Tuesday, 10 June 2025

DISAPPEARING SERIES: THE LAST EPISODE / Ding Yi Music Company / Review

 


DISAPPEARING SERIES:
THE LAST EPISODE
Ding Yi Music Company
Singapore Chinese Cultural Centre
Friday (6 June 2025), 7.30 pm

This review was published in The Straits Times on 10 June 2025 with the title "A timely reminder to celebrate traditional practices".

The Disappearing Series concerts by Ding Yi Music Company has over the years examined local arts and traditions that are on the cusp of becoming extinct. These in-concert documentaries combining film, story-telling and original music on Chinese instruments have become art-pieces in their own right.

Photo: Singapore Chinese Cultural Centre

Ironically, this 70-minute concert conducted by Dedric Wong De Li called time on an invaluable part of the company’s creative output. With research by Jesvin Yeo, filmography by Sandra Sek and direction by Jeremiah Choy, three diverse yet often taken for granted aspects of our cultural heritage were explored.

Photo: Singapore Chinese Cultural Centre

The opening artform was the painstaking creation of lion heads used for the traditional Chinese lion dance, perfected by artisan Henry Ng. The accompanying music by Tan Yuting entitled Crafting Lions, Writing Dreams took the form of a four-movement suite, outlining the process of inspiration, fabrication, ornamention, and all the way to the final product.

Photo: Singapore Chinese Cultural Centre

Percussive beats, typically heard during festive processions dominated, before culminating in the actual dance, which was earthy and raucous in feel. Ng made a personal appearance centrestage, painting the lion head in brushstrokes of different shades but leaving the piece uncompleted, symbolic of the need for his work to be continued as long as it takes.

Photo: Singapore Chinese Cultural Centre

Alicia De Silva’s Love and Legacy dwelled on Malay songkok crafting in the hands of aged headpiece maker Abdul Wahab bin Abdullah. The use of a small gamelan set of metallophones, struck by mallets by the composer herself, lent an authentic flavour to the subject.


Ostinatos and minimalism heard on pipa and zhongruan simulated repeating patterns on the worked fabric. Although Wahab was not physically present, his voiceover established the craft as a familial heirloom passed down from his father. There was, however, an uneasy sense that he represented the final generation of this handicraft’s perpetuity.

Photo: Singapore Chinese Cultural Centre

De Silva then seamlessly moved to the angklungs, resonating wooden rattlers which accompanied the final segment focused on rattan-weaving in furniture making. This was Cultural Medallion recipient Eric Watson’s A Palm for All Seasons. His evocation of nature with solo dizi in full flight was also a salute to the rattan palm, from which pieces lying at many homes were fashioned.

Photo: Singapore Chinese Cultural Centre

The mellow marimba, whose bars and resonators are also made from wood, featured prominently in the music as well. The mood of the music became decidedly more light-hearted, reflecting the loving bond between furniture maker Chen Foon Kee and his wife Lee Joon as they plied their craft onstage together.


All three works resembled mini-symphonies in conception and execution, a conscious reaction to the synthesis represented by these living artforms hanging by a thread. As a closing gesture, a final coda to the concert - and the series - summated what we risk losing in the relentless pursuit of 21st century living. Ding Yi’s Disappearing Series will most certainly be missed.

Photo: Singapore Chinese Cultural Centre

Exhibition in the foyer:


Monday, 9 June 2025

EVERYBODY LOVES A SOIREE: TAMPINES EDITION


It was not actually a soiree but a lunch, in the company of Lianhe Zaobao music journalist and recent Yong Siew Toh Conservatory graduate in Music Leadership Zhang Heyang and his guests. These included young composer Lim Kang Ning, Vinna Er of the Kris Foundation, and a pair of fiddlers called Brett Yang and Eddy Chen.

They may be the YouTube sensation TwoSet Violin, but they are as regular as regular blokes go, exactly in real life as they are on video. The fact that our host Heyang was at one time the Concertmaster of the National University of Singapore Symphony Orchestra (NUSSO) helped. He served up a feast of penne arrabiata, fried beehoon, fish head curry, har cheong kai, hae chor, washed down by some grog, bubble tea, and a tiramisu to end it all.



