fbpx

10th anniversary

An image in promotion of the Filipino American Symphony Orchestra's International Composition Competition for Philippine Folk Music. Application materials are due June 29, 2019.

Call for Young Composers: International Composition Competition for Philippine Folk Music

The Filipino American Symphony Orchestra (FASO) is pleased to announce its second annual International Composition Competition for Philippine Folk Music for students. This competition is dedicated to the promotion of Philippine folk music. All participants must submit an original composition for full orchestra (no vocals) that incorporates a theme(s) from any Philippine folk song(s). The composition must be between 3 and 5 minutes.

A distinguished panel of judges will select a winner, who will be awarded a $1000 prize. The second-place winner will receive a prize of $500. The winning piece will have its world premiere at our August 3 concert at the Walt Disney Concert Hall.

Composition scores, demo recordings and application form are due June 29, 2019 at 11:55 p.m. PST. Demo recordings and composition scores should be submitted via email to pr@fasofoundation.org. See below for more details on submission logistics.

The following is a list of composition competition rules and requirements. The application form can found here and at the bottom of this page.

Rules and Requirements

  • This international composition competition is open to composers of all nationalities registered in a college, university or film school as of 2019. Students graduating from their respective programs in 2019 are welcome to participate.
  • Multiple composers may collaborate on one competition entry as long as each composer satisfies the previous requirement above.
  • The composition may not have vocals.
  • The composition should not have been commercially released, posted publicly on content-sharing websites (e.g., YouTube, SoundCloud, Vimeo etc.) or performed in public as of the deadline. A composition will not be accepted if it has won first prize in another competition(s). Compositions that originated as school projects or that have been performed in school recitals may be submitted.
  • The composition must use standard symphonic orchestra instrumentation. For your reference, FASO has the following instrumentation: 2+picc, 2d1, 2+bass, 2 – 3, 3, 3, 1, timp, perc, hp, str.* You may include Philippine instruments (e.g., kulintang, angklung, rondalla instruments, etc.), but it is not required.
  • The composition must incorporate theme(s) from any Philippine folk song(s). Clarification on what we mean: Of course, Philippine folk songs with established melodies already exist. The composition component in this competition is the arrangement of those melodies. There are many opportunities to be innovative and creative in the composition process. The composition may be in any style, genre or form. Some examples:
    • A straightforward orchestration of a folk song melody
    • Medley of themes
    • Variations of a theme
    • Mashup of multiple themes
  • The composition’s score in PDF format and a demo recording in MP3 format must be emailed to pr@fasofoundation.org on the same day that the online application form is submitted. You may use one or a combination of the following for the demo recording: live instrument performance, MIDI mockup, synthesizer, playback from notation software (e.g., Finale, Sibelius etc.). Keep in mind that the quality of the demo recording will have no impact on the evaluation of the composition. The duration of the recording must be between 3 and 5 minutes.
  • The participant must submit an application fee of $15. Fee payments can be made online on the application form. Credit card and PayPal are accepted.

Judging Criteria

A distinguished panel of judges will score and judge competition entries according to criteria provided below.

Creativity (40%)
Creative use of music composition elements including, but not limited to form, genre, groove/feel, melody, counterpoint, harmony, rhythm, and textures.

Orchestration (40%)
• Instrument parts are in playable range and are readable for college-level and professional musicians
• Lines and harmonies are effectively orchestrated
• Effective use of dynamics and articulation
• Effective utilization of the orchestra families
• Effective focus, balance and separation between multiple layers

Impact (20%)
• The composition is identifiable as Philippine folk music in an orchestral setting
• All audiences can relate to the piece (via subjective assessment by the judges)

Questions? Email pr@fasofoundation.org.

* Click here for an explanation of shorthand notation.

An image in promotion of "Filipino American Symphony Orchestra @ 10" at the Alex Theatre on Saturday, November 3 at 7:00 p.m.

