Some musicians are known for their technical brilliance. Others are remembered for the lives they shape through teaching and advocacy. Abelardo Galang II has devoted his career to doing all three — performing, mentoring and championing Filipino classical music on the international stage.

He is a highly accomplished German-, Japanese- and Filipino-trained pianist, pedagogue and recording artist. He is internationally recognized for championing Filipino classical music and holds multiple advanced degrees, including a Doctorate in Music, magna cum laude, from Technische Universität Berlin.

His academic foundation includes a bachelor’s degree from the University of the Philippines (1992), a master’s degree in solo performance from Musashino Academia Musicae (1996), a master’s degree in solo and chamber music from Hochschule für Musik “Hanns Eisler” (2000), and his doctorate from TU Berlin (2010).

Today, he teaches at Philippine Women’s University, the University of the Philippines and the Berlin Piano School. He is also a member of the Manila Piano Trio.

In 1992, he won the Grand Prix at the Philippine Piano Competition. He has built an extensive discography under Tobias Records, featuring works by Schumann, Chopin and Filipino composers, as well as the first recording of Baroque composer Giovanni Benedetto Platti’s keyboard sonatas on a modern instrument.

On Saturday, July 25, at 5 p.m., he will present a solo piano recital at the Roof Deck of Sunshine Place, 56 Jupiter St., Makati City, as part of the Classics in Sunshine 2026 concert series.

It had been quite some time since I last interviewed Dr. Galang, or Abel, whom I first met when I was CCP PR director. When we recently reconnected, I was pleased that he still remembered me. Our conversation ranged from the many roles he juggles as a musician and educator to the evolution of piano pedagogy, his upcoming recital, his future aspirations, and how he hopes to be remembered.

I first asked which among his many roles — as performer, teacher and collaborator — challenged him the most.

“Each of the disciplines you mentioned is a unique experience. I teach, perform both as a soloist and chamber musician, and mentor PhD students — roles that I consider a privilege to undertake. Although of varying degrees of responsibility and commitment to the audience, co-artists and students, they are all equally intense and gratifying.

“Engaging in these facets of the musical profession has allowed me to develop a well-rounded artistic identity, enriched by the knowledge, insights and experience gained through performances, pedagogy and scholarly supervision. The dynamic interplay among these fields continually informs and strengthens my work as a musician, educator and researcher.”

Looking back on his journey, I was curious whether there was anything he would change about his career.

“I would say I got a pretty late start. I started learning the piano at 10 years old and spent much of my early and middle years building the technical skills that would eventually help me play and interpret the music I wanted to perform and express in my own way.

“My progress was slow and, most times, it definitely took a lot of patience and dedication, especially compared to pianists who started young and seemed to have very good technique or were naturally gifted from the beginning. But over the years, I have grown more comfortable with who I am as an artist. Experience, along with all the ups and downs — more of the latter, I suppose — that come with performing has given me confidence and perspective.

“If given the chance to change one aspect of my career, I would definitely have started much younger and studied more seriously and conscientiously.”

Our discussion then turned to music education and how piano pedagogy has evolved over the past three decades.

“Today, there is much greater access to information through recordings and printed and digital scores. Students can easily hear polished performances and competition winners online, so the expected technical standard is much higher. Before, many pedagogical traditions were more lineage-based, with knowledge passed down from one’s mentor. Now there is greater historical awareness and more emphasis on period performance practices based on musicological research.”

Naturally, I asked about the repertoire for his upcoming recital.

“I am playing Mozart’s Variations on ‘Twinkle, Twinkle, Little Star,’ a couple of kundiman pieces arranged for solo piano by Prof. Augusto Espino, some Chopin preludes and his Heroic Polonaise. I wanted a lighter program for this afternoon concert that would appeal both to audiences well-versed in classical music and to those less familiar with it.

“I always try to include Filipino pieces in my programs. I aim to honor our musical heritage and contribute to the continued appreciation of the cultural traditions that shape our identity.”

As our conversation shifted to the future, I asked about his aspirations over the next five years.

“In the next five years, I dream of establishing a strong and collaborative association of music schools in the Philippines. Such an organization could serve as a platform for fostering excellence in music education, encouraging cooperation among institutions, and creating meaningful opportunities for both students and teachers across the country.

“Through a collective effort, the Philippines could host international music camps, festivals, masterclasses and competitions for a wide range of instruments and disciplines. Equally important is the opportunity to showcase Filipino music on the international stage. By promoting the works of our composers, performers and musical traditions, I hope we can contribute to a greater global appreciation of the richness and diversity of our musical culture.

“I also look forward to performing more, teaching more and recording more Filipino music.”

Before we concluded our conversation, I posed one final question: How would he like to be remembered?

“I hope to be remembered as a musician-educator who used his God-given gifts to inspire, mentor and build bridges for future generations. If, through my teaching, performances, mentorship and advocacy, I have inspired others to pursue music with passion — whether they become performers, educators, researchers or simply develop a deeper understanding of music — then I would consider my life’s work meaningful.

“One day, I hope to be remembered as someone who contributed, in whatever way possible, to the growth of Philippine music culture and helped bring its richness to a wider international audience.”

For more information and ticket inquiries for Abelardo Galang II’s solo recital on Saturday, July 25, at 5 p.m., as part of Classics in Sunshine 2026, call 09177092255.

***

I am so glad to have spent time to touch base with Abel, and his musical journey, and I am positive that he will achieve all the future plans he wants to undertake because he is hardworking, dedicated to his art form and passionate to share Filipino music to the rest of the world.