Catalog of Musical Works of S. M. Amamangpang

   

Catalogue of Musical Works of
S. M. AMAMANGPANG

Prior to the formal enumeration of this catalogue, the composer has authored various short compositions, for instance, responsorial psalms for the Holy Mass (e.g., for the First Friday Masses of Claro M. Recto High School, for the Novena Masses in honor of Saint Ferdinand III & for the Misas de Aguinaldo, etc.) and some short antiphons, introits, translations and transcriptions from the years 2010 to 2022.

1. “Rosaryo ni Maria: Búhay at Pag-asa” (2010) — VOC.
an entry for the Songwriting Contest organized by the Mary Help of Christians Crusade (MHCC); lyrics by Ricmarl Santos & Perla Guerrero-Acasan.

2. “Isang Paghahandog” (2013) — VOC.
offertory hymn in memory of Ivan Rolfe Banaag (+); edited by Rev. Fr. Ral Jaden Paguergan-Callangan, 2020. 

3. “Dalit ng Pamamaalam” (2013) — VOC.
a hymn of farewell in memory of Ivan Rolfe Banaag (+); edited by Rev. Fr. Ral Jaden Paguergan-Callangan, 2020. 

4. “Himno sa Mahal na Patron San Agustin” (2015) — VOC.
dedicated to San Agustín de Hipona, Patron of Méndez-Núñez, Cavite; with lyrics by Carlo Alexis Malaluan-Rollan & Renz Luigi Dahilig-Martin.

5. “Purian Ye ing Ginu” (2015) — VOC.
Introit with lyrics by Rev. Fr. Jowel Jomarsus Gatus-Polintan.

6. “Marcha nang Aring San Fernando III” (2015) — VOC.
dedicated to Saint Ferdinand III, Patron of the Cathedral and the City in his name; with lyrics by Rev. Fr. Jowel Jomarsus Gatus-Polintan.

7. “Gozos kang Aring San Fernando III” (2015) — VOC.
dedicated to Saint Ferdinand III, Patron of the Cathedral and the City in his name; taken from the Kapampángan novena in his honor.

8. “Voluntas Tua, Delectatio Mea” (2015) — SATB.
a hymn for the Holy Mass with the Imposition of Pallium to His Excellency, Most Rev. +Florentino Lavarias-Galang, D.D., Archbishop of San Fernando; lyrics by Rev. Fr. Jowel Jomarsus Gatus-Polintan.

9. “Mga Dalit o Gozos sa Mahal na Patron San Roque” (2016) — SATB.

dedicated to San Roque, Patron of the Diocese of Kalookan and the Cathedral in his name; taken from the Tagalog novena in his honor.

10. “Ecce Sacerdos Magnus”(2016) — SATB.
an introit dedicated and supposedly for the Mass of "Toma de Posesión" of His Excellency, Most Rev. +Pablo Virgilio David-Siongco, D.D., as the new Bishop of Kalookan.

11. “Friends of Divine Mercy Hymn”(2017) — SATB.
an SATB arrangement entry for the choral competition organized by the Friends of Divine Mercy.

12. “Himno Oficial de la Virgen de Salawag”(2018) — VOC.
with lyrics by the Mary Immaculate Parish Steering Committee of Barrio Saláwag, Dasmariñas City, Cavite.

13. “Non Nisi Te, Dómine” - Walang Iba Kundi Ikaw, O Panginoon (editions: 2018 — VOC. & 2026 — VOC. w/ ACCOMP.) 
with lyrics by Joseph Rodney Atienza-Balmes.

14. “Sálvame, Virgen María” (Kundiman, edition: 2018 — VOC.; 2021 y 2022 — VOC. w/ ACCOMP.)
in honor of Nuestra Señora de la Soledad de Porta Vaga, Reina de Cavite y Su Puerto.

15. “O Inang María Inmaculada” (2019) — VOC.
with lyrics by Maximo Borja Jr.; dedicated to Santa María Inmaculada de Saláwag.

16. “Ako ang ‘Yong Ina” (2019) — VOC.
with lyrics by Br. Aries Robinson Casas, O.A.R.; dedicated to the 70th Anniversary of the Apparitions of Our Lady, Mediatrix of All Grace in Lipa.

17. “Viva, Virgen Rosa Pura: Himno a Nuestra Señora de la Rosa de Sampiro de Macati en Su Día de la Coronación Canónica” (editions: 2019 — VOC. & 2024 — SATB. w/ ORG.) 
with lyrics by Gabriel San Lorenzo Pensotes & Cyrus Castillo–Operiano.

18. “San Francisco, Ilaw Namin” (2020) — VOC. w/ ORG.
with lyrics by Franz Pulido, dedicated to San Francisco de Malabón

19. “Not I, But You, O Lord” - The Song of Carlo Acutis (2020) — VOC.
with lyrics by Br. Christoffer Denzell Aquino, F.S.M.I.