FASO @ 10: A Decade of Music, Harmony and Community

Join the Filipino American Symphony Orchestra for its 10th anniversary concert at the historic Alex Theatre on Saturday, November 3 at 7:00 pm! Be a part of this history-making event as FASO celebrates 10 years of advocacy for Philippine creativity and artistry.

Tickets are available online and onsite for $20, $40 and $60. Purchase tickets online here and check out info on the Alex Theatre’s physical box offices here. Children 2 years of age and under may enter for free. Student discounts and group rates apply. Contact Louie Ramos at luisramos91201@gmail.com, for more info on those special prices.

We also have advertising and sponsorship opportunities! Our 10th anniversary Commemorative Book, which will highlight the orchestra’s legacy and future, has a special advertisement section. Here, members and friends of FASO can submit their own written tributes to the orchestra. Businesses can also submit advertisements that highlight their own services. You can also make a donation and get listed in the book on our Donors & Sponsors page! Find advertisement forms here and view sponsorship forms here! Send all forms for advertisements and sponsorships to ads@fasofoundation.org no later than October 15Questions? Email Claire Espina at claire@edelbergandespina.com

A photo of Adriel "Rush" Garcia in promotion of FASO@10 on Saturday, Nov. 3 at the Alex Theatre.

Artist Spotlight: Composition Competition Winner Adriel “Rush” Garcia

We close our FASO@10 spotlight series with another very exciting announcement! We’re announcing the winner of our first-ever composition competition.

The International Composition Competition for Philippine Folk Music for students was established in honor of FASO’s tenth anniversary and dedicated to the promotion of Philippine folk music. All participants submitted an original composition for full orchestra that incorporated one or more themes from any Philippine folk song(s).

A photo of Adriel "Rush" Garcia in promotion of FASO@10 on Saturday, Nov. 3 at the Alex Theatre.

Today, we’re featuring the winner of the competition, Adriel “Rush” Garcia! You can hear his award winning reinvention of the folk song “Ang Pipit” at FASO@10 this Saturday, Nov. 3, at 7 p.m. at the Alex Theatre! Read up on this talented young artist below!

1. Rush is a senior at the renown Oberlin Conservatory of Music. While he obviously has the chops of an accomplished composer and arranger, Rush majors in Trombone Performance! His skill with the trombone took him to NPR’s “From the Top” and won the Fischoff National Chamber Music Competition!

2. Countless online communities know him best for his YouTube channel of orchestral arrangements and original works, which has over 96 thousand subscribers! The channel features a large assortment of his orchestral re-imaginings—of EDM producers’ works, songs from TV shows and more! But his most popular work is his soaring arrangement of “Hopes and Dreams” from the video game “Undertale,” which has over 12 million views!! We’ve got it here. And if you like what you hear, support Rush on Patreon!

3. Remember Dodjie Simon, who taught our Songwriting Workshop earlier this year? He and Rush collaborate as the musical duo Simon and Rush! Last year, they released “Des Rêves,” a classical crossover album. Here’s an epic, breathtaking track from the album that Dodjie wrote and Rush arranged.

4. In line with FASO’s own mission, Rush’s passion is mentoring young artists. In the future, he hopes to teach music in a high school!

5. Fun fact: Rush is an only child. He claims to be the favorite!

A photo of scholarship winner and FASO violinist Kaitlin Aquino in promotion of FASO@10 at the Alex Theater on Saturday, November 3, at 7:00 p.m.

Artist Spotlight: FASO Violinist & Scholarship Winner Kaitlin Aquino

A photo of scholarship winner and FASO violinist Kaitlin Aquino in promotion of FASO@10 at the Alex Theater on Saturday, November 3, at 7:00 p.m.

FASO@10 is this Saturday! For this special artist spotlight, we’re announcing the winner of our first-ever Filipino American Symphony Orchestra College Scholarship. This scholarship for graduating high school seniors required each applicant to write an essay in response to this prompt: “What does Philippine music mean to you?”

