It's all about the classical music composers and their works from the last 400 years and much more about music. Hier erfahren Sie alles über die klassischen Komponisten und ihre Meisterwerke der letzten vierhundert Jahre und vieles mehr über Klassische Musik.
Showing posts with label Robert Requintina. Show all posts
Showing posts with label Robert Requintina. Show all posts
Last week, Yunchan Lim appeared in Hong Kong with the Academy of St Martin in the Fields under the baton of Wilson Ng, bringing us his own take of the piano concerto in A minor by Robert Schumann. I sat up in my seat as soon as the piece started, because the way Lim conveyed the short introduction drew me in. I was fascinated not only by the slower tempo he took, but also by the way he made the opening chord progression sound like a resonant yet measured announcement. So often, this passage sounds frantic and is over before we know it, but Lim’s version felt like a real welcome as he invited us to join in his musical voyage.
Pianist Yunchan Lim with the Academy of St Martin in the Fields orchestra at the Hong Kong Cultural Centre Concert Hall. Photo: HKAF
Indeed, it was an eye-opening journey of discovery. What struck me most was his voicing. Musicians are expected to bring out top lines, good musicians provide a strong enough bass to support the melody, better musicians let interesting bass lines weave into melodic lines, and the best ones let countermelodies speak up so we hear a full conversation. And Lim? He brought out even the most subtle inner voices, conveying the clearest picture of how many layers there were in this piece and how they all worked together in creating this multicoloured soundscape. This, in addition to his carefully crafted phrasing, made the architecture of the work extremely clear. Moreover, I felt his rendition of this concerto was the most romantic version I have ever heard. Yes, the impulsiveness of Florestan and the dreaminess of Eusebius were there, but there was something else holding those two together, something deeper and perhaps more wholesome. It was romantic without being overtly passionate and ostentatious; it was the most sincere and intimate kind of romance.
Two nights later, I returned to the Cultural Centre Concert Hall expecting another odyssey. This time, Lim treated us to a new recital programme of his: the Schubert D major Sonata D.850 ‘Gasteiner’, paired with Scriabin’s Second, Third, and Fourth Sonatas. I really was transported to another world, so much that after I heard the flourish ending the last sonata, I felt that I was physically in a different realm, and my soul somewhere far, far away, until the crash of applause brought me back to reality and my soul back to my body. Lim’s sound was powerful without being harsh, his tonal palette was so refined and meticulously crafted, and his shaping so precise and carefully sculpted. It was apparent from both the concerto and these sonatas (as well as the encore of the Chopin A minor waltz) that Lim has his own understanding and interpretation of music. There is no display of pyrotechnics even when the music demands great technique, and there is no narcissism or self-indulgence in his phrasing, nor in his way of taking time. Rather, Lim lives for music: he does not play to please others, he does not play in order to show others what a great musician he is, he does not play for the stage. On the contrary, he puts music on a pedestal, and he is merely its servant.
Being able to watch Lim play was also mesmerising in another way. His body was so fluid – sometimes he rose tall, sometimes he was hunched over with his head loosely hanging from his neck, sometimes his torso was twisted such that his right shoulder and arm were much closer to the keyboard than his left side. I am no expert when it comes to body mechanics, but it is evident that all these movements, whilst being completely organic and not at all superfluous, must impact his sound production. On a superficial level, it goes to show how profoundly Lim himself and his music have fused together as one.
As I observed him taking his bows, I chuckled to myself. The conundrum that is Yunchan Lim stared me in the face: here was a great artist whose musical maturity and intellect suggest someone way beyond his twenties, yet he carries with him an innocence and hopefulness that exude a certain youthfulness. At the piano, he is a master in control; yet one cannot help noticing the boyishness and humility in his stage presence. How lucky we are that we still have decades and decades of watching this extraordinary artist blossom!
Popular Hungarian cellist Zoltán Onczay performs in 'A Night in Hollywood' held at the Aliw Theater in Pasay City on June 28. The Manila Symphony Orchestra presented the concert. (Images courtesy of Instagram)
By Robert Requintina
Published Sep 2, 2025 12:17 am
Renowned Hungarian cellist Zoltán Onczay radiated joy as he took to the stage for his debut performance in the Philippines. The vibrant atmosphere of the Aliw Theater in Pasay City came alive during the Manila Symphony Orchestra's enchanting event, "A Night in Hollywood."
With each stroke of his bow, Zoltán captivated the audience, creating a magical evening filled with the mesmerizing sounds of orchestral music.