20. “Despedida sa Nuestra Señora de la Salud” (2021) — SATB. w/ ORG.
with lyrics by Fray Alexus Mansueto, O.A.R.

21. “Salve Regina en Adagio” según el Tono Monástico del Canto Gregoriano (2021) — SATB.
comissioned by the Capella Gregoriana Sanctæ Cæciliæ olim Xicatunensis.

22. “Regina cæli, lætare!” (2022) — IIIVOC. w/ ORG.
commisioned for the use of San Isidro Labrador Parish in Catanáuan, Quezon.

23.  “Bayaning Tindag ning Cabisayan — Himno cang San Pedro Calunsud” (2023) — VOC. w/ ORG.

commisioned for the use of Santa Rita de Cascia Parish, Santa Rita, Pampanga.

24. “Marcha V. de Castro” (2024) — VOC. w/ ACCOMP.
dedicated to V. de Castro Elementary School, Santa Rita, Pampanga.

25. “San Josemaría Escrivá: Abang Anak ng Dios Ama” (2024) — VOC. w/ ORG.
dedicated to the community of St. Josemaría Escrivá: Finding God in Every Place

26. “Magbunyi, Magdiwang!” Caracol de la Virgen de los Pobres (2024) — VOC. w/ ACCOMP.
commisioned by the Parish of Our Lady of the Poor, Taguig City; with lyrics by Rev. Fr. Flordelito Dador, Jr., A. Pascual & this composer.

27. “O Santo Cristong Nakapako” (2025) — IIVOC. w/ ORG.
with lyrics by Franz Pulido, postcommunion hymn in honor of San Francisco de Malabón.

28. “Puring Dalit kay San Francisco ng Asís (2026) — VOC. w/ ACCOMP.
commisioned & dedicated to San Francisco de Malabón; taken from the Tagalog novena in his honor.

Legend:

VOC. — Vocal Lead Score
IIVOC. — Two Voices Score
IIIVOC. — Three Voices Score
SATB. — Choral Score
w/ ACCOMP. — with Accompaniment
w/ ORG. — with Organ

 

Catálogo de Obras Musicales de S. M. Amamangpang

  

Catálogo de Obras Musicales de
S. M. AMAMANGPANG

Antes de la enumeración formal de este catálogo, la compositora había compuesto varias piezas musicales pequeñas, como algunos salmos responsoriales para la Santa Misa (por ejemplo, las Misas del primer viernes de la Escuela Secundaria Claro M. Recto, las Misas de la Novena en honor a San Fernando III y para las Misas de Aguinaldo, etc.) y algunas antífonas, introitos breves, traducciones y transcripciones entre los años 2010 y 2022.

1. “Rosaryo ni Maria: Búhay at Pag-asa” (2010) — PART. VOC.
una pieza para el concurso de composición de canciones organizado por la Cruzada de María Auxiliadora (MHCC); con letras de Ricmarl Santos y Perla Guerrero-Acasan.

2. “Isang Paghahandog” (2013) — PART. VOC.
canto ofertorio en memoria de Ivan Rolfe Banaag (+); editado por el Rev. P. Ral Jaden Paguergan-Callangan, 2020. 

3. “Dalit ng Pamamaalam” (2013) — PART. VOC.
una canción de despedida fúnebre en memoria de Ivan Rolfe Banaag (+); editado por el Rev. P. Ral Jaden Paguergan-Callangan, 2020. 

4. “Himno sa Mahal na Patron San Agustin” (2015) — PART. VOC.
dedicada a San Agustín de Hipona, Patrón del Pueblo de Méndez-Núñez, Cavite; con letras de Carlo Aléxis Malalúan y Renz Luigi Dahilig.

5. “Purian Ye ing Ginu” (2015) — PART. VOC.
canto de introito con letras del Rev. P. Jowel Jomarsus Gatus-Polintan.

6. “Marcha nang Aring San Fernando III” (2015) — PART. VOC.
dedicada a San Fernando III, Patrón de la Santa Iglesia Catedral y la Ciudad en su nombre; con letras del Rev. P. Jowel Jomarsus Gatus-Polintan.

7. “Gozos kang Aring San Fernando III” (2015) — PART. VOC.
dedicada a San Fernando III, Patrón de la Santa Iglesia Catedral y la Ciudad en su nombre; sacada de la novena pampanga en su honor.

8. “Voluntas Tua, Delectatio Mea” (2015) — PART. COR.
una pieza para la Santa Misa de la Imposición del Pallium a Su Excmo. Mons. Florentino Lavarias-Galang, D.D., Arzobispo de San Fernando de la Pampanga; con letras del Rev. P. Jowel Jomarsus Gatus-Polintan.

