Showing posts with label PDI. Show all posts
Showing posts with label PDI. Show all posts
Monday, April 16, 2012
Raul Isidro’s ‘Senakulo’ to open at Crucible
For those who want to cap their post-Lenten reflection with experimental prints of art items with religious theme, the solo art exhibit not to be missed is the opening of Raul Isidro’s new exhibit “Senakulo” at Crucible starting Tuesday. (read more ...)
Monday, December 12, 2011
Foreign nationals flock to Calbayog City for classical-music concert
By: Pablo A. Tariman
Philippine Daily Inquirer
10:59 pm | Sunday, December 11th, 2011
The second concert of the Samar International Music Festival lived up to its name, with some foreign nationals attending the concert of baritone Andrew Fernando, flutist Christopher Oracion and pianist Mary Anne Espina at Ciriaco Hotel in Calbayog City, Western Samar.
After a long drought of live opera music, Calbayog got to hear arias from Mozart’s “Marriage of Figaro,” Verdi’s “La Traviata” and Bellini’s “Il Puritani” sung with fervor by Fernando. (read more. . .)
Philippine Daily Inquirer
10:59 pm | Sunday, December 11th, 2011
The second concert of the Samar International Music Festival lived up to its name, with some foreign nationals attending the concert of baritone Andrew Fernando, flutist Christopher Oracion and pianist Mary Anne Espina at Ciriaco Hotel in Calbayog City, Western Samar.
After a long drought of live opera music, Calbayog got to hear arias from Mozart’s “Marriage of Figaro,” Verdi’s “La Traviata” and Bellini’s “Il Puritani” sung with fervor by Fernando. (read more. . .)
Lawmakers: Stop saving drug mules
Philippine Daily Inquirer
4:08 am | Monday, December 12th, 2011
Two lawmakers have urged the government to stop frantically trying to save convicted drug mules from execution abroad but rather to spend taxpayer money on more worthy causes.
Western Samar Representative Mel Senen Sarmiento said that while it was reasonable to expect the government to help a Filipino suspected of crimes abroad during the trial stage, it should stop interceding once he or she was convicted.
“Once they are found guilty beyond reasonable doubt, the government should stop interceding in their behalf at the expense of law-abiding Filipino taxpayers,” said Sarmiento. (Read more . . .)
4:08 am | Monday, December 12th, 2011
Two lawmakers have urged the government to stop frantically trying to save convicted drug mules from execution abroad but rather to spend taxpayer money on more worthy causes.
Western Samar Representative Mel Senen Sarmiento said that while it was reasonable to expect the government to help a Filipino suspected of crimes abroad during the trial stage, it should stop interceding once he or she was convicted.
“Once they are found guilty beyond reasonable doubt, the government should stop interceding in their behalf at the expense of law-abiding Filipino taxpayers,” said Sarmiento. (Read more . . .)
Friday, December 09, 2011
Music Notes: An International Audience in Samar Music Fest
The second concert of the Samar International Music Festival lived up to its name with some foreign nationals attending the concert of baritone Andrew Fernando, flutist Christopher Oracion and pianist Mary Anne Espina at the Ciriaco Hotel in Calbayog City, Western Samar.
After a long drought of live opera music, Calbayog got to hear arias from Mozart's Marriage of Figaro, Verdi's La Traviata and Bellini's Il Puritani sang with intense fervor by Fernando.
The Broadway section had not a few in the audience singing with Fernando in his rendition of Rodgers and Hammerstein's Some Enchanted Evening from "South pacific."
Flutist Oracion’s rendition of Czardas got a heavy applause and the audience realized the flute was just in the same level of the piano and violin.
Pianist Espina -- laboring through an upright piano that came all the way from Catarman -- tried to make the instrument sing (the first upright from Christ the King College was far better-sounding) but her technique and solid sound made up for the inferior instrument. (read more . . . )
After a long drought of live opera music, Calbayog got to hear arias from Mozart's Marriage of Figaro, Verdi's La Traviata and Bellini's Il Puritani sang with intense fervor by Fernando.
The Broadway section had not a few in the audience singing with Fernando in his rendition of Rodgers and Hammerstein's Some Enchanted Evening from "South pacific."
Flutist Oracion’s rendition of Czardas got a heavy applause and the audience realized the flute was just in the same level of the piano and violin.