One of our youngest violinists, Kaitlin Aquino won with her riveting essay on her complicated relationship with her dual Filipina and American identities. Kaitlin’s a first-year English major at the University of California, Irvine with a strong passion for the performing arts, namely writing, and vocal, theatre and orchestral performance. She delights in being able to combine all four as a novice writer! Kaitlin’s also a member of the team behind our new Youth String Ensemble.

As a special treat for ya’ll, we’re sharing her winning essay below. We hope to see you all at FASO@10 this Saturday, Nov. 3, at 7 p.m. at the Alex Theatre! Enjoy!

Kaitlin Aquino’s Winning Essay for the Filipino American Symphony Orchestra College Scholarship

“You’re Filipino.”

“No, I’m not.” I retorted to my dad petulantly. I, at the age of six, would have never identified myself as so. “I’m American.”

“No,” he said gently. “You’re Filipino.”

“No, I am not.” I glared at him, denying his denial. “I’m American!”

“You’re Filipino!” he exclaimed. The corners of his mouth upturned. Much to my chagrin, he found my infantile frustration amusing.

I fought the urge to wail. It wasn’t easy trying to be taken seriously when you’re six. Insistent, I balled my hands into fists and huffed. “I am an American!” I am unsure of how such a conversation between my dad and I came about. But its unknown origin pales in comparison to its true meaning. I used those angry six-year-old hands to eat my “baon” at school–homemade “mongo” or adobo–until I was “busog;” turn on the fountain and quench my thirst with heaping gulps of running “tubig;” and greet my dad after school with a warm embrace when he arrived to pick me up and take me back to our “bahay.” And yet, with those same six-year-old hands I expressed a vehement, unequivocal rejection of the culture that had always been a constant, friendly presence in my life.

Now, before you raise your chin in contempt for a six-year-old version of myself, I entreat you to think twice before you judge. Though prevalent in my daily life, my Filipino culture only ran as deeply as the broken Tagalog I understood. At eleven years old, I spent an ordinary afternoon at the mall with my dad, my “titos” and “titas.” But it didn’t take long until this humble outing took an unexpected turn.

As we made our way through the corridors, mid-conversation, we suddenly stopped. Panicking, I brought my hand to my face, wiping the wetness away. Peering through stinging, water-filled eyes, I could barely make out the looks of sheer confusion and horror on my relatives’ faces. With tears down my face and a sniffling, snot-filled nose, I felt overwhelmingly like a pathetic baby in front of all my “titos” and “titas.” Already eleven, I was long past the stage of emotional instability. Bursting into tears in public without reason just wasn’t acceptable past age eight anymore.

Ridiculous as this sob session was, it came from a genuine place. While we were out and about at the mall, my relatives only spoke English if they absolutely had to. Otherwise, they talked up storms, hurricanes, cyclones in the language they knew best: Tagalog. So, while they all listened to each other intently, I sat picking at my portion of mall food, understanding little to nothing.

This wasn’t new to me. This was what spending time with them was usually like. But that’s why I cried so hard. I’d had enough of being excluded by my own family members. I knew they loved me and had no intention of leaving me out. But I let my frustration and grief build up for too long.

Unfortunately, I’ve never felt truly connected with anyone from my extended family.

Although no language barrier separated myself from my “ates” and “kuyas,’ a generational gap certainly did. Being the youngest of my generation, it was never easy for me to try bridging the 20-year age gap between myself and my cousins. Who could’ve guessed that people 20 years apart had vastly different interests?

Instead of seeing the truth of the matter—my inability to speak Tagalog and to truly understand the struggles of those much older—I blamed my culture.