"It's fantastic! I love Asia, especially Southeast Asia. But this is my first time in Manila. It's very nice and the people are very kind. I like the sunshine and the humidity," said Zoltán when asked about performing in Manila during an interview at the Manila Bulletin's Paper Cup coffee shop in Intramuros recently.
Performing for the Philippine audience, Zoltán added, "That was a fantastic concert, 'A Night in Hollywood.' I want to thank the organizers. I would also like to thank the Manila Symphony Orchestra, organized by Jeffrey Solares. It was a special concert with good music. I could feel the vibrant energy of the audience. The orchestra played various pieces from films, primarily from the works of John Williams. I had the opportunity to play his wonderful solo piece 'Seven Years In Tibet,' and I performed folk music."
Zoltán was accompanied by Hungarian Ambassador to the Philippines Titanilla Tóth during the interview at the Manila Bulletin. She was also impressed by the audience that attended the concert.
"The concert was a huge success, with many young people in the crowd. The crowd was fantastic, and it was a full house," the Ambassador said.
Hollywood, some people were dressed in costumes. We were surprised by how the younger generation tried to connect with the music."
Zoltán expressed his delight about the concert, a thrilling experience that resonated with his deep passion for Hollywood movies and the enchanting world of music.
The melodies and captivating performances transported him, making every moment feel like a scene straight out of a cinematic masterpiece.
Reconnecting with Pinoys
Unknown to many, Zoltán's bond with the vibrant Filipino community has its roots stretching back to the unforgettable year of 2022.
"We were on holiday with my family when I got a message from a friend who informed me about the concern of Jeffrey Solares, the Executive Director and Associate Conductor of the Manila Symphony Orchestra.
"The message read, 'Hi, we are from the Philippines. We need your help because we've been involved in an accident. Some of the cellos have broken. I didn't know what to do because it was Saturday.
The demise of Roberta was announced by her representative. No cause of death was cited in the statement.
Roberta Flack (Facebook)
Roberta Flack, the singer behind the No. 1 songs "Killing Me Softly," "The First Time Ever I Saw Your Face," and "Feel Like Makin' Love," has passed away. She was 88.
The demise of Roberta was announced by her representative. No cause of death was cited in the statement, according to multiple reports in the US on Feb. 24.
“We are heartbroken that the glorious Roberta Flack passed away this morning, February 24, 2025. She died peacefully surrounded by her family. Roberta broke boundaries and records. She was also a proud educator," the statement read.
Born on Feb. 10, 1937, Roberta debuted as a recording artist in 1969 with the single "Compared to What."
But it was only in 1972 that her career took off after actor Clint Eastwood used her two-year-old song "The First Time Ever I Saw Your Face" for his directorial debut "Play Misty For Me" in 1971.
"The First Time Ever I Saw Your Face" went to No. 1, followed by another chart-topper, "Killing Me Softly," in 1973. Both songs were awarded back-to-back Grammys for Record of the Year.
In 1974, Roberta hit No. 1 for the third time with "Feel Like Makin' Love." Other chart busters were "The Closer I Get To You," "Making Love," "Jesse," and "Set the Night to Music."
Filipino music fans will never forget Roberta for her love songs "If Ever I See You Again," "Maybe," and "Tonight, I Celebrate My Love," both tracks performed with Peabo Bryson.
Roberta Flack (Facebook)
Roberta Flack, the singer behind the No. 1 songs "Killing Me Softly," "The First Time Ever I Saw Your Face," and "Feel Like Makin' Love," has passed away. She was 88.
The demise of Roberta was announced by her representative. No cause of death was cited in the statement, according to multiple reports in the US on Feb. 24.
“We are heartbroken that the glorious Roberta Flack passed away this morning, February 24, 2025. She died peacefully surrounded by her family. Roberta broke boundaries and records. She was also a proud educator," the statement read.
Born on Feb. 10, 1937, Roberta debuted as a recording artist in 1969 with the single "Compared to What."
But it was only in 1972 that her career took off after actor Clint Eastwood used her two-year-old song "The First Time Ever I Saw Your Face" for his directorial debut "Play Misty For Me" in 1971.
"The First Time Ever I Saw Your Face" went to No. 1, followed by another chart-topper, "Killing Me Softly," in 1973. Both songs were awarded back-to-back Grammys for Record of the Year.