Pianist Espina -- laboring through an upright piano that came all the way from Catarman -- tried to make the instrument sing (the first upright from Christ the King College was far better-sounding) but her technique and solid sound made up for the inferior instrument. (read more . . . )
Thursday, December 08, 2011
356 political prisoners go on hunger strike
By Elizabeth Lolarga
Philippine Daily Inquirer
CALBAYOG CITY, Samar—Since his imprisonment in February, once frail and wan poet-songwriter Ericson Acosta has put on 10-12 pounds, a weight gain that has equipped him with strength and endurance for an ongoing hunger strike.
Acosta, 39, and 355 other political prisoners nationwide began the hunger strike on December 3 to call on President Benigno Aquino III to withdraw “baseless charges” and grant them unconditional amnesty. The strike is to end on the eve of December 10, Human Rights Day. (read more . . .)
Philippine Daily Inquirer
CALBAYOG CITY, Samar—Since his imprisonment in February, once frail and wan poet-songwriter Ericson Acosta has put on 10-12 pounds, a weight gain that has equipped him with strength and endurance for an ongoing hunger strike.
Acosta, 39, and 355 other political prisoners nationwide began the hunger strike on December 3 to call on President Benigno Aquino III to withdraw “baseless charges” and grant them unconditional amnesty. The strike is to end on the eve of December 10, Human Rights Day. (read more . . .)
Monday, November 14, 2011
Raul Isidro’s changing world
 |
| (Photo courtesy of Pablo Tariman / PDI) |
Raul Isidro’s changing world
by Pablo A. Tariman
The best way to get to know painter Raul Isidro is to view his latest exhibit in ArtistSpace Gallery at Ayala Museum, until Nov. 17.
There is a quietly haunting piece called “Changing World,” a burst of arresting colors in “Yellow Apartment,” and visual tales of survival in the metropolis in pieces like “Dream” I, II and III. (read more . . .)
Saturday, November 12, 2011
Calbayog, Samar, as Waray music capital
I was surfing the net today and I got an article which Pablo Tariman wrote for the Philippine Daily Inquirer exactly two months ago. I believe it's never too late to feature any good news about Calbayog. I thought I'd like to share that article with you.
Calbayog, Samar, as Waray music capital
By Pablo A. Tariman
Philippine Daily Inquirer
It is easy to connect Calbayog City in western Samar with people in the seven arts.
Calbayog became a city on July 15, 1948, with a territory that included the former towns of Calbayog, Oquendo and Tinambacan by virtue of Republic Act 328 signed into law by President Manuel Roxas.
Show-biz personalities from Calbayog City include singer Nonoy Zuñiga, actress Tessie Tomas, entertainment writer Ricky Lo, TV host Boy Abunda (from Catbalogan and Borongan).
The most surprising thing is that, while Manila-based orchestras continue to struggle for financing, Calbayog City has managed to have a youth orchestra based in Christ the King College. (Read more . . . )
Calbayog, Samar, as Waray music capital
By Pablo A. Tariman
Philippine Daily Inquirer
It is easy to connect Calbayog City in western Samar with people in the seven arts.
Calbayog became a city on July 15, 1948, with a territory that included the former towns of Calbayog, Oquendo and Tinambacan by virtue of Republic Act 328 signed into law by President Manuel Roxas.
Show-biz personalities from Calbayog City include singer Nonoy Zuñiga, actress Tessie Tomas, entertainment writer Ricky Lo, TV host Boy Abunda (from Catbalogan and Borongan).
The most surprising thing is that, while Manila-based orchestras continue to struggle for financing, Calbayog City has managed to have a youth orchestra based in Christ the King College. (Read more . . . )
Monday, November 07, 2011
Samar classical music fest opens to thunderous applause
 |
| My pix of violinist Gina Medina with some members of the CKC Youth Symphony Orchestra |
Here's an article by Pablo Tariman which appeared in today's edition of the Philippine Daily Inquirer.
We got a fairly good idea of the audience for classical music in Calbayog City in Western Samar with the opening of the First Samar International Festival on Oct. 29 with violinist Gina Medina and pianist Mary Anne Espina.
A movement from a Mozart sonata set the tone for the evening, and here you saw the best of Espina and Medina as chamber musicians. With the excellent acoustics of Café Elsa of Ciriaco Hotel, the performance was one of the finest of Medina and Espina and the audience absorbed the intensity of the moment with relish. (read more . . .)
