Ateneo de Manila College Glee Club

Tagumpay Nating Lahat (Tour-CD 2006)

Die letzte, bei erschienene CD des Ateneo de Manila College Glee Club (Jahr 2006)! Wie immer ein Muss für alle Freunde der philippinischen Chormusik!


Produkt-ID: JB-06/230

Lieferbar in 3-5 Werktagen

14,50 EUR

incl. 19% USt. zzgl. Versand

About the Choir:
The Ateneo de Manila College Glee Club (ACGC) is the oldest university choir in the Philippines. Beginning as a boys' choir in 1921, it was originally organized to provide liturgical music at the San Ignacio Church in Manila. The choir has since expanded in repertoire and membership, becoming a mixed choir when the Ateneo University became co-educational. Under conductor Joel Navarro (1979-2001), the ACGC won in the National Music Competition for Young Artists and pioneered recordings of traditional Filipino music, for which it also received awards. In 2000, the choir won all the possible prizes in the choral competition in Tours, France. This victory qualified the choir to participate in the European Grand Prize for Choral Singing the following year in Debrecen, Hungary. Under guest conductor Jonathan Velasco (2000-2001), the ACGC won first prizes and gold medals in choral competitions in Maribor, Slovenia; Riva del Garda, Italy; Cork, Ireland; Tolosa, Spain; and Marktoberdorf, Germany. Under Maria Lourdes Hermo, the ACGC celebrates its 85th founding anniversary with a concert and competition tour of Europe. In the choral competition in Miltenberg, Germany, the ACGC won all possible prizes, including the first prize in the Symphony of Voices category; the first prize/public’s prize in the Folklore, Spiritual, and Jazz category; and the Bavarian Lion for best interpretation of the obligatory piece. For its triumphs abroad and contributions to Philippine music, the ACGC received an Awit award for best choral group in 2001 and was named Philippine Ambassadors of Good Will in 2006.

Malou finished her Bachelor and Master of Music degrees in Choral Conducting from the University of the Philippines, under the tutelage of its late dean, Prof. Rey T. Paguio. In college, she joined the Philippine Youth Orchestra and the world-renown Philippine Madrigal Singers. She directs prominent church, school, government, and corporate choirs, most notably the Virlanie Foundation Street Children’s Choir. She is also a
professor of music at St. Scholastica's College in Manila. She is often invited to conduct workshops and outreach programs for the National Music Competition for Young Artists and the Kodaly Assocation of the Philippines.
In 2002, she became the first female conductor of the Ateneo de Manila College Glee Club. She led the choir in a concert tour of the United States in 2004 and of Europe in 2006. Under her leadership, the choir participated and placed well in several competitions and festivals. program. This is true unity – not a unity wherein cultures blend to become one bland mass but one that respects difference and is in fact colored by it. This unity recognizes that though we are different, our differences do not have to divide us. Thus, there is harmony without similarity, unity without singularity.
In this recording then, we seek to find the heart of each song, to understand the culture that produced the music, and to probe into the awareness that created the art. From France, we present two songs that reflect the deeply religious sentiment of its choral music: Hymne à la Vierge, an ode to the Blessed Virgin, and Tenebrae Factae Sunt, Francis Poulenc’s impressionistic depiction of Christ’s death. We sing Trauergesang, a mourning song that epitomizes the romanticism prevalent in 19th century Germany. We also sing All Creatures Now, a secular madrigal from England, and Exultate Deo, a motet by famous Italian composer Giovanni da Palestrina. We explore the playful malevolence of Hungarian György Orbán’s conception of evil in Daemon Irrepit Callidus. From South America we experience the gentle passion of Heitor Villa-Lobos’ Pater Noster.
From the Philippines, we present the many facets of our culture – from the festive Pobreng Alindahaw(a dance) to the impassioned Duayya ni Ayat (a lullaby) to the somber Kruhay (a greeting).
Of course we include music composed by our alumni: Salmo 150 by Robin Estrada, which presents Jewish text with indigenous Filipino material; Buwa-buwa by John Pamintuan, which portrays the gentleness of maternal love; and Benediction, a closing hymn that conveys our hope of unity and fellowship.


  • 1 - ALL CREATURES NOW / John Bennet (2:00)
  • 2 - SALMO 150 / Robin Estrada (4:47)
  • 3 - PATER NOSTER / Heitor Villa-Lobos (2:25)
  • 4 - EXULTATE DEO / Giovanni da Palestrina (1:58)
  • 5 - TRAUERGESANG / Felix Mendelssohn-Bartholdy (3:16)
  • 6 - HYMNE À LA VIERGE / Pierre Villette (3:17)
  • 7 - DAEMON IRREPIT CALLIDUS / György Orbán (1:25)
  • 8 - TENEBRAE FACTAE SUNT / Francis Poulenc (3:17)
  • 9 - AKO ANG DAIGDIG / Josefino Chino Toledo (4:28)
  • 10 - POBRENG ALINDAHAW / Traditional Cebuano / arr. Antonio Regalario (2:29)
  • 11 - BUWA-BUWA NI UTU / John August Pamintuan (2:48)
  • 12 - KRUHAY / Beny Castillon (3:49)
  • 13 - DUAYYA NI AYAT / Traditional Ilocano / arr. Joy Nilo (2:44)
  • 14 - TAGUMPAY NATING LAHAT / Gary Granada / arr. Eudenice Palaruan (3:04)
  • 15 - BENEDICTION / Gideon Bendicion (1:29)

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