In 1974, Roberta hit No. 1 for the third time with "Feel Like Makin' Love." Other chartbusters were "The Closer I Get To You," "Making Love," "Jesse," and "Set the Night to Music."
Filipino music fans will never forget Roberta for her love songs "If Ever I See You Again," "Maybe," and "Tonight, I Celebrate My Love," both tracks performed with Peabo Bryson.
During a press conference for the upcoming show "OAC: Original and Absolute Classics" which will be held at the North Solaire Ballroom in Quezon City on Feb. 13, the trio discussed the growing variety of musical styles and the rising recognition of Filipino artists locally and internationally.
From left: OPM composers Louie Ocampo, Ogie Alcasid, and Ryan Cayabyab (Facebook)
Renowned composers Ryan Cayabyab and Louie Ocampo have offered high commendations for the Original Pilipino Music (OPM) scene, celebrating its remarkable evolution and heightened success in recent years.
During a press conference for the upcoming show "OAC: Original and Absolute Classics" which will be held at the North Solaire Ballroom in Quezon City on Feb. 13, the trio discussed the growing variety of musical styles and the rising recognition of Filipino artists locally and internationally.
Their optimistic view of the current direction of OPM shows a lively artistic community. This community keeps creating new works while honoring the rich cultural heritage of the country.
"Yung dating pinapanaginip ko dati, nangyayari na ngayon. I hope you understand noon pa man 1960s and 1970s nag-uusap na kami ng mga fellow composers. Iisa lang ang dream namin: makapasok kami sa international (scene). At mailagay ang Filipino performers sa international stage.
"Ngayon naging hit na ang BINI at SB19 at marami na ang sumusunod. Ano ang ibig sabihin noon? Actually tuwang-tuwa kami na andyan na. Ang kailangan na lang ay ang walang humpay na suporta," said Ryan, the National Artist for Music, on this thoughts about the current state of the local music industry.
Ryan feels impressed and moved by how consumers are embracing Filipino music. It’s great to see this positive change in taste that celebrates cultural connection.
Ryan Cayabyab
"Parang nagpapalit na ang taste ng Filipino music consumers. Dati ang playlist nila ay punong-puno ng foreign music. Pero ang balita ko ay mas marami na ang nakikinig sa OPM music. I'm not talking about Filipino music na gawa namin (Louie, Ogie, and Ryan). (It seems like the taste of Filipino music consumers is changing. Before, their playlist was full of foreign music. But my news is that more people are listening to OPM music. I'm not talking about Filipino music that we (Louie, Ogie and Ryan) made.)"
"Tandaan ninyo sa music ang consumer ay mga bata. So yung mga batang consumer ng pop music, ang pinapakinggan nila ay yung mga gawa ng batang songwriters. Siyempre naman nagkakaintindihan sila dahil pareho ang kanilang mga language. Naiintindihan naman yun. (Remember that in music, the consumers are children. So the young consumers of pop music, what they listen to are the works of young songwriters. Of course, they understand each other because they speak the same language. That's understandable)," Ryan also said.
Ryan stated that comparing old and new music is pointless because they exist on different levels.
"Yung mga matatanda na lumalapit sa akin sinasabi nila mas maganda raw ang mga awit noong era nila. Bakit ngayon ang papangit ng kanta hindi namin maintindihan? Isa lang sagot ko palagi. Hindi kayo ang market niyan. Matanda na kayo. Hindi para sa inyo 'yang music na yan kaya hindi ninyo gusto. (The older people who come to me say that the songs of their era were better. Why are songs so bad now, we don't understand? I always have one answer. It's not your market. You're old. That music isn't for you, that's why you don't like it).
Ryan urged fellow music lovers to explore new possibilities within the realm of music.
"Matanda na kayo. Hindi para sa inyo yang music na yan kaya hindi ninyo gusto. But once you open your mind to the possibilities, that's how it is. Ang audience talaga ng popular music ay sa mga bata. (You're old. That music isn't for you, so you don't like it. But once you open your mind to the possibilities, that's how it is. The audience for popular music is children)," the musician and conductor added.
Louie Ocampo
Ryan, 70, is the composer behind the OPM classics "Kay Ganda ng Ating Musika," "Tuwing Umuulan at Kapiling Ka," "Kahit Ika'y Panaginip Lang," "Kailan," "Can This Be Love?", Kumukutikutitap," and more. He mentioned writing a song entitled "Di Ko Masabi" for Stell, a member of SB19.
