MANILA, Philippines—Tita King is dead.

National Artist for Music Lucrecia R. Kasilag, a former president of the Cultural Center of the Philippines (CCP), distinguished composer and music educator, passed away late Saturday night in her home on Perdigon Street in Paco, Manila.

Tita King, as she was known to everyone, was 89, according to the CCP Encyclopedia and official records from her alma mater, Philippine Women’s University (PWU), that listed her birth date as Aug. 31, 1918.

Kasilag was the author of more than 200 compositions that include folk songs, opera and orchestral works. She was the former head of the Asian Composers League and continued to create music until this year.

Her last work was the Filipino opera “Why Flowers Bloom in May” staged at the CCP in March with Fides Cuyugan Asensio as librettist. This opera was the national artist’s last date with the CCP.

“I gave Tita King her first and last music theater piece,” Asensio said.

Kasilag was also one of the pioneers of the world-famous Bayanihan Dance Company which benefited from her music research of Filipino ethnic dances.

Named national artist for music in 1989, she served as CCP president during the Marcos years, which music lovers describe as the “golden age of the CCP” because of its world-class presentations.

Blending east, west

As composer, teacher and performer, Kasilag involved herself wholly in sharpening the Filipino audience’s appreciation of music. Her pioneering efforts to discover the Filipino roots through ethnic music and fusing it with Western influences has led many Filipino composers to experiment with such an approach.

She dared to incorporate indigenous Filipino instruments in orchestral productions, such as “Divertissement for Piano and Orchestra,” the prize-winning “Toccata for Percussions and Winds,” “Divertissement and Concertante,” and the scores of “Filiasiana,” “Misang Pilipino” and “De Profundis.”

Her orchestral music included “Love Songs,” “Legend of the Sarimanok,” “Ang Pamana,” “Philippine Scenes” and chamber music like “Awit ng mga Awit Psalms,” “Fantaisie on a 4-Note Theme,” and “East Meets Jazz Ethnika.”

Kasilag was the subject of the book, “LRK: An Artist for the World” by Visitacion de la Torre. Before her death, she also wrote her autobiography “Lucrecia Roces Kasilag: My Story” chronicling her early years in Perdigon and her swift ascent in the world of music.

Pillar of music

PWU had conferred upon Kasilag a doctor of laws, honoris causa, for her meritorious work in music education.

Former PWU head Helena Benitez described Kasilag as “consistently devoted to the pursuit of excellence specifically in music, in her cultural leadership and interrelationships with students, colleagues and friends. Her autobiography reflects her greatness as a person as she shares her joys and experiences with depth and meaning through her interactions with musical masters all over the world. She exemplifies the artist as conscience of the world.”

Philippine Daily Inquirer music critic Antonio C. Hila referred to Tita King as the grand dame of Philippine music who pioneered in the blending of the two great traditions of music—eastern and western—that showcased the dynamism of Philippine musical culture.

Journalist and baritone Nestor Mata said upon learning of Kasilag’s death: “We mourn the death of a great pillar of Philippine music and culture. Long live Tita King!”

Manila’s music world mourned the death of a great composer, music educator and nurturing mother of budding musicians.

Pianist Cecile Licad, calling from New York, told the Inquirer: “Her death is a big loss to Philippine music. I consider her an icon. During her years at the CCP, she initiated the formation of the Young Artists Foundation, the National Music Competition for Young Artists (Namcya) and other programs which benefited young talents that included me. Her years at the CCP was the golden age—the growth of all the arts, especially music. I will miss her presence in my concerts.”

Said pianist Jonathan Coo, graduate of Philippine High School of the Arts and who, like Kasilag, also studied at the Eastman School of Music, University of Rochester, New York: “Tita King is the mother of all Filipino artists. During her healthy years, she never missed a concert, an art exhibit, a book launching or any cultural event. When I was doing my cultural research at Eastman, she practically mailed all her piano works and entrusted the interpretation of her music to me. That’s how giving she is.”

Avant-garde music

Asensio, with whom Kasilag collaborated with several musical productions, told the Inquirer: “Tita King is the Philippine pioneer in the creation of Filipino avant-garde music in this country. I was her willing guinea pig in her experiments of vocal music which were then considered a novelty. Her original music and arrangements of folk songs always have an underpinning of humor which were reflective of her witty self underneath a scary bespectacled exterior.”

Pianist Ingrid Sala Santamaria, who was the soloist in Kasilag’s “Divertissement for Piano and Orchestra” under the baton of the composer herself, said she would remember the national artist for her generosity of spirit and endless advocacy in the development of youthful talents.

“Her innovative musical fusion of eastern and western technique, form and style enriched Philippine music without distracting from each other’s uniqueness,” she said.

Violinist and Philippine Philharmonic Orchestra (PPO) member Jeffrey Solares said: “We in the orchestral music scene consider Kasilag’s ‘Philippine Scenes’ as one of the Big Four Filipino orchestral works alongside Buenaventura’s ‘By The Hillside,’ San Pedro’s ‘Buwan sa Kabundukan’ and Peña’s ‘Igorot Rhapsody.’”

Soprano and UST voice professor Gloria Coronel considered Kasilag a great musician who left inspiration to the young in the musical world. “She was always hardworking and very focused. I performed her folk songs in Florence, Italy, for my master’s degree and her song cycle with Prof. Regalado Jose at the Concert at the Park. I’d like to think she contributed a lot to the development of Philippine music,” she said.

Music queen

Actress Boots Anson-Roa said Kasilag was not just a national artist, she was also an international artist, global educator, performer par excellence, creator and exponent of Philippine music in its purest form.

Recalled Roa: “About five years ago, Mowelfund honored her at the CCP. Although blind and wheelchair-bound, she performed with aplomb her inimitable “Basura Rap” with Andrew E. She is the only music queen called King and she deserved it.”

Jazzman Richard Merk and wife Roni Tapia-Merk, a former public relations head of the CCP, said Kasilang was a loving “ninang” (godmother) to them. The couple said: “She cared and gave her all to the music industry. There will never be another Tita King.”

Painter Marivic Rufino said Tita King composed and performed music that revealed the true Filipino soul. “She was an amazingly ageless, modern, youthful and prolific artist. She was my idol and ninang who inspired countless other artists. She will live forever through her music.”

The 35th Namcya is dedicated to Kasilag, according to its program director Ramon Acoymo. “Tita King inspired a whole generation of young musicians and it is but fitting that we dedicate this competition to her. She was one of the moving forces behind this program for young artists,” he said.

Kasilag’s remains lie at the premier chapel of Loyola Memorial Chapels in Guadalupe, Makati City. As a national artist, she will be given a state funeral, the details of which will be announced later. There is a special Mass tonight at the Loyola chapel which would be officiated by Fr. Manuel Maramba.