The media didn’t make it any harder for me to hate my Filipino roots either. Although I don’t remember a particular show or movie expressing a distaste for foreign heritages, the overconsumption and subsequent glorification of American pop culture, coupled with my attendance at a school whose students weren’t the most celebratory of things foreign, subconsciously led me to believe my Filipino heritage was something to be embarrassed about. And being the impressionable grade-schooler I was, I accepted it. I told my dad I wanted Lunchables for “baon” instead of his home cooked meals. I often looked in the mirror, lamenting over my absence of pale skin, blue eyes, and blonde hair. I covered my ears every time Freddie Aguilar’s “Anak” played in the car. I wanted to be American, not Filipino.

Obviously, my logic carries a huge flaw. I didn’t hate being Filipino. I didn’t hate coming home to a big bowl of “sinigang” after a long day, or doing karaoke at parties until the wee hours of the morning, or having annual Pacquiao fight viewing parties. Rather, I hated that I wasn’t immersed in my Filipino heritage enough, so that it could serve as an outlet to further connect me with my Filipino family. I made the mistake of equating family and culture: I sensed my family’s disapproval of myself, so I renounced their culture.

But as I’ve grown, I’ve had many enriching experiences that have led me to rethink my cruel misjudgment of my Filipino heritage—my experiences at FASO, consist of several. Just being surrounded by professional Filipino musicians was enough to re-instill, in me, a sense of Pinoy pride. But aside from being impressive, my fellow orchestra members were also very caring and kind. I’ll never forget how welcome they made both me feel, despite our crippling nervousness, as first-year apprentices.

I miss the Tuesdays my dad would pick me up from theatre and take me to FASO rehearsal. Admittedly, it was stressful. I was constantly scrambling to do some homework in the car before he parked in the church’s lot. Consistently, I entered the building anxious over the deadlines I had to meet. But after sitting down, picking up my violin, and taking in the warmth and artistic passion that filled the atmosphere, my concerns with my homework, my guilt over my past efforts to separate myself from Filipino culture, and my loneliness seemed to melt away. The only concern of importance was making sure the music we played—whether classical European, American contemporary, or Philippine folk—sounded the best it could be. And after two full hours of serenading the night away—the duration of our rehearsal complete—I always left hungry to play more.

To me, Philippine music is my way of reconnecting with the culture I wrongfully tried to cast aside. Whenever I played, through FASO, I felt relief and reconciliation—a time to heal the cultural wound I unthinkingly inflicted on myself.

Of course, it didn’t solve all my problems. I may feel a bit more connected to my “ates,” “kuyas,” “titos,” and “titas” than before, but the ever-present disconnect between us will never fail to make my heart ache.

It’s sad to say that this problem of mine is not a unique one. First-generation Americans all over the nation suffer from cultural identity crises; as they tread between several distinct cultures, they will never be able to fully submerge themselves in all, or even one.

As wonderful it would be to change the course of American pop culture and put national hostility toward foreigners to rest, it is unrealistic to hope for such a thing in the near or even far-reaching future. Instead, I think the solution is right in front of our eyes.

We don’t need to eliminate the cultural identity crisis today’s minority children face. Although my experience was grueling and painful, I wouldn’t trade it for anything easier. More than just a difficult experience, mine was a journey of self-discovery. And if others must take a similar painful path in order achieve something as priceless as cultural security and self-confidence, then so be it. As strange as it sounds, we need our minority children to struggle. For it will breed strength. And they need to be as tough as nails if they want to succeed.

So as Filipino and other minority children embark on their respective journeys of self-discovery, it’s my hope that cultural sanctuaries, like FASO, can help guide them in the right direction. Maybe they too will let the music of their own culture lead them out of their self-imposed darkness.

For a Filipino who can barely speak Tagalog, Philippine music is my cultural savior. Hopefully, music from other cultures can serve the same purpose.

At age fifteen, my dad called me American.

No longer the pouty, Pinoy-hating six-year-old I was, I replied, “No, I’m Filipino.”

