The Brass Band Tradition of Pasig: A Historical Overview

  

Introduction

The late 19th century until the early years of the American occupation witnessed Pasig's thriving and renowned brass band tradition. However, over time, this vibrant cultural heritage slipped into obscurity, fading from the memory of the Pasigueños.The purpose of this article is to rekindle the narrative of Pasig's brass band tradition, shedding light on its historical, cultural, and musical significance. By examining the tradition's roots in the fusion of Catholicism and Western music, its role in religious and communal contexts, and its eventual decline, we aim to celebrate and re-establish this lost legacy.

Harmony of Faith and Music: The Arrival of Western Musical Tradition

Pasig's musical journey was intertwined with the arrival of the Catholic faith and Western music in the Philippines. The Catholic Church, a harbinger of both Christian beliefs and Western culture, played a pivotal role in introducing traditional European music to the archipelago. The resounding toll of bells in the "Bajo de la Campana" heralded not just the presence of a physical church but also symbolized the fusion of Castilian conquest and indigenous spirituality.

The term "Bajo de la Campana" still has a wide meaning—UP musicologist and former UP College of music dean Jose Semblante Buensuceso mentrioned -- ”When the Spaniards arrived in Cebu-- 'The former gongs or gangsa of the Cebuanos were replaced by the big DONG-DONG of the church that was built of the Spaniards.. The complete embrace of the natives in the Catholic religion

With the advent of the Manila-Acapulco Galleon Trade, a tide of objects imbued with religious and Western cultural significance surged into the archipelago. Among these were cuadros and religious paintings originating from Europe and the Americas. Accompanying these visual treasures were devotional books, Bibles, stamps, and rosaries, encapsulating the profound intertwining of faith and culture.

Instruments of music, too, embarked on this journey, forging a melodious bridge between distant lands. The regal (organ), a prominent fixture in churches, made its appearance, accompanied by stringed instruments such as the viol, lute, and vihuela (guitar). The symphony of sounds extended further with the inclusion of wind instruments—recorders, flutes, trumpets, clarions, and trombones.

Indeed, the infusion of musical instruments became a poignant symbol of Western culture's integration. Its arrival was a testament to the profound transformation experienced by the archipelago, wherein the resonance of these instruments echoed far beyond mere notes and melodies. The very presence of these instruments served as a tangible reminder of the historical encounter, also a mark of the Spanish subjugation of the Philippines' native spirit.

In this atmosphere, a tradition emerged. The indigenous population became students of musical art, practicing their singing and mastering instruments. The organ, a grand presence in the church halls, symbolized this musical effort. When an organ wasn't available, the vihuela or the guitar gracefully took its place. As time went by the tradition of putting up instrument ensembles for many religious feast and rites became a common practice.

An example of the incorporation of ensemble musical instruments in the church rites and celebrations in Pasig can be found in the book of Fr. Pedro Murillo Velarde SJ— "Historia de la Provincia de Philipinas". It describes the fluvial procession (pagoda) of the Virgen de Antipolo in 1748, as it traveled from Intramuros to Antipolo and made a stop in the coastal community of the town of Pasig, along the Pasig River.

Fr. Pedro Murillo Velarde mentions that the procession passed through the town of Pasig, where the banks of the river were lined with arches, flags, hangings, and altars. It stopped in front of two of these altars,. The Blessed Virgin was honored with devotional loas, and beautiful songs of sweet and gentle voices, with pleasant accompaniment of instruments. The harmonizing tones of fiddles, harps, violoncellos, flutes, and oboes went with the continuous fireworks interpolated by the joyful military harmony of drums, cornets, and clarions.

Fr. Pedro Murillo Velarde SJ— "Historia de la Provincia de Philipinas". (Published in Manila) 1749

The Influence of the "Age of Enlightenment"

The Age of Enlightenment was a period of intellectual and cultural activity that originated in Europe, emphasizing the value of "reason" over traditions, superstitions, religious doctrines, and customary practices. The primary goal was to advance human well-being through Science. This era also championed liberalism, promoting open discussions among citizens on intellectual matters and opposing excessive or misleading church and religious teachings. It was marked by the presence of notable historical figures like Newton, Voltaire, Humbolt, Rousseau, Handel, and others. The "Masonry" movement gained popularity during this time, alongside the emergence of "salons" in Europe—informal gatherings where writers, philosophers, and artists shared their works. Composers and musicians, such as Liszt and Chopin, were influenced by this atmosphere and integrated it into their salon music.

In the Philippines, a comparable concept is the "Tertulia," which refers to nightly musical recitals organized by leading citizens in a community. This concept became a common feature in the 19th Century in the country.

This period also witnessed the rise of regimental bands within the colonial government and town bands in various places throughout the Philippines. Prof. Felipe de Leon Jr. commented on this, stating, "The village and town bands became part of the birth, baptism, joy, and death of many Filipinos."

