Marcelo Adonay was born on February 6, 1848, in Pakil, Laguna, Philippines. He was the first among eleven children of Mariano Adonay and Prudencia Quinteria. All his brothers were equally musically inclined and could play one or more instruments.
At the age of eight, Marcelo Adonay was brought to Manila by an uncle and placed in the service of San Agustin Church as a church boy. From there he probably learned how to read and write. As a boy, he first learned the duties as a sacristan, and later became a choir-boy. The exquisitely carved and inlaid choir loft must have struck him, but it was the remarkable organ purposely ordered for the accompaniment of a large orchestra that must have aroused his musical nature.
Having a keen ear he learned how to play the organ by himself by referring to the choir after the midday meal was over and all members of the congregation were asleep. He learned harmony unconsciously so that when, very much later, he sent his compositions to Madrid, tradition has it that the Augustinian composer Fr. Manuel Arostegui then knew that Adonay had command of harmony and so instead of sending Adonay a book on the subject Fr. Arostegui complimented him with work on fugue and counterpoint. He also learned to play the piano and the violin mainly through self-study.
A few years after becoming a member of the church orchestra - as violinist, pianist, or organist - Marcelo Adonay was named maestro di capella and in 1870 was designated director of the church orchestra. This organization was composed of twenty-five persons among whom were David Jamena, Cristino Aguilar, Tomas Mellaren, Roman Malauin, Pedro Navarro y Bravo, Baltazar Castueras, including his four brothers. When Fr. Arostegui came to Manila heading a mission of Augustinians in 1886, as a gesture of admiration Adonay offered the baton to him, but in a year or so Adonay was allowed to resume the direction of the orchestra. Except for short periods during the Revolution when Fr. Oyanguren and Fr. Jose Foj took over, he directed this church orchestra until 1914. About this time he began teaching music in several institutions for girls in the city; he gave music instruction in San Sebastian, Santa Rosa, Santa Catalina, and La Compania de Jesus, where he became acquainted with a young woman from Malolos, Maria Vazquez by name who he married. Adonay also taught in the houses of well-known families.
Without receiving any kind of formal musical education, he was a local figure who assisted in developing fine music in Manila. He gave chamber music performances in trios, quartettes, of quintettes in social gatherings. He also performed in public, appearing in instrumental and vocal concerts. It was religious music, however, that permeated his being, clothing it with a fervor that was sometimes his own creation and imparting it to his hearers. In August 1887 Beethoven's Solemn Mass in Church under his direction and splendidly performed even with limited preparation. In the same church, on August 28, 1891, the solemn mass of Reparaz was executed triumphantly by an orchestra under his baton. Sometime in March 1893 Eslava's Miserere was sung alternately with his own composition.
Adonay also devoted his time to composing. Among his musical works, the earliest surviving is Liberame done in 1869 for single voices with a cello and contrabass accompaniment, this was later rewritten for three voices. This was sung after the grand mass in memory of his friend, Fr. Arostegui, in 1903. Lectio for three voices and orchestra was written in 1885. Gozos a Nuestra Senora de la Consolación (1890) used to be sung at San Agustin in the month of September of every day. O Vita Jesu (1891) is a piece for voices and orchestra. A San Pascual Bailon de Obando (1894) is a descriptive piece. Responsarium (1894) is sung at Christmas. Also among some of his important works are Benedictus (1895), Hosana (1899), A Nuestra Senora de Antipolo (1909), and A San Juan Bautista (1916). His later works consisted of several ofertorios, gozos, salves, despedidas, and hymns. His greater works are a Grand Mass and a Te Deum for full orchestra and Pequena Misa Solemne (1903) based on a Gregorian chant motive and played for the first time in San Agustin Church on August 28, 1904, the Rizal orchestra rendering the instrumental accompaniment under Adonay's direction.
His secular works consist of several memorial pieces, marches, one of which being dedicated to Antonio Luna, the Revolutionary general. Rizal Glorified, the last piece in a multi-creation of seven parts depicting various phases in the life oz Rizal, is a heroic descriptive composition for symphony orchestra performed for the first time at the Manila Grand Opera House on December 30, 1911. La Procesion de Turumba en Pakil is still played by the Pakil band; Ang Querot ng Reuma (1912), for violin, cello, and harmonium, reminiscent of his own suffering, used to be played by Jose Vallejo, Pedro Navarro and Tereso Zapata, distinguished pupils; and Tocata en Do Mayor (1921) was written for organ at the request of his friend, W. H. Loving, then director of the Philippine Constabulary Band. None of his compositions got in print.
Marcelo Adonay is considered to be one of the most prominent and successful native Filipino musicians and composers in Manila who contributed to religious music in the Philippines throughout his career. As maestro de Capilla of the San Agustin church in Intramuros, Manila, he presided over the musical establishment of a powerful Augustinian Order that required the performance of elaborate instrumental and choral works.
Marcelo Adonay was affiliated with leading musical societies of his time. He was a member and record-keeper of the Union Artistico Musical founded by Garrido and Saco del Valle in 1885, teacher in solfeggio, harmony, and composition in the Centro de Bellas Artes in 1902, and a member in the Asociacion Musical de Filipinas in 1912.
Marcelo Adonay followed as a rule of life the saying "Let it alone to God." He led rather a quiet life.
Marcelo Adonay married Maria Vazquez on January 17, 1874, in the Manila Cathedral. The marriage produced thirteen children. Adonay's wife survived him only a few months and died on April 26, 1928.
