Those notes-the flight melodies, playful strings-never strayed away from Anya. The strains of Mozart would trickle through the wires of the audio player and into the ears of their child who was still in between worlds. Her father, Mike, would put headphones on top of the stomach of her mother, Charmaine, whenever she was pregnant. Her most recent commission, I Am Mother, premiered at The May Festival in Cincinnati last March, and her choral work, Balikbayan, won the Peter David Endowed Memorial Award and the Provost Research Fellowship.Īnya says, “The title of the concert ‘Pagsibol’ was suggested by my father, and it perfectly encapsulates the theme, symbolizing a blossoming future for Filipino arts and culture.”Īnya’s overture began before she was even born. Anya’s compositions have been performed by the Los Angeles Chamber Orchestra, Hub New Music, and MUSE Cincinnati Women’s Choir, among others. Lagman studied under composition chair Donald Crockett, Grammy award winner Andrew Norman, and Pulitzer finalist Ted Hearne. “The powerful and emotive performance of I Am Mother with the Philippine Madrigal Singers also left a lasting impact,” points out Anya, “especially during a haunting section where the singers whispered synonyms for ‘mother.’”Īnya is a composer, multi-instrumentalist and inter-disciplinary artist who graduated summa cum laude last May from the University of Southern California’s (USC) Thornton School of Music. The First Lady presented the concert at the Goldenberg Mansion as part of her heritage series of shows. First Lady Liza Araneta-Marcos and Anya Lagman are flanked by Anya’s parents, Mike and Charmaine Lagman. One of the highlights for the composer was performing Together We Build with Carla Guevarra-Laforteza, which Anya co-composed with her siblings Elijah and Mica Lagman. Those tracks were interspersed with OPM staples such as Anak by Freddie Aguilar and Narda by Kamikazee. Conducting musicians to bring her own pieces to life ( The Night Garden, Unravel, Balikbayan, I Am Mother) was surely overwhelming. That was probably what Anya Lagman felt after completing a repertoire of her original compositions and covers at the Pagsibol concert at the Goldenberg Mansion in Malacañang together with members of the Manila Philharmonic Orchestra and the Philippine Madrigal Singers. The central figure is appreciative, even if a bit awestruck and altered. You know that scene in movies when the audience is cheering and applauding, but the main character can only hear silence, or one note from a piano that stretches seemingly infinitely, or a gaggle of electronic sounds overlapping orchestrally, faintly at first, getting louder by degrees, everything in slow-mo… and then-boom!-he or she returns to the moment: the ornate hall with its finely set tables, the luminous lights, the clink of cutlery.
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