“Pananagutan,” “I Will Sing Forever,” “Ito Ang Araw”—ask any Filipino churchgoer about these three songs, and chances are they know or can sing at least one, if not all of them. Go into any church around the Philippines and pay attention to the songs that are sung in their liturgical celebrations. It is highly likely that at least one of them has been composed by a Jesuit, or by someone who can trace one’s musical influences from a Jesuit.
Apart from the field of education, one other crucial contribution the Jesuits in the Philippines have made is in the field of liturgical music. This can be attributed primarily to Fr. Eduardo Hontiveros, SJ, who is popularly regarded as the father of Filipino liturgical music. His well-loved classics like “Pananagutan,” “Ang Puso Ko’y Nagpupuri,” and “Papuri sa Diyos” have been sung in countless churches by countless Filipino Catholics across countless generations, both here and abroad—for masses, paraliturgies, and bible study sessions; as opening prayer, recessional hymn, or even part of a movie soundtrack.
What makes them memorable is how they speak to the Filipino and of the Filipino. They are songs that touch the hearts of many because of their simplicity. They are easy to remember, and easy to sing. They are also relatable, since the lyrics are in Filipino, which is more accessible than English or Latin. More importantly, beneath their simplicity and relatability lie the deep values which are central to the Filipino people who articulate themselves best in and through music—values such as faith and trust in God, love for one’s neighbor, and hope amidst adversity.
The Legacy of Father Hontiveros
Father Honti, while trained as a theologian, used his talents in music to generously respond to the call of the Second Vatican Council in the 1960s to create vernacular liturgical music in order to encourage full and active participation of the faithful. In a 1982 interview, Father Honti noted how Filipinos had a natural affinity for music, for “as soon as Filipinos get emotionally involved, they sing.” For him, this makes music a perfect tool to use in the liturgy as a means of expressing ourselves as individuals and as a community before God—whether in praise and thanksgiving, sorrow and contrition, or supplication and petition.
Father Honti may have already passed on almost two decades ago, but his music continues to inspire and lead people closer to God. Moreover, his lasting influence has led fellow Jesuits to continue making music that can be used by people for prayer, reflection, and worship. After Father Honti, Fathers Nemy Que, Danny Isidro, and Fruto Ramirez continued expanding the repertoire of Jesuit music, even coming up with songs in other Philippine languages such as Bikolano. Fathers Charlie Cenzon, Manoling Francisco, and Arnel Aquino continued this legacy by coming up with their own compositions which also became well-loved works. At present, young Jesuit composers like Fathers Bok Arandia and Ro Atilano have also written new songs to continue to cater to the current generation of the faithful.
What Makes Jesuit Music “Jesuit”?
In my own experience, what makes Jesuit music “Jesuit” are three things. First, the songs written by Jesuit composers are often the fruit of personal prayer experiences. For instance, Fr. Charlie Cenzon’s Awit ng Paghahangad was the fruit of his reflections during his 30-day Spiritual Exercises as a novice; Fr. Manoling Francisco’s “Sa’ Yo Lamang” was intended to capture the spirit of trust and commitment to a faithful God as their batch professed their first vows as Jesuits; Fr. Arnel Aquino’s “Pagsibol” was written after his experience of finding God in the beauty of creation on an otherwise ordinary morning.
These prayers-wrapped-in-songs sought to express profound moments of intimacy with the Lord—times of extreme closeness and consolation with our God. While some may not regard them as properly “liturgical,” one cannot doubt the sincere love felt and expressed in these works. (Fun fact: a lot of Jesuits and those who have discerned the possibility of Jesuit priesthood or brotherhood first encountered the Society of Jesus in the Philippines through Jesuit songs!)
Second, Jesuit music is often imbued with insights about Ignatian spirituality. Themes such as finding God in all things, discernment, and Ignatian indifference are found in songs like “Amare et Servire,” “Pilgrim’s Theme,” and “Ponme con tu Hijo.” God’s ever-abiding presence and assurance find expression in works such as “Dwells God” and “I am Ever With You.” In the same way, “Kung ‘Yong Nanaisin,” “Saan Kami Tutungo,” and “Hesus na Aking Kapatid” talk about authentic Christian discipleship, while “In My Heart” is an example of Easter faith. Of course, devotional songs like “Aba Ginoong Maria,” “Mariang Ina Ko,” and “Mahal na Puso ni Hesus” speak of our great love for Christ and Mary. Hence, not only is Jesuit music melodious, but it is also theologically-sound, and can be used to teach the faithful correct ideas about God, Jesus, and Our Lady.
Finally, Jesuit music is also a fruit of and a means of collaboration. When Father Honti was writing a piece of music, he was known to let his choir practice singing the melody first. If they found it difficult to sing a line or two, he would adjust the song to make it easier for them. Moreover, he teamed up with National Artists such as Rolando Tinio for Misa ng Alay-Kapwa, a Filipino Mass setting, and Bienvenido Lumbera for the musical production of Gaspar Aquino de Belen’s Pasyong Pilipino. He also personally worked with parish choirs that exist until today: Tinig Barangka and Pansol Choir.
At present, Jesuit music ministry has multiple lay groups under its wing, most notably Bukas Palad Music Ministry and Hangad, who continue the important work of evangelization through music. (Of course, there is also Himig Heswita, the resident singing group of the Philippine Jesuits.) Jesuit composers have also been tapped by various dioceses for their various music ministry activities and initiatives, and even by the Catholic Bishops Conference of the Philippines for major events like 1995 World Youth Day in Manila, the 2016 International Eucharistic Congress in Cebu, and several Papal Visits, the most recent of which was with Pope Francis in 2015. All these demonstrate how music can be a way to build lasting and fruitful relationships that can be of greater service to the Church and the larger community.
Future Hopes
With the advent of new forms of digital media that make music more accessible to wider audiences, I hope that with God’s grace and guidance, Jesuit music may continue to find its place among listeners, especially young people. Their tastes in music may be different, but I believe they still hunger for a way to connect to Someone beyond themselves—to Christ, who loves them deeply and desires that they truly find their unique vocation as God’s beloved son or daughter. Through collaboration, may more songs by both Jesuits and laypeople be written to touch hearts, transform minds, and lead others to respond to the Lord’s loving invitation to spread His Gospel, one melody at a time.
Dom Joseph Bulan, SJ is the Associate Director of Jesuit Music Ministry and member of Himig Heswita, he has also composed several liturgical songs.