Be a part of this history-making event as FASO celebrates 10 years of Filipino musical creativity and artistry on Saturday, Nov. 3, 7 p.m., at the Alex Theatre, on 216 N. Brand Blvd., Glendale, CA 91203. Order tickets online here and check out info on the Alex Theatre’s physical box offices here. Children 2 years of age and under may enter for free. Student discounts and group rates apply. Contact Louie Ramos at luisramos91201@gmail.com, for more info on those special prices.

A photo of Malea Emma Tjandrawidjaja in promotion of her performance with the Filipino American Symphony Orchestra (FASO) at FASO@10 on Saturday, November 3, 2018, at the Alex Theatre.

Artist Spotlight: Vocal Extraordinaire Malea Emma Tjandrawidjaja

A photo of Malea Emma Tjandrawidjaja in promotion of her performance with the Filipino American Symphony Orchestra (FASO) at FASO@10 on Saturday, November 3, 2018, at the Alex Theatre.

It’s finally here! Vocal extraordinaire Malea Emma Tjandrawidjaja‘s under the spotlight this week! Watch this package of dynamite kill it onstage with us at FASO@10 on Saturday, November 3 at 7:00 p.m. at the Alex Theatre. Read on to learn more about Malea Emma!

1. After singing the national anthem at an LA Galaxy game last month, Malea Emma became an overnight internet phenomenon! News agencies worldwide covered her performance! Malea Emma was even interviewed on “Good Morning America“, “On Air with Ryan Seacrest” and CNN’s “New Day.” Here’s the performance that started it all!

Malea Emma Tjandrawidjaja with Christina Aguilera.
Malea Emma Tjandrawidjaja backstage with Christina Aguilera.

2. Malea Emma’s met and collaborated with cool music icons too! Her performance in a Hollywood Bowl production of “Annie” with Lea Salonga received glowing reviews from the LA Times, Broadway World and Times Square Chronicles. On “Good Morning America,” she sang “And I Am Telling You I’m Not Going” with original Dreamgirl Jennifer Holliday. Her idol Christina Aguilera retweeted this video of her performance and invited her backstage before her concert at Radio City Music Hall.

Here’s her duet with Jennifer Holliday!

3. Her father told USA today that Malea Emma’s been “singing forever, basically before she could speak. Sometimes we have to tell her to be quiet.” Malea Emma’s clearly dedicated to her art and her awards definitely show that! Malea Emma’s won first place in competitions including American Protégé Winners Recital at Carnegie Hall, San Gabriel Valley’s Got Talent, the Riverside County Fair Vocal Competition, among others.

4. Malea Emma isn’t just a vocalist. She’s an accomplished actor, having appeared in commercials for Kiehl’s, Amazon and East West Bank. She also has credits in the parody horror TV series “Tim and Eric’s Bedtime Stories” and the upcoming short film titled “Mother of Three,” scheduled for release next year! She also models, dances, swims, plays violin and piano, and speaks Indonesian and Mandarin! Watch her Kiehl’s commercial below!

5. In her free time, Malea loves singing and posting covers on her YouTube channel. Check it out here!

P. S. Here’s Malea Emma and Lea Salonga cover’s of “On My Own ” from “Les Misérables” at the Hollywood Bowl when they were both in “Annie!” We love it! ❤

Be a part of this history-making event as FASO celebrates 10 years of Filipino musical creativity and artistry on Saturday, Nov. 3, 7 p.m., at the Alex Theatre, on 216 N. Brand Blvd., Glendale, CA 91203. Order tickets online here and check out info on the Alex Theatre’s physical box offices here. Children 2 years of age and under may enter for free. Student discounts and group rates apply. Contact Louie Ramos at luisramos91201@gmail.com, for more info on those special prices.