The brass band tradition echoed in the pages of Philippine history, even finding mention in the works of our national hero, Jose Rizal. In his novel Noli Me Tangere, Rizal referred to the "diana" as the precursor to festivities, encapsulating the tradition's enduring role in signaling the commencement of celebrations. Today, the "diana" continues to resound through the streets of Pasig during local barrio fiestas, a testament to the persistence of culture.

  

The Concept of the "Diana" in Philippine Marching Band Culture-- Jose Rizal mentioned the tern "diana" in the Noli. In Chapter 30, as dawn breaks in the fictional town of San Diego, being the day of the town's Fiesta, the marching bands wake the community with the diana --The general term used to the music played as a call to start festivities. The "Diana", pronounced by Filpino band musicians as "jana", is also the signal that the town marching band will then make their rounds or "ronda" (to some "paseo") to the town, playing martial music and paso dobles. In my barangay in Pasig, we still experience the "diana", for, in the early morning of our barrio fiesta, bands make rounds. With people seemingly oblivious that what they are witnessing is actually a very old tradition.

Pasig Brass Band Tradition

In an account of a Belgian traveler Jean de Man, who visited Pasig in 1821, the relationship between the fiesta, devotion to the patron, and brass band music is documented in his "Souvenirs d'un voyage aux Îles Philippines, 1875" (Recollections of a voyage to the Philippines)

Here are some excerpts:

"After a six-hour journey (from Manila along the Pasig River), we arrived at the town of Pasig.

We spent the remainder of the day in the town, where a grand festival was underway.

Pasig is a sizable and splendid town; its inhabitants are relatively prosperous, acting as intermediaries in trade between Laguna and Manila. We were warmly welcomed by the Augustinian priests who serve in the church and convent. Following a sumptuous dinner generously provided by the priests, we observed the procession departing from the church at sunset. The procession's opulence reflects the town's affluence; the church's main altar is crafted from solid silver. By eight o'clock in the evening, the procession would return to the church. The four bands of accompanying musicians, now free, paraded through the crowd, playing polkas and other lively melodies. Occasional bursts of firecrackers illuminated the sky, creating a magnificent display.

During the later part of the 19th Century and extending into the early decades of the 1900s, brass bands from barrios outside Manila and various parts of the Philippines began to be organized by music-loving citizens, local impresarios, and prominent figures. In Pasig, bands from the barrios of Buting and Rosario gained popularity, not only within their respective localities but also across the entire town. Members were carefully selected and trained within these barrios, with a specific emphasis on nurturing the musical talents of children and youth.

By the 1930s, Pasig proudly showcased three exceptional bands: Banda Ocho, Banda Dimas-alang, and the much-celebrated Banda Pasig. These bands held a distinguished position not just within the Rizal Province or Manila, but also within the broader national context. Regarded as some of the finest in the entire country, these bands were sought after for their expertise in training brass ensembles. One such esteemed maestro was Prof. Vicente Marifosqui, a native of Pasig, whose exceptional skill in training brass bands was widely acknowledged and revered.

Maestro Vicente Marifosqui

Vicente T. Marifosqui was born in 1865 in Pasig into a family with a deep appreciation for music. Their residence, known as "Villa Marifosqui," served as a cherished gathering spot for musicians, composers, and artists, hosting numerous recitals and meetings. Marifosqui pursued formal training in music theory, harmony, and conducting under various maestros in Quiapo, Manila.

He is recognized for his role in organizing prominent bands and orchestras of his era, most notably the Rizal Orchestra. Additionally, he served as the conductor for the "Banda Guardia Nacional." Following his tenure with the said band, he founded the "Banda Dimas alang" in his hometown—a band that quickly gained acclaim throughout Manila and the Rizal province. Renowned for performing intricate and demanding pieces, the "Banda Dimas alang" became a highly sought-after musical group.

Prof. Marifosqui's influence extended beyond Pasig, as he is credited with training several leading bands in the Rizal and Cavite provinces during the American period. His passing in February 1936 marked the end of an era. Remarkably, despite his significant contributions to Pasig's rich musical heritage, there exists no street or institution within the city that honors his legacy.

Regrettably, Marifosqui seems to have faded from the collective memory of the place to which he so generously imparted his talent and unwavering dedication

Banda Pasig: A Beacon in History

The Banda Pasig, a regimental band within the revolutionary army, embodied a profound connection between Pasig's heritage and history. Through its involvement in the Battle of Manila and its rendition of the national anthem during the opening of the Malolos Congress, the melodies of Banda Pasig resonated during pivotal junctures of the Filipino struggle for independence. Its sponsorship by Bonifacio Arevalo, a founding member of "La Liga Filipina," further solidifies its place within the annals of Philippine history.