9. “Mga Dalit o Gozos sa Mahal na Patron San Roque” (2016) — PART. VOC.

dedicada a San Roque, Patrón de la Santa Iglesia Catedral de Kalookan; sacada de la novena tagala en su honor.

10. “Ecce Sacerdos Magnus”(2016) — PART. COR.
un introito dedicado y supuestamente para la Misa de Toma de Posesión de Su Excmo. Mons. Pablo Virgilio David-Siongco, D.D., como Obispo de Kalookan.

11. “Friends of Divine Mercy Hymn”(2017) — PART. COR.
un arreglo para coro SATB para el concurso coral organizado por los Amigos de la Divina Misericordia.

12. “Himno Oficial de la Virgen de Salawag”(2018) — PART. VOC.
con letras de la Comité de la Parroquia de Santa María Inmaculada en Barrio Saláwag, Ciudad de Dasmariñas, Cavite.

13. “Non Nisi Te, Dómine” - Walang Iba Kundi Ikaw, O Panginoon (ediciones 2018 — PART. VOC. y 2026 — PART. VOC. con ACOMP.) 
con letras de Joseph Rodney Atienza-Balmes.

14. “Sálvame, Virgen María” (Kundiman, ediciones 2018 — PART. VOC., 2021 y 2022 — PART. VOC. con ACOMP.)
en honor de Nuestra Señora de la Soledad de Porta Vaga, Reina de Cavite y Su Puerto

15. “O Inang María Inmaculada” (2019) — PART. VOC.
con letras de Máximo Borja Jr.; dedicada a la Santa María Inmaculada de Saláwag.

16. “Ako ang ‘Yong Ina” (2019) — PART. VOC.
con letras de fray Aries Robinson Casas, O.A.R.; dedicada a la celebración del septuagésimo aniversario de las apariciones de Nuestra Señora, Mediadora de Toda la Gracia en Lipa.

17. “Viva, Virgen Rosa Pura: Himno a Nuestra Señora de la Rosa de Sampiro de Macati en Su Día de la Coronación Canónica” (ediciones 2019 — PART. VOC. y 2024 — PART. COR. con ÓRG.) 
con letras de Cyrus Castillo–Operiano y Gabriel San Lorenzo Pensotes.

18. “San Francisco, Ilaw Namin” (2020) — PART. VOC. con ÓRG.
con letras de Franz Pulido, dedicada a San Francisco de Malabón

19. “Not I, But You, O Lord” - The Song of Carlo Acutis (2020) — PART. VOC.
con letras de Christoffer Denzell Aquino, F.S.M.I.

20. “Despedida sa Nuestra Señora de la Salud” (2021) — PART. COR. con ÓRG.
con letras de Fray Alexus Mansueto, O.A.R.

21. “Salve Regina en Adagio” según el Tono Monástico del Canto Gregoriano (2021) — PART. COR.
comisionada por la Capella Gregoriana Sanctæ Cæciliæ olim Xicatunensis.

22. “Regina cæli, lætare!” (2022) — PART. IIIVOC. con ÓRG.
comisionada para ser cantada en la Parroquia de San Isidro Labrador de Catanáuan, Quézon.

23. “Bayaning Tindag ning Cabisayan — Himno cang San Pedro Calunsud” (2023) — VOC. con ÓRG.

comisionada para ser cantada en la Parroquia de Santa Rita de Cascia, Santa Rita, Pampanga.

24. “Marcha V. de Castro” (2024) — PART. VOC. con ACOMP.
dedicada a V. de Castro Elementary School, Santa Rita, Pampanga.

25. “San Josemaría Escrivá: Abang Anak ng Dios Ama” (2024) — PART. VOC. con ÓRG.
dedicada a la comunidad de St. Josemaría Escrivá: Finding God in Every Place

26. “Magbunyi, Magdiwang!” Caracol de la Virgen de los Pobres (2024) — PART. VOC. con ACOMP.
comisionada por la Parroquia de la Virgen de los Pobres, Ciudad de Taguig; con letras del Rev. P. Flordelito Dador, Jr., A. Pascual y la misma compositora.

27. “O Santo Cristong Nakapako” (2025) — PART. IIVOC. con ÓRG.
con letras de Franz Pulido, canto de poscomunión en honor de San Francisco de Malabón.

28. “Puring Dalit kay San Francisco ng Asís (2026) — PART. VOC. con ACOMP.
comisionada y dedicada a San Francisco de Malabón; sacada de la novena tagala en su honor.