There are also advertising and sponsorship opportunities! Our 10th anniversary Commemorative Book, which will highlight the orchestra’s legacy and future, has a special advertisement section. Here, members and friends of FASO can submit their own written tributes to the orchestra. Businesses can also submit advertisements that highlight their own services. You can also make a donation and get listed in the book on our Donors & Sponsors page! Find advertisementforms here and view sponsorship forms here! Send all forms for advertisements and sponsorships to ads@fasofoundation.org no later than Oct. 15Questions? Email Claire Espina at claire@edelbergandespina.com

Photo courtesy of Gerry Ruiz and Cesar Laure

Artist Spotlight: Music Educator, Composer & Community Organizer Melvin Corpin

Photo courtesy of Gerry Ruiz and Cesar Laure
Photo credits to Gerry Ruiz and Cesar Laure

It’s time to spotlight one of the most beloved composers from the Philippines. At FASO@10 on Saturday, Nov. 3 at 7:30 p.m., we’ll be performing a work by the late Melvin Corpin, who inspired a generation of Samarnon and Leyteño musicians! Read on to learn more about this “wonderful one in a million musician” who dedicated his life to his family, his faith and his community!

1. Melvin wrote and arranged over 2,000 pieces! A majority of his works are liturgical hymns that continue to grace churches in the Archdiocese of Palo in the Eastern Visayas. In collaboration with National Artist of the Philippines Bienvenido Lumbera, Melvin arranged music for touring Philippine stage plays. His arrangement of “Di Ako Titigil” from the film “Burgos” won Best Original Song at the 2014 Golden Screen Awards. We’ll be performing his masterpiece “Ha Imo La,” which he composed as musical and artistic director of the Warayon Initiative Network’s fundraising concert of the same name, at FASO@10. Here’s a taste!

2. Melvin learned how to play piano by ear from the age of 4, and learned to compose and arrange music from the age of 10. He later graduated cum laude with a bachelor’s in music education from Leyte Normal University (LNU) in Tacloban City. During his time at LNU, he received the YMCA Outstanding Student Award, the Musician of the Year Award and the President’s Recognition Award! Following his graduation, he directed many Eastern Visayas choirs. Under his leadership, the St. Therese Singing Angels and St. Therese Educational Foundation of Tacloban Inc. (STEFTI) Children’s Choir won several awards at the National Music Competition for Young Artists.

3. He was a beloved teacher known to many in the Eastern Visayas and beyond! Back home, many fondly remember Melvin as their first voice teacher or musical mentor. As musical director of the Family of God’s Little Children of Tacloban City, Melvin traveled to Australia, Indonesia, Jerusalem, Malaysia and Singapore to teach workshops, and organize and perform concerts.!

4. Melvin never stopped thinking about home after moving to the United States with his family in 2008. He was an important founding member of the Southern California-based Warayon Initiative Network (WIN) and was WIN’s VP for Ensemble, Training and Development. He contributed his talents to many Typhoon Haiyan fundraiser efforts. At Pope Francis’ mass for the survivors of Typhoon Haiyan in 2015, Melvin led the 250-member Grand Choir of the Archdiocese of Palo. Most pieces played at the mass were Melvin’s own compositions!

5. Music is a family affair in the Corpin family! All of four of Melvin’s sons play instruments! His son Meldian plays violin and arranges for strings. Carlvian, Meldian’s twin, plays cello, violin and piano. Mel plays clarinet, guitar and piano. Carl plays bass flute, guitar, and piano. And last, but not least, Melvin’s wife Carla is both a practicing nurse and a soprano!

A photo of Melvin Corpin with Filipino American Symphony Orchestra arranger-in-residernce Louie Ramos.
Melvin Corpin with Filipino American Symphony Orchestra arranger-in-residernce Louie Ramos. Photo credits to Carla Corpin.

Be a part of this history-making event as FASO celebrates 10 years of Filipino musical creativity and artistry on Saturday, Nov. 3, 7 p.m., at the Alex Theatre, on 216 N. Brand Blvd., Glendale, CA 91203. Order tickets online here and check out info on the Alex Theatre’s physical box offices here. Children 2 years of age and under may enter for free. Student discounts and group rates apply. Contact Louie Ramos at luisramos91201@gmail.com, for more info on those special prices.