Banda Pasig found itself in dire financial straits when Bonifacio Arevalo, a dentist with ties to the town of Pasig, stepped in to offer assistance. By augmenting its membership, he bolstered the band's status, ultimately transforming it into a prominent ensemble. This elevation led to its designation as one of the regimental bands of the revolutionary army, a distinction personally chosen by General Emilio Aguinaldo.

In August of 1898, amid the tense standoff at the gates of Manila, Banda Pasig stood alongside Colonel Juan Cailles' forces, serving as the regimental band. As Filipino rebels aimed to capture the walled city while American forces thwarted their efforts, Banda Pasig's music echoed through the turmoil. When the American side pressed for a retreat, Colonel Cailles and his officers initially resisted. However, upon receiving a command from Aguinaldo to pull back, Cailles reluctantly complied. Yet, he orchestrated the retreat with an air of defiance and courage, he did it with bravura. In a stirring display, he directed the Banda Pasig to play a triumphant march—a resounding message of retreat without surrender, a promise to fight another day. The detailed account of this retreat is well-documented in the book "War in the Philippines and Life and Glorious Deeds of Admiral Dewey" by John Stickney.

In the weeks leading up to the establishment of a government in Malolos, General Emilio Aguinaldo was accompanied by the Pasig Band. As they made their way to Malolos, General Aguinaldo made a brief stop in the town of Pasig. Here, he was warmly received by prominent citizens of the town, who treated him to a captivating musical performance. The Pasig Band played stirring martial melodies outside, adding to the anticipation of the crowd gathered to catch a glimpse of the esteemed general.

A significant moment occurred on September 15, 1898, during the inauguration of the Malolos Congress. The Banda Pasig was accorded the distinct honor of performing the "Marcha Nacional," -- the national anthem of the Philippines.

Even with the advent of American governance in the country, the Banda Pasig continued to shine brightly. In 1902, the band was selected to represent the Philippines in the Hanoi Exposition in Vietnam. Their performance was a highlight of the Philippine pavilion, showcasing the country's rich cultural heritage to an international audience.

The Banda Pasig remained a central figure in events of national significance. A notable instance took place on December 30, 1904, during a Rizal Day concert held at the Zorilla Theater. During this event, the Pasig Band joined forces with the Rizal Orchestra to deliver a remarkable combined performance. One of the highlights was a rearranged rendition of Julio Nakpil's "Marangal na Dalit ng Katagalugan," which was renamed "Salve Patria."

The Decline and Disappearance: Unraveling the Threads

Despite its once resplendent grandeur, the esteemed brass band tradition in Pasig gradually receded into the recesses of collective memory. This fading prominence can be attributed to an interplay of various factors, casting a shadow on its former prominence. Among these factors, the most notable include the oversight in transferring its legacy to younger generations, the shifting winds of musical preferences, and the sway of economic realities.

The magnetic pull of emerging musical genres, from the late 1950s through the rise of Pop music, orchestrated a diminishing resonance for the cherished traditions of the traditional brass bands. In the passage of time, the echoes of these bands were gradually replaced by new harmonies that captivated contemporary audiences.

Pasig's brass band tradition has lost its former vibrancy, with only one or two locally rooted bands remaining. Additionally, the city government maintains a band within its program, overseen by the city's arts and cultural office. However, it's notable that a substantial portion of the band's members are non-residents of Pasig. The city administration does periodically promote initiatives aimed at rejuvenating awareness of this musical heritage, yet the fervor it commands today pales in comparison to the fervent devotion that once reverberated through the hearts of Pasigueños more than a century ago.

Conclusion : Resurrecting Pasig's Musical Legacy

Pasig's vibrant brass band tradition, once a cherished part of the city's cultural identity, now echoes faintly in memory. Yet, these forgotten melodies hold the key to reviving a rich musical legacy.

This cultural revival hinges on two crucial elements: igniting a passion for brass bands amongst the youth and meticulously preserving the oral histories of this tradition. By documenting the stories of those who kept the music alive, we bridge the gap between generations.

Luminaries like Prof. Vicente T. Marifosqui stand as testaments to Pasig's musical heritage. Recognizing their contributions ensures their legacy lives on, becoming a cornerstone for the revitalization effort.

Rediscovering the brass band tradition isn't merely a nostalgic exercise. It's a vibrant celebration of the past, paving the way for a future brimming with musical richness. By embracing this heritage, Pasig can weave its past with the present, ensuring the heroic sounds of brass bands continue to resonate for generations to come.

This resurgence serves as a powerful testament to the enduring spirit of Pasig's music. Through preservation, education, and the seamless blending of tradition with contemporary influences, Pasig will once again become a metropole where music and history harmonize perfectly.

Postscript

This is from a recent lecture conference,  "Kumperensya ng Araling Pasig" held at Pamantasan ng Lungsod ng Pasig (PLP). May 3 2023. Under the direction of Dr. Wensley Reyes.  I discussed my paper, "The Brass Band Tradition of Pasig" -- a cultural heritage now gone in the collective memory of Pasigueños.