Fernando Canon: Filipino Guitar Virtuoso and Patriot

 

Fernando Cano y Faustino (1860-1938)

Sometime 1882, in a letter from Madrid to his family back in Calamba, Jose Rizal mentioned a "paisano" who will be their special guest in a dinner party at Antonio Paterno's place. The guest was none other than Fernando Canon whom Rizal referred to in the letter as "celebridad guitarrista" (celebrity guitarist) . Canon that time was beginning to be noticed in Madrid musical salons with his guitar performances. Rizal then continued: "dentro de algunos años quizás será el mejor en Madrid" -- In a few years he will perhaps be the best in Madrid.

The celebrity guitarist was not really new to Rizal or even to the Mercado family-- Fernando Canon like Rizal was from Laguna, born in Biñan . The Filipino expats had really something to celebrate, , Canon was probably one of the first Filipinos (mestizo or Indio Filipino ) featured in some soirée intime in Spain-- (Unless we find articles mentioning Manuel Luna , in a brilliant evening of violin performance)

During his youth, Canon enrolled at the Ateneo Municipal in Manila, coinciding with his family's move to the city. His father ran a reputable shop specializing in repairing high-precision instruments, watches, and other horological devices, situated at No. 9 Calle Real in old Manila. This familial business, coupled with their affiliations with the gremio or guild in Spanish Manila, likely left a profound impact on young Fernando.

Interestingly, some of Canon's literary works featured technical insights related to his family's trade. His writings often intertwined with commentaries on precision, akin to a master craftsman navigating through aesthetic intricacies. It's no surprise then that he was also drawn to chess during its nascent stages of popularity, influenced by chess grandmaster Wilhelm Steinitz's era.

According to one of his biographical accounts, Fernando Canon pursued studies in Medicine at the Universidad Central De Madrid. However, another narrative suggests that he also delved into Mechanical Engineering. His departure from Manila was marked in 1877, placing him amidst the middle years or the second wave of arrivals of "propagandistas" in Spain. Notably, figures like Gregorio Sanciano represented the first wave, with Canon and del Pilar embodying the second, before the arrival of Rizal in 1882.

Fernando Canon honed his guitar skills under the renowned Spanish guitar maestro Julián Arcas for a reported four years. This tutelage strengthens the claim that Canon also studied with the great Francisco Tárrega, Arcas's former pupil. Following Arcas's passing, Canon reportedly journeyed to Barcelona to continue his studies under Tárrega.

Fast forward, October of 1887 -- Fernando Canon was back in Manila and giving guitar performance. One Manila newspaper took noticed of him and reported his concert. The report also mentioned that few people actually know him or had heard him play. But that was understandable, he came back to his country after many years of absence. Canon like Rizal was based in Spain. The article then followed up: "but he will soon be made known and will have a fair reputation, because, as we said, he is an accomplished guitar master , a remarkable guitarist." True enough in another performance held at "Teatro Filipino" on November 5, 1887 his rendition of "Variaciones sobre la jota"(Tarrega) and Peteneras were well received by the public, many expressed their desire to see his performance once again.

Canon stayed in Manila for almost six months offering guitar lessons to budding students. On April 1888 he left for Spain, leaving a number of good students that profited greatly from Canon's guitar pedagogy. There were talks that one student of him, a young girl was so impressive, experts predicted she would be the next guitar sensation of the country. When Canon left, nothing was heard of this young protégé again. Who was she?

Fernando Canon emerges not just as a poet but also as a polymath bridging science and culture, particularly in delving into Philippine Musicology. In one notable article within the Filipino-Hispanic publication "Cultura Filipina" (1910), he delves into the essence of the native "Kuriapi" (Kudyapi), defining it as the "antiquisima guitarra filipina" — "the ancient Filipino guitar, a testament to the vibrancy of our indigenous heritage." Canon points out that this instrument was the same one Rizal mentioned while immersing himself in Pigafetta and Morga's works at the British Museum.

Moreover, Canon's insightful analyses of the kuriapi reveal deeper layers. He observes that this instrument wasn't crafted through deliberate invention but rather arose organically, born out of the necessity to infuse musicality into the toil of everyday life. Canon illustrates this with a vivid example, noting the farmers of Bayombong in Nueva Vizcaya engaged in "Bayuhan," their rhythmic rice husking tradition.

In Canon's eloquent description, we witness a scene where "two women and a man husk rice (palay) in ternary time, synchronized to the strumming of a guitar." This rhythmic interplay, often in three by four or three by eight time signatures, transforms the laborious task into a synchronized dance of productivity. Canon captures the essence of this unity, noting how the workers, though typically quiet, find cohesion and purpose in the rhythm set by the guitarist. As the tempo escalates, Canon employs poetic language reminiscent of Hellenistic rhetoric, likening the synchronized movements to "cyclopean blows" driven by the pulsating rhythm of the kuriapi, akin to a finely tuned clockwork precision.

In Canon's narrative, the kuriapi becomes not just an instrument but a conduit for expressing the harmony between human effort and musical cadence, showcasing the ingenuity of Filipino cultural evolution.

In September 1898, Fernando Canon assumed a pivotal role as a delegate in the Malolos Congress. Amidst the tumultuous days of the First Republic, he aligned himself closely with none other than Gen. Antonio Luna, a fellow propagandist and skilled guitarist. Canon's dedication led to his rise in ranks, eventually attaining the status of a general.

Canon was also appointed as the "Director de Obras Publicas" (Director of Public Works) during the cabinet reshuffle of Aguinaldo's Revolutionary Government. This period also saw Luna's appointment as the Director de Guerra. However, as the government faced challenges due to Aguinaldo's indecision and internal conflicts, notably with the emergence of the Pedro Paterno group, Luna proposed the creation of a "Ministerio de Fuerza" (Ministry of the Army or Defense Ministry). This envisioned ministry included notable officers such as Jose Alejandrino, Ambrosio Flores, Manuel Sityar, Jose Torres Bugallon, and Fernando Canon.

Exiled to Spain following the United States' assumption of control over the islands, Canon maintained his staunch opposition to American intervention and the subsequent annexation of the Philippines. In 1907, upon his return to the Philippines, he immersed himself in various literary circles, contributing articles that celebrate his deep connection to a rich and illustrious past, Filipino music, heritage, and, most importantly, the pivotal figures who molded our national identity, including luminaries like Luna and Rizal.

In 1926, during an event commemorating General Antonio Luna, Fernando Canon graced the stage alongside luminaries such as Julio Nakpil, who presented his orchestral composition "Kabanatuan." The evening also showcased other renowned musical artists. However, Fernando Canon departed from guitar music that night. Instead, he captivated the audience with his eloquent prose and poetry, delivering a mesmerizing oration in honor of Antonio Luna.

For old time sake-- A gathering of former delegates of the Malolos Congress with Aguinaldo 1929. Fernando Canon is seen here second from the back row, from left.

The general in his later years

Julián Arcas (1832-1882) - Fernando Canon's first guitar "Maestro" in Spain.

Francisco Tarrega (1852-1909)- Canon later studied under the great Tarrega.