Leyendas:

PART. VOC. — Partitura Vocal
PART. IIVOC. — Partitura a Dos Voces
PART. IIIVOC. — Partitura a Tres Voces
PART. COR. — Partitura Coral
con ACOMP. — con Acompañamiento
con ÓRG. — con Órgano

 

Quetang Lebasan ming Villa

 (Below is one of the novelty Capampañgan songs by the King of Polosa, Tatang Rodolfo "TOTOY BATO" Laxamana. It tells about a woman they wooed whose physical characteristics is beyond their expectations. Photo below was a Tagalog woman from a for-sale gallery book in todoscoleccion.net)

An indigenous Tagalog woman.
Late 1880s.

QUETANG LEBASAN MING VILLA

Ing quequeng iparamdam,
samasnan yeng uliñgiran,
‘bie pu ing quequeng lebasan,
aniang ibat que Canlubang.

Nung atin mang mesambitla
caring laguiu ring aliua,
‘bie ra sang ipanupaya
uling iti e mi seria.

Quetang lebasan ming villa,
ating metung a dalaga
cabalitan ing leguan na
ing laguiu na canu MARIA.

(Acu naman pu y Totoy
Orling ne man pu’ing canacu
Y’acu naman pu y Baby
purus que ñgan pung babaeru!)

Piglolon mi ya iqueñgan
liuas-liuas mamanican
metung man alang teñguanan
atin ne palang quetipan!

Ya pamo ing aburi mi
cabalugbug yang cauali,
caipan ya pang lagari
capambuc yang baluluñgi!

Metung pa ing ugali na
nitang pignasan ming Maria
e biasang magcamisola
pirmi ya mung macapalda!

Ing palda nang misnang bantut
lele me, e ca misañgut
ala yang queliuang bantut
quetang “bandi” nang sisinup!

Butit nang pañgañgauilian
biyug na, alang pilatan
meniaguit no qñg pitaclan
cambing ya uaring bulugan!

Ing quequeng tibuan ing Capampañgan
provincia ming pacamalan
tinatag mi ya iting aguman
para caring mañgailañgan!

Renacimiento 101: "At the Villa San Miguel"

Here is another photo brought back to life. I found this photo of Archbishop Alejandro Olalia, D.D. and added it in my FB album. Pictured here is the altar of the Archbishop's Palace in Villa San Miguel (Mandaluyong). It is intact even to this day, silvers and all. The Virgin Mary is an ivory image. Recently, I fondly recolored it via lip tint media of the Picmonkey.com, so here's the result. :)

 Original photo

My coloured rendition

On the subject's history

The Catholic Church hierarchy in the Philippines is peopled with many Kapampangan religious leaders who are noted for their pioneering spirit and missionary zeal. The first names that come to mind are Cardinal Rufino Santos of Guagua, the 1st Filipino prince of the Church and Archbishop Pedro Santos of Porac. But equally outstanding was the life of another Kapampangan priest who also rose to become an archbishop of note: Most Rev. Alejandro Olalia.
The future church leader was born on 26 February 1913 in the town of Bacolor. He studied at the Bacolor Public School and attended San Carlos Seminary (1930-36), from where he finished his priestly studies. Sent to the Gregorian University, he was ordained a priest at age 27 on 23 March 1940 at the Pio Latino American College. Two years later, he obtained a Licentiate in Canon Law. He then hied off to the United States as an exchange priest, where he served in a Georgian parish. On 18 May 1944, he earned a Doctorate in Canon Law from the Catholic University of America.Upon his return to the Philippines on 4 February 1946, he was assigned to be the Assistant Parish Priest of Tondo. In September of 1947, Fr. Olalia was named as the private secretary of the Archbishop of Manila. His leadership qualities earned him an appointment as Coadjutor Bishop of Tuguegarao and Titular Bishop of Zela on 2 June 1949 at the age of 36. A scant two months after, he was ordained as bishop on 25 July 1949. The next year, he succeeded the Dutch-born Bishop Constancio Jurgens C.I.C.M., who served Tuguegarao for 22 long years.
From Tuguegarao, the bishop was assigned to Lipa in Batangas in 1953, replacing then Bishop Rufino J. Santos, who was elected as Archbishop of Manila. The reverend was noted for being a good manager of the church, often conducting business even in full Prelate regalia. He was also noted for being an open-minded religious, “who accepted all good things that came to the Philippines, including the Cursillo”. He was the first to support the SOS Children’s Village in Lipa, a haven for abandoned and orphaned children—a revolutionary concept at that time, established in Lipa in 1967.
It was during his term that the Diocese of Lipa became the tenth Archdiocese and Ecclesiastical Province as decreed by Pope Paul VI on 20 June 1972. He was likewise elevated to the rank of an Archbishop. Archbishop Olalia would stay at the diocese for 20 years, until his death on 2 Jan. 1973, not quite 60 years old (from "Views from the Pampang".blogspot.com).