Friday, May 06, 2011
Sketches of Mayor Uy’s killers released
Sketches of Calbayog City mayor’s killers released MANILA, Philippines – Composite sketches of suspects tagged in the killing of Calbayog City Mayor Reynaldo Uy were released by the Criminal Investigation and Detection Group (CIDG) Wednesday.
The sketches, according to CIDG Director Chief Superintendent Samuel Pagdilao Jr., were based on the accounts of a number of witnesses.
Uy, who was also the provincial chairman of the Liberal Party, was shot dead on April 30 while attending a show at the town’s social hall.
Wednesday, January 20, 2010
Unleashing catastrophe
Let me share with you the editorial of the Philippine Daily Inquirer last January 17, 2010
(Filed Under: Laws)
THE decision of the Supreme Court to reverse itself on the League of Cities case last December, after its original ruling had become final and executory last May, is a ticking time bomb placed directly under the rule of law. When it explodes, the first casualty will be the Court itself.
In the constitutional crisis that shook the country after more than a third of the members of the House of Representatives voted to impeach Chief Justice Hilario Davide Jr. in 2003, the role of the Court as final arbiter of legal controversies was vigorously affirmed.
At that time, we wrote in this space: “The mere fact that some of the country’s best legal minds ... could not agree on a single position on the issue at hand is not a sign of confusion. It is a sign that the law may be a demanding mistress, but it is not an exact science. It is also proof that, if the Supreme Court did not exist, it would be necessary to invent it. Top lawyers may argue about the constitutionality of an issue, but at a certain point somebody must step in and decide. According to the Constitution, that somebody is not the Senate or the House; it is the Supreme Court.”
But last Dec. 19, a slender majority of six justices voted against this very principle. The Court’s reversal of the original League of Cities decision violated the governing idea that “at a certain point somebody must step in and decide.” The Court had in fact already stepped in and decided on the fate of the 16 cityhood laws that were the subject of the case; they were deemed unconstitutional by majority vote on Nov. 18, 2008; a motion for reconsideration was rejected by majority vote; a second motion for reconsideration was denied by a tie vote. On May 21, 2009, the ruling became final and executory.
And yet the Court decided to open the case again. Justice Antonio Carpio’s withering dissent in the League of Cities case quoted the petitioners’ view that “[n]otably, respondents craftily phrased and titled their motions based on the Court’s last denial order or resolution, and deliberately avoided reference to the previous repeated denials by the Court.” It is a shame that enough members of the Court agreed to reopen the case despite such duplicitous conduct.
It is a bigger shame, indeed it is a cause for apprehension about the future of the high court itself, that enough justices voted to overturn the ruling.
The argument against revisiting decisions already deemed final and executory is settled consensus; it is a by-now-unremarkable part of the law of the land. Carpio’s dissent offers a vigorous restating of the Court’s previous rulings. “Well-entrenched is the rule that a decision that has acquired finality becomes immutable and unalterable, no longer subject to attack and cannot be modified directly or indirectly, and the court which rendered it, including this Court, had lost jurisdiction to modify it. The Court laid down this rule precisely ‘(1) to avoid delay in the administration of justice and thus procedurally, to make orderly the discharge of judicial business, and; (2) to put an end to judicial controversies, at the risk of occasional errors, which is why courts exist.’”
And yet the Supreme Court not only revisited the case; it reversed itself. This unfortunate series of events can only erode the people’s confidence in the rule of law, and undermine the credibility of the Court. We can, legitimately, ask: If there is no such thing as a final and executory ruling, can there be an end to legal and judicial controversies? If the Supreme Court declines to respect its own jurisprudence, can anyone expect the ordinary citizen to respect the Court’s rulings? If sheer majority rule, not the hallowed principle of facts and the law, determines the decisions of the Supreme Court, can the public stop itself from treating the justices as the politicians they have become?
Carpio’s dissent defined the stakes. “Such an unprecedented ruling would resurrect contentious political issues long ago settled ... Countless other decisions of this Court would come back to haunt it ... Such a ruling would destabilize not only this Court, but also the Executive and Legislative Branches ... Business transactions made pursuant to final decisions of this Court would also unravel for another round of litigation ... This Court cannot afford to unleash such a catastrophe on the nation.”
The bomb is ticking.
(Filed Under: Laws)
THE decision of the Supreme Court to reverse itself on the League of Cities case last December, after its original ruling had become final and executory last May, is a ticking time bomb placed directly under the rule of law. When it explodes, the first casualty will be the Court itself.