"So basically ang music ko ngayon ay ginagawa ko na rin para sa mga kasama ko or baka yung mga makalusot din na bago. May nakalusot naman ngayon na kinanta ni Stell. So ganun yun eh. (So basically, I'm making my music now for my friends or maybe for those who have already made it through. Something that Stell sang has made it through now. So that's it).
"Kung gusto mo ng swimming sa malaking ocean, kailangan makisanib ka rin sa mga sikat. So now the state of Filipino music is enviable. At ang dami nila hindi lang SB19 at Ben&Ben. Papasok silang lahat dyan na mga bago. Ang galing!" (I believe you need to collaborate with the well-known artists. The current state of Filipino music is admirable, and there are many artists, not just SB19 and Ben&Ben. It's wonderful!)," said Ryan.
Louie, 64, mentioned that the OPM scene is moving quickly and is proud of it.
"I feel I'm slowing down kasi ang bibilis nila. The current state of OPM is moving fast, and I'm happy for everyone. Hindi ko na mahabol kasi ang bilis. This makes us want to work harder and keep up with the young ones. Several sounds are coming out, but to me, it's still OPM. (I feel like I'm slowing down because they're speeding up. The current state of OPM is moving fast, and I'm happy for everyone. I can't catch up because of the speed).
"I may not be comfortable with it. But I must learn to grasp it because these are the youth na gumagawa ng mga kanta. So, I must open my mind and see where it is headed. (I may not be comfortable with it. But I must learn to grasp it because these youth make songs. So, I must open my mind and see where it is headed).
Ogie Alcasid
"I remember when I was growing up, my dad would tell me ano ba yang mga kanta mo, hindi maganda. Tapos hindi katulad ng mga kanta namin dati. With what I hear today, I need to embrace it because it is the soundtrack of the youth. You cannot take it away from them because it's their experience. We have to ride with it. (I remember that growing up, my dad would tell me, 'What are your songs? They're not good. They're not like our songs before.' With what I hear today, I need to embrace it because it is the soundtrack of the youth. You cannot take it away from them. We have to ride with it).
"So, I'm happy with OPM because it is so aggressive and alive. I hope it stays that way for the decades to come. I'm proud of OPM," Louie said.
Louie composed the unforgettable songs "Ewan," "Kahit Isang Saglit," "Tell Me," "Be My Lady," "Closer You and I," and more.
Ogie Alcasid
In the enchanting pre-Valentine’s showcase, the talented trio of Ogie, Ryan, and Louie will mesmerize the audience as they perform a selection of beloved Original Pilipino Music (OPM) classics.
They will entertain the audience with their engaging presence and romantic songs. Guests can expect a memorable evening that celebrates love and rich musical traditions.
"Sa dami ng kanta namin, mahirap isiksik sa isang concert. Pero pasensya na po sa ibang kanta na hindi naisali. Sa ibang concert na lang. (With so many songs, it's hard to fit them into one concert. But I'm sorry for the other songs that weren't included. They'll be included in another concert).
"Our musical director, Paolo Bustamante, has given us the blueprint of what will happen. I grew up with Paolo, although I did not grow up. It wasn't hard to prepare for this show. (Our musical director, Paolo Bustamante, has given us the blueprint of what will happen. I grew up with Paolo, although I did not grow up. It wasn't hard to prepare).
Ogie, 57, hopes to take the "OAC" show to various parts of the country and abroad.
"I'm praying that it doesn't end there. We can tour together and do many things together. I want to do campus shows and introduce our music to the younger people," he said.
Ogie composed the memorable hits "Bakit Ngayon Ka Lang," "Kung Mawawala Ka," "Kailangan Kita," "Sa Kanya," "Nandito Ako," "Huwag Ka Lang Mawawala," etc.
Dream projects
Ryan, Ogie, and Louie excitedly shared their dream projects. Each offered a unique vision that reflected their passion and commitment to positive change.
"Ang dami ko pang gustong gawin. Hindi ko pa nagagawa yung piano concerto ko, although last year, nakagawa na ako ng full symphonic work. I'm doing things now na palagay ko meron akong oras para sa sarili ko. I finally found time to do things na para sa nararamdaman ko ngayon. (I still have so much I want to accomplish. I haven't finished my piano concerto yet, although last year I completed a full symphonic work. I'm currently focusing on activities that allow me to express how I feel at this moment. Finally, I've found the time to pursue things that are important to me)," said Ryan.