  

Renacimiento 101: "Beato Vicente Soler"

Here is the very first old photo I coloured by the online app "Picmonkey.com". I got this photo of Blessed Vicente Soler, OAR from the OAR Heritage and History blog. Seeing sepia photo is truly such a nostalgia, but bringing them back to life is even a more exciting part. So I share to you this photo, hoping you like and love it. :D

Original photo

(from oarhistory.blogspot.com)

My coloured rendition

On the subject's history

At the outset of the Spanish Civil War in July of 1936, Father Vicente Soler, a poet and a friar of the Augustinian Recollects' monastery in Motril, Spain, told the nuns of the Recollects' convent in the same city, 

"Some of us will die and be martyrs, but after Good Friday comes the Resurrection." 

On July 25, five of Father Soler's fellow friars were executed, and a sixth was gunned down the next day. Father Soler evaded capture until he was betrayed to the authorities and arrested on July 29. Over the seventeen days that followed, he used his time in prison to pray with the other prisoners, leading them in a Marian novena, and hearing their confessions. He also won the conversion of an anti-religious Socialist. When at length prisoners were being singled out for execution, Father Soler offered to die in place of a father of eight children, but the exchange was refused, because Father Soler's name was already on the list of those condemned to death. On August 15, 1936, the solemnity of the Assumption, Father Soler was able to bless and absolve a number of others executed with him before his own execution (from the Catholic.org).

Fr Vicente Soler hid in the home of two young women until 29 July, but was betrayed and captured. He led prayers for his fellow prisoners, encouraged them, heard their confessions and converted the socialist Juan Antúnez. He was shot at dawn on 15 August with another 28 (from the EWTN.com).

Renacimiento 101

Hola amigos! 

Due to boredom, I fondly coloured some sepia and black-&-white photos I have in my FB album. Using the Picmonkey App online, I revived some of them and posted in my timeline. Seeing the good feedback from them, I want you now to see them here in my antiquarian blog. I hope you watch out for the next photos came back into life. 

[Photos being posted here are from the worldwide websites and numerous blogs. If you recognize some of your photos and you wish to reclaim or remove them here, kindly email me at satchiea@gmail.com]

Good day! Ciao!

Satcheil Amamangpang

The Antiquarian 

Old Item 101: "Colección de Cánticos Sagrados”

One of the antique collections in my list is the 2^nd Volume of the "Colección de Cánticos Sagrados” [Collection of Sacred Hymns], compiled and composed by Reverend Father Fray Domingo Carceller, O.R.S.A.* in the year 1952. It is a compilation of his exquisite musical opus, most of which are hymns sung in the Holy Mass. One of them is the Himno Oficial del 33^ra Congreso Eucarístico Internacional [Official Hymn of the 33^rd International Eucharistic Congress] held in 1937 at the city of Manila.

There he also composed: several Latin and Spanish Hymns, five Mass Settings including his very own Missa Requiem, six (6) versions of Sálve Regina, two (2) versions of Rosario Cantado [Rosarium cum Cantu], two (2) Villancícos, five (5) Letanía Lauretana, five (5) Joseph, Fili David, and some hymns to Saints Augustine of Hippo, Rita of Cascia, Anthony of Padua, and songs to the Our Lady of Consolation, Immaculate Conception, five (5) Himnos a la Virgen del Carmen, three Ave Maria, his Despedida a la Virgen del Carmen and other more hymns and chants.

Fray Carceller dedicated this compilation to his Prior General, Fray Eugenio Ayape de San Agustín. Its Nihil Obstats are Frailes Constancio Peña [who gave the “Proemio” or Foreword] and Daniel Ayúcar, O.R.S.A., the Imprimi Potest Fray Simeon Asensio de San Gregorio Ostiense, O.R.S.A., and the Imprimatur el Vicario General, Monseñor José Jovellanos, H.P. in the 9^th of April, 1952.  

The book was printed in offset by Joaquin Clavano and binded by Siongco’s Binding Shop.

The first custodians of this book are the Dominican Sisters of Saint Catherine of Siena (Philippines), in their first Generalate House at the Santa Catalína College (Calle Legarda, Sampaloc, Manila). It was discarded in the mid-2013 and I saw it included in the junks, so I saved it and kept it in my custody.

The Cover Page features one of the stain glasses of San Sebastian Church.

A glimpse of what's inside the book.

One of the Rosario Cantados

The book resting in an old 19th century piano

*this is the proto-title of the Augustinian Recollects (Ordinis Recolletorum Sancti Augustini), which is changed to “O.A.R.” (Ordinis Augustinianorum Recolletorum).

    

Old Item 101: "La Santa Biblia"

This is just one of the old items [and the first, actually] in my collection. It was primarily cared by Atty. Marwil "Mars" Llasos until he handed it down to me in the year 2011. This Holy Bible dates back year 1868 in Barcelona, Spain and was published and annotated by Most Rev. Felipe Scio de San Miguel, Bishop of Segovia and Ex-Provincial of the Order of Pious Schools (Escuelas Pias).

