Ilaw ng Katotohanan, Kagalingan ng Bayan, Venus (Ang
Operang Putol), Wagas na Pag-ibig, Sangla ni Rita, isang Uno’t Cero, Centro
Pericultura, Panarak ni Rosa (also known as Punyal ni Rosa), Lucha Electoral and many
From the output of plays and their effectiveness when produced on stage in many parts
of the country, it was evident that Ilagan was both creative and productive. It was
also a fact that he had a trenchant mastery of the human character with all its
foibles and shortcomings. And these human vibrations, these pulses of the human fiber
found ample manifestations in Ilagan’s zarzuelas which were melodramatic, comic,
romantic, and sometimes, political.