In the constitutional crisis that shook the country after more than a third of the members of the House of Representatives voted to impeach Chief Justice Hilario Davide Jr. in 2003, the role of the Court as final arbiter of legal controversies was vigorously affirmed.
At that time, we wrote in this space: “The mere fact that some of the country’s best legal minds ... could not agree on a single position on the issue at hand is not a sign of confusion. It is a sign that the law may be a demanding mistress, but it is not an exact science. It is also proof that, if the Supreme Court did not exist, it would be necessary to invent it. Top lawyers may argue about the constitutionality of an issue, but at a certain point somebody must step in and decide. According to the Constitution, that somebody is not the Senate or the House; it is the Supreme Court.”
But last Dec. 19, a slender majority of six justices voted against this very principle. The Court’s reversal of the original League of Cities decision violated the governing idea that “at a certain point somebody must step in and decide.” The Court had in fact already stepped in and decided on the fate of the 16 cityhood laws that were the subject of the case; they were deemed unconstitutional by majority vote on Nov. 18, 2008; a motion for reconsideration was rejected by majority vote; a second motion for reconsideration was denied by a tie vote. On May 21, 2009, the ruling became final and executory.
And yet the Court decided to open the case again. Justice Antonio Carpio’s withering dissent in the League of Cities case quoted the petitioners’ view that “[n]otably, respondents craftily phrased and titled their motions based on the Court’s last denial order or resolution, and deliberately avoided reference to the previous repeated denials by the Court.” It is a shame that enough members of the Court agreed to reopen the case despite such duplicitous conduct.
It is a bigger shame, indeed it is a cause for apprehension about the future of the high court itself, that enough justices voted to overturn the ruling.
The argument against revisiting decisions already deemed final and executory is settled consensus; it is a by-now-unremarkable part of the law of the land. Carpio’s dissent offers a vigorous restating of the Court’s previous rulings. “Well-entrenched is the rule that a decision that has acquired finality becomes immutable and unalterable, no longer subject to attack and cannot be modified directly or indirectly, and the court which rendered it, including this Court, had lost jurisdiction to modify it. The Court laid down this rule precisely ‘(1) to avoid delay in the administration of justice and thus procedurally, to make orderly the discharge of judicial business, and; (2) to put an end to judicial controversies, at the risk of occasional errors, which is why courts exist.’”
And yet the Supreme Court not only revisited the case; it reversed itself. This unfortunate series of events can only erode the people’s confidence in the rule of law, and undermine the credibility of the Court. We can, legitimately, ask: If there is no such thing as a final and executory ruling, can there be an end to legal and judicial controversies? If the Supreme Court declines to respect its own jurisprudence, can anyone expect the ordinary citizen to respect the Court’s rulings? If sheer majority rule, not the hallowed principle of facts and the law, determines the decisions of the Supreme Court, can the public stop itself from treating the justices as the politicians they have become?
Carpio’s dissent defined the stakes. “Such an unprecedented ruling would resurrect contentious political issues long ago settled ... Countless other decisions of this Court would come back to haunt it ... Such a ruling would destabilize not only this Court, but also the Executive and Legislative Branches ... Business transactions made pursuant to final decisions of this Court would also unravel for another round of litigation ... This Court cannot afford to unleash such a catastrophe on the nation.”
The bomb is ticking.
Sunday, December 13, 2009
Rina Jimenez - David on the CKC-Jose Gomez Orchestra
Here's an article written by Rina Jimenez-David of the Philippine Daily Inquirer
ONE of the biggest sensations of the international music scene is Gustavo Dudamel, a Venezuela-born conductor whose most recent achievement is being named the conductor and musical director of the Los Angeles Philharmonic. The young, muscular, long-haired Dudamel has been the subject of a major publicity campaign, centered on his shock of long, curly hair, would you believe?
But Dudamel’s life story would, to my mind, make for an even more compelling angle. The son of musicians, Dudamel is a product of El Sistema, a pioneering music education program which to date has trained 250,000 Venezuelan children—about 90 percent of them from poor backgrounds—in classical music. El Sistema now has 30 symphony orchestras all over the country, and has produced a number of internationally-renowned musicians, the most famous of whom is Dudamel.
Founded in 1975 and sustained through the years by government subsidies, El Sistema is a program of Social Action for Music, founded by economist and amateur musician Jose Antonio Abreu, who was powered by his belief that “an orchestra represents the ideal society, and the sooner a child is nurtured in that environment the better for all.”