It is the fourth and last tomo (volume) of the Old Testament series. It includes the books from the prophet Jeremiah up to the Books of Maccabees.

Its provenance traces back to a certain Presbitero Diocesano Padre Vicencio Maclang of Vigan, Ilocos Sur. This year is its 146th year and 3rd year in my custody.

Here are some glimpses on this precious collection of mine.

The outer covering, made from already aged royal leather.

The Title Page

"Duñgaw": A Renaissance

The Señor in his silver andas. ca. 1950s

In the 9th of January, 2014.

The rebirth of this postponed tradition of "Dungaw" or "Mirata" reminded us of the lovely custom of Filipino families placing their images outside their windows, sometimes arranging a makeshift altarina to honor the passage of a solemn procession. Tracing its roots from the traditional route of traslación before discontinued due to yet unknown reason, the images of the Señor and of our Virgen del Carmen are of Recollect origin. It is an encounter of the people's faith, its journey and triumph.

As the traditional "traslación" was commenced by the celebration of the Holy Mass at the Quirino Grandstand, the devotees of the Señor comes from the different walks of life -- from the poorest, humblest of them, to the middle-living ones, unto the affluent members of the church. The feast day of the translation of the Black Nazarene is a day of awe, of miracle, of atonement, of grace.

The Gothic San Sebastian Church, where the Virgen del Carmen is enshrined.
ca. 1900s

Nearly in the early noon, the steel church of San Sebastian is already flocked by the devotees of the Nazareno and of del Carmen: the former, resting and having their filial cling to this Recollect church as they have just went through the tiring colossal procession, and the latter, waiting for the Virgen Señora to come down from her pedestal of old silver altar.

The organizadores of the tradition of dungaw set a scaffolding outside the entry door at the Gospel side (left) of the church, facing the del Carmen Street. The scaffold is of maximum 10 person capacity. Under it is the "imagen de portal" of del Carmen, made from wood material. While the piaña used was that of the official replica, simpler in design and color.

The people inside the church reminds one of the pilgrims' custom of resting, laying at the church floor to regain their strength after a hot sunny day of procession. Others meet their friends and compatriots, from different paths of faith. Wherever you look, you will clearly see the masses of people, wearing their shirts of red and maroon, with their towels touched to several replicas of the Señor. An exciting historical day is awaiting to each of us -- a moment of grace and blessing.

A six o'clock p.m. Mass was celebrated inside the steel church. Attendants of commonality, most of them encountered in the social media, met at this renaissance of a long-hold custom. Our spirit are in a state of wonder and joy -- to see familiar and even meet unexpected friends, hoping to accompany us in our story of Catholic life.

At the right side of Quiapo Church.
ca. 1900s

A sea of red and maroon swarmed the locus of San Sebastian. That was an opportune moment for friends, acquaintances, and even enemies, to unite as one community and seek confidence and maternal love to the Virgen -- mercy and grace from the Señor.

"Ite, Missa est."  The evening Mass ended, and everyone was advised to leave the church immediately. Mass attendants gathered together at the outside walls of San Sebastian, while the organizadores prepares the pedestal where the Virgen will be lifted, as she watches over the thousands of people escorting her Son, carrying the saving Cross of Calvary. Of long wait, the devotees filled the plaza del Carmen. All of us awaits the coming of the Señor that he would bless us and give us grace. It is a chance, a once in a year moment we are waiting. Devotees talking about the arrival of the Black Nazarene, others having a time to share stories of life, to chat and savour the spare hours of waiting -- of almost four or five hours standing.

The facade of Quiapo Church.
ca. 1900s

It was nine o'clock in the evening. It was a continuous play from the sound system of the "Marcha del Carmen". It is a nostalgia to hear the banda de musicos playing this beautiful Spanish march. In my expectation, I was waiting for the "Carmen Coronada" to be played. Around minutes, the ciriales walked forward to Guzmán Street.

After a while, the prayer-leader started and invited the devotees to meditate the Glorious Mysteries. It was prayed in the vernacular. What a great glance to see thousands of mouths uttering the prayers, beads running to the fingers, of eyes lifted up to our Lady, of minds and hearts contemplating the glorious life of our Lord and her Mother. Nearly the people were put in the holy silence, as God speaks to them through it.

The Rosary ended as customary. Each of us cannot but wait for the Virgen to ascend to her meek pedestal. As a signal, the church bells tolled endlessly in their glory, as we expect the Señor to come and pass by Bilibid Viejo (Guzmán Street). Numerous banners are coming through the street. Several replica images of the Señor begin to flock at the plaza. All cannot wait to shout "Viva!", a famous acclaim to our Señor and the Virgen.