After that the music started, and here is the visual evidence (and without the sound).

TwoSet trying out
Heyang's violin.

Eddy plays Haydn's Serenade,
which is actually by Roman Hofstetter.

A segment of Mozart's
Sinfonia Concertante for violin & viola.

Schubert's Standchen with Brett.

Two violinists and one violin
in Shostakovich's Waltz No.2.


Laughing at TwoZhang's attempt
at Braga's Angel's Serenade.
After which we attempted the local
premiere of Lim Kang Ning's Colour Bar,
which was no joke.


A wefie before hitting the road!

Sunday, 8 June 2025

HONG KONG'S ARISTO SHAM WINS CLIBURN GOLD!


Hong Kong pianist, 29-year-old ARISTO SHAM has just been awarded the Gold Medal (1st Prize) at the 2025 Van Cliburn International Piano Competition. He bested 27 other pianos from around to world to clinch this covetous accolade, the first pianist from Hong Kong to do so. 

He also won the Audience Prize, this being a rare occasion when both the competition jury and audience concurred. In 2017, Hong Kong's Rachel Cheung, a non-medaling finalist, also won the hearts of the audience. Both pianists had been students of Eleanor Wong at the Hong Kong Academy of Performing Arts.



The Silver Medal was awarded to Vasily Starikov (Israel/USA) and the Bronze Medal to Evren Ozel (USA). The three other finalists were Angel Stanislav Wang (USA), Carter Johnson (USA) and Philipp Lynov (Russia), the last of whom had earlier won 2nd prize winner at this year's Singapore International Piano Competition.



It was not a great surprise why Aristo won. His solid musicianship and sensitivity in a wide range of repertoire over the competition's six gruelling rounds (three recitals and three concertos), not including an earlier audition round, paved the way to ultimate victory. His humility, generous and sincere demeanor, and charismatic dress sense (a Horowitzian bow-tie and check out his socks!) also stood him out as an artist to look up to.   



Here to relive Aristo's performances 

in the Cliburn 2025:

Preliminary Round
Quarter-Final Round Recital
Semi-Final Round Recital
Semi-Final Round Mozart Concerto
Final Round:
Mendelssohn Piano Concerto No.1

Final Round:
Brahms Piano Concerto No.2


Interestingly, the last three editions of The Cliburn have been won by Asian pianists. Yunchan Lim and Yekwon Sunwoo, both from South Korea, were the winners in 2022 and 2017 respectively. The last non-Asian pianist to win was Vadym Kholodenko (Ukraine) in 2013. The 2009 edition was dominated by Asians, with Zhang Haochen (China) and Nobuyuki Tsujii (Japan) sharing Gold, and Yeol Eum Son winning the Silver. The last pianist from the People's Republic of China to make the grand finals was Fei-Fei Dong in 2013.





Also significant in Cliburn 2025 was the first-ever appearance of a Malaysian pianist Magdalene Ho. She was eliminated in the Preliminary Round, becoming a cause celebre of sorts but without sparking quite the same outrage sparked as Ivo Pogorelich in Chopin 1980.


Here is Magdalene Ho's very interesting and curiously absorbing Preliminary Round recital. Judge for yourself. 

Ben Laude's now famous fume
 about Magdalene Ho's premature 
ejection from the Cliburn.

Saturday, 7 June 2025

A PIANO RECITAL NOT TO MISS: VADYM KHOLODENKO on 12 June 2025


Here is another piano recital not to miss. Ukrainian pianist VADYM KHOLODENKO, 1st prize-winner of the 2013 Van Cliburn International Piano Competition, makes a welcome return to Singapore for a recital that displays his wide-ranging and catholic tastes. Everything he plays is compelling through his consummate musicianship and force of personality.

His programme:

WILLIAM BYRD First Pavan and Galliard

WILLIAM BYRD John Come Kiss Me Now

KAIJA SAARIAHO Ballade

BEETHOVEN Piano Sonata No.17 

   in G major, Op.31 No.1

LISZT Three Concert Etudes

  Il Lamento - La Leggierezza - Un Sospiro

LISZT Four Valses Oubliees

LISZT Valse-Impromptu

LISZT Scherzo & March



Victoria Concert Hall

Thursday, 12 June 2025 at 8 pm

Tickets available at:

Piano Recital by Vadym Kholodenko


Now watch this video:


Vadym Kholodenko's piano recital 
is presented by Altenburg Arts.