There are also advertising and sponsorship opportunities! Our 10th anniversary Commemorative Book, which will highlight the orchestra’s legacy and future, has a special advertisement section. Here, members and friends of FASO can submit their own written tributes to the orchestra. Businesses can also submit advertisements that highlight their own services. You can also make a donation and get listed in the book on our Donors & Sponsors page! Find advertisementforms here and view sponsorship forms here! Send all forms for advertisements and sponsorships to ads@fasofoundation.org no later than Oct. 15Questions? Email Claire Espina at claire@edelbergandespina.com

A photo of Pete Avendaño in promotion of FASO@10 at the Alex Theater on November 3, 2018 at 7 p.m.

Artist Spotlight: Tenor & Music Educator Pete Avendaño

Next up in this FASO@10 spotlight series is tenor and music educator Christopher “Pete” Avendaño! Watch Pete and many more at “FASO@10: A Decade of Music, Harmony and Community” on Saturday, November 3 at 7:00 p.m. at the historic Alex Theatre!

A photo of Pete Avendaño in promotion of FASO@10 at the Alex Theater on November 3, 2018 at 7 p.m.

1. Pete Avendaño’s no stranger to FASO! He performed in our inaugural concert at the Saban Theater. Here’s his hauntingly beautiful performance of “Sa Ugoy Ng Duyan” at the concert!

2. His music career took off when he joined the Tiples de Santo Domingo, the oldest boy’s choir in the Philippines! During his time in the ensemble, he was often featured as a boy soprano soloist.

3. Pete later earned a Bachelor of Music from the University of Santo Tomas, where he joined the acclaimed UST Singers. With the ensemble, he embarked on concert tours to Europe, North America and South America! While he was a student at the UST Conservatory, he performed in Singapore Lyric Opera productions of “Il Pagliacci,” “Cavalleria Rusticana,” “Il Trovatore” and “Macbeth!”

4. Pete’s a passionate and driven music educator. Under his direction, the Immaculate heart of Mary Children’s Choir has won accolades and awards at home and abroad! The ensemble won two silver medals at the 2012 World Choir Games in Cincinnati. They performed at the 2015 National Children’s Chorus Festival at Carnegie Hall, the 2015 International Congress of Pueri Cantores in Vatican City and Rome, and the 2017 Los Angeles County Holiday Celebration at the Dorothy Chandler Pavilion, among others. Here’s a sample of the choir’s award-winning sound!

5. Pete’s hobbies include gardening and working on DIY projects. He’s also been a huge Lakers fan since 1984!

A photo of Pete Avendaño and his sons at a Laker Game in promotion of FASO@10 at the Alex Theater on November 3, 2018 at 7 p.m.
And undoubtedly, a devoted father.

Be a part of this history-making event as FASO celebrates 10 years of Filipino musical creativity and artistry on Saturday, Nov. 3, 7 p.m., at the Alex Theatre, on 216 N. Brand Blvd., Glendale, CA 91203. Order tickets online here and check out info on the Alex Theatre’s physical box offices here. Children 2 years of age and under may enter for free. Student discounts and group rates apply. Contact Louie Ramos at luisramos91201@gmail.com, for more info on those special prices.

There are also advertising and sponsorship opportunities! Our 10th anniversary Commemorative Book, which will highlight the orchestra’s legacy and future, has a special advertisement section. Here, members and friends of FASO can submit their own written tributes to the orchestra. Businesses can also submit advertisements that highlight their own services. You can also make a donation and get listed in the book on our Donors & Sponsors page! Find advertisementforms here and view sponsorship forms here! Send all forms for advertisements and sponsorships to ads@fasofoundation.org no later than Oct. 15Questions? Email Claire Espina at claire@edelbergandespina.com

©Filipino American Symphony Orchestra. All Rights Reserved 2012-2016

Web Design by Ishkaster Media