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Performance: Kentaro Toyama, carillon
in 7 hours in 12 minutes
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Performance:Eva Albalghiti, carillon
in 8 hours in 32 minutes
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Music & Dance with a View
in 13 hours in 42 minutes
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Performance:Music & Dance with a View
in 13 hours in 42 minutes
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Performance:Octubafest
in 14 hours in 42 minutes
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Performance:PRISM Quartet with Andrew Bishop
Oct. 27
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Performance:Geoffrey Randolph, French horn
Oct. 27
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PRISM Quartet
Oct. 27
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University Choir
Oct. 27
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Performance:University Choir
Oct. 27
Rosendo E. Santos, Jr. (1922–1994) is a prolific Filipino composers of the twentieth century. Born in Cavite City, Philippines, he earned a bachelor’s degree in music from the University of the Philippines, a master’s degree in theory and composition from the Catholic University of America, and a doctorate from West Virginia University. His career moved between the Philippines and the United States: he taught at the University of the Philippines before joining the faculties of Catholic University, West Virginia University, and Wilkes University, where he served as professor, department head, band director, and resident composer. A UNESCO scholar and prize-winning composer, Santos received the Composer of the Year Award in Manila in 1956 and 1957. As a pianist, timpanist, conductor, church musician, educator, and composer, Santos created a large body of work that often reflects a deep connection to Filipino musical identity. Composed around 1954, Mountain City Suite is a three-movement piano work inspired by the sound world and cultural life of the northern Philippine highlands. It is a stylized piano composition based on Indigenous music and written in a modern idiom. “Birds on the Pines,” opens with a spacious, atmospheric sound world. Bird-call gestures appear throughout the piece, emerging from delicate textures like sounds carried through mountain air. “Wedding Feast” turns from landscape to celebration. Its bright rhythmic vitality suggests gathering, dance, and communal festivity, capturing the energy of ritual as something animated, social, and alive. The final piece, “Bontok Ili,” brings the suite to a driving close. Bontok refers to an Indigenous people and cultural community in the Cordillera region of northern Luzon, while ili means ""village"". Santos evokes this community through a toccata-like texture, with left and right hands alternating in quick, interlocking patterns. These rhythms suggest the layered, communal pulse of Indigenous music, transforming the piano into something almost percussive and ensemble-like. More about Santos can be found at https://rosendosantos.com/