Louie answered: "I always wanted to develop something with a song, orchestral, or simple piano piece. Pero ang dream ko medyo weird eh. Gusto kong gumawa ng something na hindi acceptable na magiging uso. Something weird tapos magiging pop. Something different. I don't know what it is, but maybe the universe will hit me, and I will do something different.
"Maybe people will not like it initially, but uso na pala yun later. I want to do a musical and develop a new catalog of songs. I've written hundreds of songs, so I could write another hundred songs I can share with everyone before I go. Yun ang dream ko na hindi ko pa nauumpisahan," he said.
Ogie said he wrote a musical which is expected to be staged in 2026.
"I'm working on it already. It's about yung musical na sinulat namin. Itatanghal na namin in 2026. By the end of the year, siguro, we will have auditions. I will likely play a role.
"I am hoping my wife will also say yes. Sinulat namin ito medyo matagal na pero sa kaka-polish, we really want to come up with something appealing kasi it's a really good story and makes use of songs na hindi pilit. (I am hoping my wife will also say yes. We wrote this for a while, but in the final polish, we really wanted to come up with something appealing because it's a really good story and makes use of a song that isn't forced).
"Nakakatakot din na project because gagastusan din namin at sa dami ng musical, ayaw naman namin sabihin bakit ganun lang ang ginawa namin. Gusto naming kagiliwan ito ng mga manonood. (It's also a scary project because we'll have to spend a lot of money and with so many musicals, we don't want to say why we did it that way. We want the audience to enjoy it)," Ogie said.
Jose Mari also said that he does not like being called the King of Christmas. "There's only one King of Christmas, and that's our Lord Jesus Christ. The baby Jesus. Some people call me Chan-ta Claus."
Jose Mari Chan (Images courtesy of Fast Talk With Boy Abunda)
It's September, and Jose Mari Chan's Christmas carols are playing. But what exactly is Jose Mari doing, and where is he when the "ber" months haven't started yet?
"I'm neither at home nor at work in my business," said Jose Mari, when asked what keeps him busy, during an interview on "Fast Talk With Boy Abunda" on GMA Network recently.
Jose Mari, 78, has been known as "The Father of Philippine Christmas Music" following the release of his blockbuster album "Christmas In Our Hearts" in 1990.
Jose Mari answered about his music-making process. "Almost always, it's the melody. Sometimes I hear that at night, and I tell myself tomorrow morning when I wake up, I will write it down or record it. Almost always at night, the song disappears."
He continued: "That's why, from now on, every time I hear a melody, I have to sing it right away and write it down. So that I won't lose the melody. And then the lyrics come afterward."
Jose Mari also said he had yet to get a vocal coach in his five-decade career.
"I never got a vocal coach. Since I was a little boy, I would sing along to the songs I heard on the radio. I even performed in a children's hour's show in Iloilo City at one time," he said.
As he got older, he admitted that he was also becoming forgetful.
"Before a concert, I would vocalize for almost an hour. I would clear my nose so that I could breathe normally. And then I also have an idiot board because sometimes I forget my lyrics at my age. Sometimes I'm forgetful na," he added.
'Christmas In Our Hearts'
Jose Mari reminisced about the origins of "Christmas In Our Hearts."
"The melody itself was composed in 1988 to a poem by my friend Chari Cruz Zarate, "Ang Tubig Ay Buhay," which she used as a high school jubilee song.
"So I wrote the melody, and I never thought that two years later, I would use that melody for a Christmas song. And Universal Records approached me and said it's time we make a Christmas album because of the success of "Please Be Careful With My Heart," "Beautiful Girl," etc.
"So I thought of that melody, and I got a friend of mine Rina Caniza to come to the house, and I gave her the melody. Together, we worked on the lyrics.
"At that time Lea Salonga was a hit because of Miss Saigon. So I approached her and asked if she could do a duet with me. Sabi niya, 'Yes, I'll be glad, too!' She heard the song and liked the melody, except that her recording company would not allow her to record for a competing label.
"So my next choice was Monique Wilson, an understudy of Miss Saigon. I like her. She's a nice person with a beautiful voice. Unfortunately, she went to Tagaytay and lost her voice. She called me.
"I think the Holy Spirit was leading me towards my daughter Liza. Since Universal Records was rushing, 'Joe, it's October, we need to come up with an album!' I went to my daughter's bedroom and said, 'What are you doing?' She said, 'I was cramming for my exams.' I said, 'Can you learn the song quickly? I want to record this with you. Okay. When? This Wednesday. To make a long story short, she and I went to the recording studio, and the rest is history."