Interior of Quiapo Church.
ca. 1950s

Of fireworks;

of banners;

of the swarm of devotees;

to the shout of the continuous "Viva!"

It was already half past 10 o'clock when the Virgen ascended to her piaña. Her beauty is radiantly illumined, while we sing her hymn "Bulaklak ng Carmelo" by Bienvenida Tabuena NDV and music by Fr. Eduardo Hontiveros SJ. The cruz estila signaled her "assumption", held by servers wearing white-hooded sotana and plain sobrepelliz. The Shrine Rector, wearing shielded cope of red, lead the congregation of the acclamation of "Viva Nuestro Padre Jesús Nazareno!" "Viva Virgen del Carmen de San Sebastián!" "Viva Reina ng Quiapo!" One may not imagine how the devotees are joyful, waving their handkerchiefs and filling the air of their bi-syllabic "Vi-va!" While some are taking videos and pictures from their digital cameras and others contented of treasuring this moment in their hearts and minds.

The Traslación of the Black Nazarene from Intramuros to Quiapo Church in the year 1787 by the order of the Lord Archbishop Basilio Sancho de Santas Justa y Rufina. (Courtesy: Biblioteca Nacional de España)

The Friar-Rector lead the praying of "Pater Noster", "Avemaria" and "Gloria Patri" in the vernacular. And again repeated the acclamation "Viva Nuestro Padre Jesús Nazareno!" "Viva Virgen del Carmen de San Sebastián!" "Viva Reina ng Quiapo!"

Every devotee showed how much they love and venerate the Señor as the custom dictates. Waving their towel imprints of the Señor, throwing it to the Hijos and back to them having touched the vestments or the face of this much-venerated image, as the Virgen watches over another faith's triumph. Hymns like the traditional "Ama Namin" of Fr. Hontiveros, S.J. and the "Aba, Ginoong Maria" by Nemesio Que were sung. Each was accompanied by the "Vivas" to the Señor and the Virgen. Endless shouts of joy filled this glorious night, 'til the Señor entered Guzman Street. The himno oficial “Nuestro Padre Jesús Nazareno” of National Artist, Maestro Lucio San Pedro was also sung that night.

Everyone was in awe, of gaze and ecstacy. As the usual, a number of devotees met accident or fainted in the event, but were aided by the medics around the vicinity. Finally before the Virgen descended to the balcony, people bid their farewell to the Señor and to Her, as they clamored "Viva!" The Virgen, removed of her areolo, was brought down of the platform back to her camarin. A tradition ended joyfully, as each of masses traces their paths home. Friends bidding goodbye, their joyful adieu, the dungaw was ended leaving an unforgettable remark and memory to each and all of us there.

The andas of the Señor flanked by the devotees.
(c) 2014 by CBCP News 

It is but a great wonder to us Catholics of these islands that we can relate our lives not to the Regal King, but on the baby Jesus in the manger and to his painful carrying of the Cross, as one priest reflects. We learn the divinity of our Savior in his humility, poverty and suffering.

To be born in a manger, to die on the Cross, This is how the Lord commenced and ended his life in our midst.  It would also be fitting for us to live as how we are born, and to die in a painful suffering, that will lead us to that Greater Glory.


AD.PERPETUAM.REI.MEMORIAM.

--S. M. Amamangpang
9th January 2014
Feast of the Traslación of the Black Nazarene 


     

Vdl.Rem.

"VIRGEN DE LOS REMEDIOS" 
Coronation Sept. 8, 1956

This is how Kapampangans abbreviate Her name. The Virgen de los Remedios has been always a part of each Kapampangans wherever they go. But what has been so special of her? 

1952. The whole Pampanga is being torned down by destructions -- made by the godless ideology spreading throughout the land. At that time, on the 1st of May, the pastor of the land, Bishop Cesar Ma. Guerrero, called to the Virgen for help. He then established the Crusada ning Pamanisi at Lugud (Cruzada de Penitencia y Misericordia) to rally his kabalens to renew their Catholic faith. The image from Barrio Baliti, City of San Fernando, became the key icon of the crusade. 

So the Virgen went roaming around Pampanga the whole year, towns by towns, barrios by barrios, chapels by chapels [Recently I featured the old photo of Barrio Santa Monica chapel with the Virgen and the Santo Cristo of the crusade]. Hundreds and thousands of people turned back to God, to the Church. Many were healed, their spirits renewed. No one of each towns visited would forget to give thanks to the Virgen for all the blessings they received and obtained. The hearts of those rich were suddenly opened for the poor; giving birth to the charitable "lamac". 