In a hurried conversation with Fr. Marlowe Rosales, OFM, musical director and conductor of the Christ the King College Jose Gomez Orchestra, after its stirring performance last Friday, I happened to mention El Sistema to the friar-musician. His eyes brightened upon hearing El Sistema mentioned, saying that indeed that has been his dream: “to develop a similar system here, and create other orchestras for young people to develop their talent and nurture a love for music.”
And indeed, as I sat through the program—and swayed, clapped my hands, thrilled and cheered to the young people’s and their energetic conductor’s performance—I couldn’t help thinking about El Sistema. Was it possible, I wondered, that a future Gustavo Dudamel was among the young people onstage? That a teenager toiling in Calbayog City in Samar was even now getting ready to conquer the world of music?
* * *
THE CHRIST the King College Jose Gomez Orchestra was organized two years ago upon the initiative of the local hierarchy. With the help of the Gomez Family and US-based Calbayog residents, enough money was raised to buy the members’ instruments.
The orchestra is named after both the college (an educational institution that is over a hundred years old) now run by the Franciscan order and a local maestro, Jose Gomez, known as the “Music Man of Samar” for both his leadership of a local orchestra before the war and his compositions, many of them paying homage to his home province and city.
“Friends warned us that it would take at least three years before we could form a creditable youth orchestra,” recalled Fr. Tony Rosales, OFM. “But Fr. Marlowe challenged the students and bravely told us that within five months we would hold our first concert.”
Fr. Marlowe (no relation to Fr. Tony or to Cardinal Gaudencio Rosales) is a trained musician, holding a degree in conducting and music education from the UST Conservatory of Music. Despite the support given to outfit the orchestra, CKC-Jose Gomez Orchestra still struggles with funding for the training of its members as well as for scholarships for the more gifted students. Friday’s concert at the Paco Catholic School, meant to raise funds for Pondo ng Pinoy, was but one of many performances around Manila meant to raise awareness of the orchestra, raise funds for its development, and inspire other young people to take up classical music.
* * *
TO BE honest, the CKC-Jose Gomez Orchestra still has quite a few rough edges to smoothen. But what it lacks in symmetry and solidity of sound it more than makes up for with energy and verve. It is difficult to fault the young people for their enthusiasm, especially given the passion with which Fr. Marlowe imbues his conducting, coaxing and moderating his young orchestra’s avid pursuit of the music.
Their repertoire is marked by the easy, casual mix of classical pieces by Beethoven, Bach and Mozart, pop and Broadway standards, rock anthems by Queen and Abba, and even Samareño folk songs written by Gomez, which have since gained heritage status.
At one point, I whispered naughtily to my seat-mate that pretty soon we would hear the orchestra break out into the current pop hit “Nobody, Nobody But You.” Well, what do you know, about two numbers after, what would we hear but the orchestra filling the auditorium with the strains of this hit song popularized by a Korean girl band? Everyone perked up as the singers danced and mimed the pop group’s trademark moves, and cheered when the members alternately stood and twirled without breaking rhythm. I think the moment summed up the evening and all the passion thrown into creating the orchestra: that music is the language of the heart and of the soul, and a happy heart and contented soul make for beautiful music.
* * *
I KNOW now what Cardinal Rosales, who hastily arranged the concert with the archdiocese’s parochial schools association, must have felt when he first heard the CKC-Jose Gomez Orchestra on a visit to Calbayog. Truly, even in the remotest corners of this archipelago, we can find jewels of artistic merit and aspiration, and folk, young and old, dedicated to the pursuit of beauty.
I wish the orchestra a bright future. One of its members, in his closing remarks, articulated a wish for additional music trainers, admitting that Fr. Marlowe, despite his energy, can hardly cope with the needs of the orchestra for personalized training. I also wish for the young people to continue enjoying the gifts of the artistic life: discipline, dedication, creativity, focus and fulfillment.
ONE of the biggest sensations of the international music scene is Gustavo Dudamel, a Venezuela-born conductor whose most recent achievement is being named the conductor and musical director of the Los Angeles Philharmonic. The young, muscular, long-haired Dudamel has been the subject of a major publicity campaign, centered on his shock of long, curly hair, would you believe?