Advice for young musicians
Jose Mari shared his advice with the younger generation of musicians.
"Especially now with the technology change, it's very hard to live on music. That's why my advise to the young composers and singers is that use that as a hobby or on the side but get another career either in law, accounting, or medicine. And then just do music on the side. Don't lose it completely 'cause that's God's gift given to you," he said.
On his memes, Jose Mari said: Natutuwa ako except for this one na medyo irreverent. It showed Saint Joseph and Mother Mary riding a donkey. She was pregnant of course. And then it said, "Jose, Mary, Tyan."
Jose Mari also said that he does not like being called the King of Christmas. "There's only one King of Christmas, and that's our Lord Jesus Christ. The baby Jesus. Some people call me Chan-ta Claus."
Vehnee Saturno
Famous Filipino composer Vehnee Saturno reacted to the advice of Jose Mari on young musicians.
"Tuloy lang. Even Jose Mari Chan is a very good songwriter, a very good singer, and a very successful businessman.
"Pero ang puso kasi ng isang musikero, hindi pera eh. It's not the money kundi yung passion n'ya on what's inside. Ano ba yung magagawa ko? What can I deliver?
"So sa akin, ang masasabi ko lang sa aspiring songwriters, and musicians, tuloy lang. Kung kakayanin.
"But of course totoo naman ang sinasabi ni Jose Mari Chan na kapag wala kang finances, wala kang pampabuhay ng pamilya, mahirap din.
"Think wisely kung paano ka makakatawid doon sa tulay na kahit papaano masaya ka pa rin na even hindi ka equipped with everything. So puso at pagmamahal pa rin sa musika. Yun pa rin ang importante.
"Sabi ng mother ko, when I was starting as a musician, naku anak, hindi ka makakabuhay ng pamilya dyan. That was late 70s noong nakikinig ako ng mga music.
"Pero sabi ko gagawin ko talaga yung makakaya ko, at talagang nagsikap ako. First and second attempts ko sa Metropop wala. And then noong 1982, I was able to write a song 'Isang Dakot.' Ang inspiration ko noon mga squatter's area na pinagbintangan. During that time, paparating si Pope. So yung mga squatters area pinapuntahan. Parang naawa ako sa mga Pilipino parang ganun. Pero sabi ko susulat ako ng isang kanta, yung iyak ng isang mahirap na maramdaman na sila ay may puwang sa society," he said.
"Isang Dakot" won the best composition at the 1982 Metro Manila Popular Music Festival.
Vehnee is also the composer behind the monster OPM hits "Be My Lady," "Sana Kahit Minsan," "Mula Sa Puso," "Till My Heartaches End," "Bakit Pa?" Wala Na Bang Pag-Ibig," "Forever's Not Enough," and more.
Jeri Violago
Rising singer Jeri Violago also reacted to the advice of Jose Mari.
"Family friend namin si Mr. Jose Mari Chan. It depends on where you're coming from. Mr. Jose Mari Chan is very established. When you think of Christmas, you think of Jose Mari Chan. Because of that, he has a lot of exposure and endorsements. It's not just music, but he has different businesses. I think if you're passionate about something and you see yourself becoming what you believe, through your support system, I think it's something that you can push through," said Jeri, who will release his two songs entitled "Gusto Kita," and Ipapangako Ko," both composed by Vehnee, under Tarsier Records.
On Sept. 2, Mariah owed the early success of her popular holiday tune in September to Filipino lambs after it gained 316,000 streams on Spotify.
Mariah Carey (Facebook)
It's September and Mariah Carey's "All I Want For Christmas Is You" is already gaining popularity. Thanks to her Filipino fans who streamed her holiday classic as early as September.
On Sept. 2, Mariah owed the early success of her popular holiday tune in September to Filipino lambs after it gained 316,000 streams on Spotify.
Mariah reposted an art card from her fan page about her chart-topping Christmas song in September.
The 54-year-old chanteuse couldn't be happier for the early Christmas gift from her Filipino lambs.
"Not yet," wrote the "Vision of Love" singer. "I'll allow it for my Filipino lambs, though. I don't make the rules!"
Released in 1995, the song written by Mariah and Walter Afanasieff first appeared in the Billboard Hot 100 chart in January 2000. After 19 years, it finally hit No. 1 for the first time in November 2019. The popular tune was lifted from Maria's Christmas album "Merry Christmas."