1953 came. Time to return the Virgen to Barrio Baliti. But a request for a year 2 of the Cruzada was appealed by many. So Bishop Guerrero asked again to the Baliteños to pick up the Virgen for another. But they did not allow him to, because they have missed the Virgen so much and they thought the ownership would be removed from them. But Bishop Guerrero did not lose hope. He ordered Victoriano Siongco to make a replica of the Virgen just to save the day. The crusade pushed throughout. 

. . .'Til 1956 came. Bishop Guerrero mailed the Holy See to canonically crown the Virgen. But a problem was met: the antiquity of the image is needed in order to crown her. Uh-oh. . . The replica was just that few years old then. "Mangaddi ta' namu" [Let's just pray then.], Bishop Guerrero said.

Te Deum laudamus! 8th of September 1956. The Virgen de los Remedios was solemnly crowned by Monsignor Egidio Vagnozzi, the Pope's emissary. Over 70,000 Kapampangans witnessed the Virgen's canonical coronation.

After that, the devotion to Her grew even more. Years had pass, yet the news of the miracles obtained from the Virgen continues to spring up. Calamities, typhoons, lahar, volcanic eruptions, landslides and many more cataclysmic events tested each Kapampangan's faith. Yet through Her intercessions, "tsiken pid mu yan!" 

And last Sunday, 8th of September, the whole Pampanga celebrated the 57th anniversary of the Canonical Coronation of the Virgen de los Remedios with the theme: "Maria, Aslag ning Casalpantayanan" [Mary, the Light of the Faith]. In spirit, I joined my brethren in rejoicing and acclaiming God's grace for this blessing!

I humbly dedicate this 9th posting in honor of the Queen of All Kapampangans.

Luid ya ing Indu ning Kapaldanan!

Luid ya ing Reina ding Anggang Kapampangan!

Luid ya ing Kristong Ari!

Sangpit sa Señor!

The Santo Niño de Cebu in procession.
ca. 1964

Magalang Church (Pampanga)

The "altar mayor" of Magalang Church, 

Pampanga

October 30, 1949

Taken during the Solemnity of Christ the King 

with Magdalena A. Tumang as the Presidenta.

© Robby Tantingco

PEANUT GALLERY

"O res mirabilis!" (O what a great wonder!)

During the Faithful's Communion inside the Church of San Roque de Manila Parish
Santa Cruz, Manila
circa 1950

This is a photo taken during the (probably) 5:00 A.M. Holy Mass in the humble Parish of San Roque de Manila in Blumentritt, Santa Cruz, Manila. In the photo, the people receives our Lord in the Holy Communion; with bent knees in the communion rail, praying that they may welcome Jesus in their hearts, in their lives. 

For further information, the Mass in the photo (approximately in the 50s) is the now-known as Traditional Latin Mass -- the extraordinary form of Roman Catholic worship where the Liturgy is in Latin, the universal language of the Church founded by the Lord Jesus Christ. 

And I quote the angelic doctor Saint Thomas Aquinas in regards of the photo's deeper meaning and message: 

"O res mirabilis, manducat Dominum: pauper, servus et humilis."

And yes! Aquinas is clearly right. It is but a great wonder to see who "eat" and partake in the Lord's Body and Blood in this divine mystery: the poor, the slaves and humble-of-hearts. It is also but a great and inestimable gift of God to His Church -- to receive Him as He is, wholly present and tangible in the Bread and Wine offered and shared in the wondrous altar. 

Really "a heaven on earth" . . . 

(The Traditional Latin Mass in the present times)

DOMINE, NON SUM DIGNUS. A Traditional Latin Mass (Sunday Mass "Laetare") said by Msgr. Seamus Patrick Horgan, 1st Secretary of the Papal Nuncio to the Philippines, Archbishop Giuseppe Pinto, D.D., in the altar patronato of the Our Lady of the Holy Rosary, La Naval de Manila, inside the Santo Domingo Parish Church. 5th of April, 2013.
Photo by: CUStoS pro Mitra
Edited by: S. M. Amamangpang

Kambal na Simbahan: Parokya ng Loreto

The Holy Name Society (HNS) of Our Lady of Loreto Parish poses in front of the pre-war Altar Mayor of the church with Rev. Fr. Jose Pamintuan as their Chaplain celebrating heir 2nd anniversary. (10th of January, 1937)

This pre-war church of Our Lady of Loreto is the third to be built. The second church was destroyed during the Chinese uprisings in Manila in the Spanish colonial era. 

This church was also known as "simbahang adobe" (adobe church) due to the materials used to construct the church. This church was formerly administrated by the Franciscans (O.F.M.), later transferred to the diocesans in the mid-1930s. 

Unfortunately, everything in this adobe church, except the "imagen venerada" of Our Lady of Loreto, were destroyed during the Battle of Manila, ending the World War II. The image was miraculously saved from the casualties, but nothing was left in the adobe church except a small crypt, believed to be the remains of the good benefactor of the church.