But Dudamel’s life story would, to my mind, make for an even more compelling angle. The son of musicians, Dudamel is a product of El Sistema, a pioneering music education program which to date has trained 250,000 Venezuelan children—about 90 percent of them from poor backgrounds—in classical music. El Sistema now has 30 symphony orchestras all over the country, and has produced a number of internationally-renowned musicians, the most famous of whom is Dudamel.
Founded in 1975 and sustained through the years by government subsidies, El Sistema is a program of Social Action for Music, founded by economist and amateur musician Jose Antonio Abreu, who was powered by his belief that “an orchestra represents the ideal society, and the sooner a child is nurtured in that environment the better for all.”
In a hurried conversation with Fr. Marlowe Rosales, OFM, musical director and conductor of the Christ the King College Jose Gomez Orchestra, after its stirring performance last Friday, I happened to mention El Sistema to the friar-musician. His eyes brightened upon hearing El Sistema mentioned, saying that indeed that has been his dream: “to develop a similar system here, and create other orchestras for young people to develop their talent and nurture a love for music.”
And indeed, as I sat through the program—and swayed, clapped my hands, thrilled and cheered to the young people’s and their energetic conductor’s performance—I couldn’t help thinking about El Sistema. Was it possible, I wondered, that a future Gustavo Dudamel was among the young people onstage? That a teenager toiling in Calbayog City in Samar was even now getting ready to conquer the world of music?
* * *
THE CHRIST the King College Jose Gomez Orchestra was organized two years ago upon the initiative of the local hierarchy. With the help of the Gomez Family and US-based Calbayog residents, enough money was raised to buy the members’ instruments.
The orchestra is named after both the college (an educational institution that is over a hundred years old) now run by the Franciscan order and a local maestro, Jose Gomez, known as the “Music Man of Samar” for both his leadership of a local orchestra before the war and his compositions, many of them paying homage to his home province and city.
“Friends warned us that it would take at least three years before we could form a creditable youth orchestra,” recalled Fr. Tony Rosales, OFM. “But Fr. Marlowe challenged the students and bravely told us that within five months we would hold our first concert.”
Fr. Marlowe (no relation to Fr. Tony or to Cardinal Gaudencio Rosales) is a trained musician, holding a degree in conducting and music education from the UST Conservatory of Music. Despite the support given to outfit the orchestra, CKC-Jose Gomez Orchestra still struggles with funding for the training of its members as well as for scholarships for the more gifted students. Friday’s concert at the Paco Catholic School, meant to raise funds for Pondo ng Pinoy, was but one of many performances around Manila meant to raise awareness of the orchestra, raise funds for its development, and inspire other young people to take up classical music.
* * *
TO BE honest, the CKC-Jose Gomez Orchestra still has quite a few rough edges to smoothen. But what it lacks in symmetry and solidity of sound it more than makes up for with energy and verve. It is difficult to fault the young people for their enthusiasm, especially given the passion with which Fr. Marlowe imbues his conducting, coaxing and moderating his young orchestra’s avid pursuit of the music.
Their repertoire is marked by the easy, casual mix of classical pieces by Beethoven, Bach and Mozart, pop and Broadway standards, rock anthems by Queen and Abba, and even Samareño folk songs written by Gomez, which have since gained heritage status.
At one point, I whispered naughtily to my seat-mate that pretty soon we would hear the orchestra break out into the current pop hit “Nobody, Nobody But You.” Well, what do you know, about two numbers after, what would we hear but the orchestra filling the auditorium with the strains of this hit song popularized by a Korean girl band? Everyone perked up as the singers danced and mimed the pop group’s trademark moves, and cheered when the members alternately stood and twirled without breaking rhythm. I think the moment summed up the evening and all the passion thrown into creating the orchestra: that music is the language of the heart and of the soul, and a happy heart and contented soul make for beautiful music.
* * *
I KNOW now what Cardinal Rosales, who hastily arranged the concert with the archdiocese’s parochial schools association, must have felt when he first heard the CKC-Jose Gomez Orchestra on a visit to Calbayog. Truly, even in the remotest corners of this archipelago, we can find jewels of artistic merit and aspiration, and folk, young and old, dedicated to the pursuit of beauty.
I wish the orchestra a bright future. One of its members, in his closing remarks, articulated a wish for additional music trainers, admitting that Fr. Marlowe, despite his energy, can hardly cope with the needs of the orchestra for personalized training. I also wish for the young people to continue enjoying the gifts of the artistic life: discipline, dedication, creativity, focus and fulfillment.
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