Thursday, 5 June 2025

SINGAPORE'S VINTAGE EATING PLACES: COLBAR @ PORTSDOWN ROAD


This is not a foodie blog, but I thought it would be nice to do what Singaporeans do most, that is to rave about food and the places they regularly to makan. Finding new places to feast on comfort foods is an obsession, and so here begins this new series on Pianomania. This has absolutely nothing to do with classical music, but is a vital part of being who we are and how we function.



My first stop is the historic Colbar at Portsdown Road. Its name comes from Colonial Bar (or some people say it's a slang for "cold beer") as it dates from the 1960s when the British armed forces were still in Singapore. Its original location was in Jalan Hang Jebat near the end of the old winding Portsdown Road which linked North Buona Vista Road with the old Ayer Rajah Road. The original building had to be cleared with the construction of the flyovers / highways between Queensway and the Ayer Rajah Expressway. Its new site on Whitchurch Road lovingly recreates the old school atmosphere of the original.


Here are the photos from our recent dinner of Hainanese-styled Western cuisine, and judging by the delicious portions and relatively modest outlay, we will soon be back.

When was the last time you have seen
one of these weighing machines?
No, your weight will not go up
after eating here.

The old school non-air con, wooden walled and
modest atmosphere was lovingly restored.

The Way We Were,
British expats having their fun.

The original owners and fixtures
of Colbar still remain here.

Comfort food after a hard day's work.

Pork chop with potatoes and mushrooms,
Chicken cutlet with potatoes and beans.

The outdoor eating area.

A little bit of history on the wooden panels.

COLBAR
9A Whitchurch Road
Singapore 183389
Tel: 6779 4859

Tuesday, 3 June 2025

TUTTI - AN SG60 SYMPHONIC CELEBRATION / SONGS WITHOUT WORDS / Ventus & Band Academy Singapore / Orchestra of the Music Makers / Review


TUTTI – AN SG60 
SYMPHONIC CELEBRATION 
Ventus & Band Academy Singapore 
School of the Arts Concert Hall 
Friday (30 May 2025)

SONGS WITHOUT WORDS 
Orchestra of the Music Makers 
School of the Arts Concert Hall 
Saturday (31 May 2025)

This review was published in The Straits Times on 2 June 2025 with the title "Young musicians flex in weekend concerts".

If one needed another reminder of what young musicians in Singapore can achieve, just look to last weekend’s pair of concerts featuring Ventus / Band Academy Singapore and Orchestra of the Music Makers performing at The School of the Arts. 

Photo: Benjamin Chiau

Friday evening’s concert featured wind orchestra Ventus (58 players) and Band Academy Singapore (32 students) in a tribute to all things Singaporean, with 9 works by 7 local composers. It opened rousingly, with the world premiere of Germaine Goh’s Winds of Tomorrow, a striding march filled with optimism and hope. 


The concert had a maritime theme, with two tone poems by Benjamin Yeo exploring that aspect of local history and folklore. Voyage to the End of the Earth recounted the pioneering spirit of sailors while Redhill used the pelog scale to evoke Malay music before the legendary battle scene between swordfish and humans. 

The conch shell is blown
in Wang Chenwei's The Sisters' Islands.

Both scores were cinematic in narrative and colour. Much in the same spirit was Wang Chenwei’s well-travelled The Sisters’ Islands, also founded upon a Malay saga, which posed challenging solos in this excellent scoring for wind band. 


Terrence Wong yielded two contrasting works, The Legacy of Teresa Hsu - touching portrait of the social worker who lived till 113 - and Battle of Houses, which had strong John Williams vibes without actually imitating the American film composer. Dax Wilson Liang’s Plateau de Valensole cast his net further afield to encompass impressions of French Provence landscapes. 

Photo: Benjamin Chiau

Lee Jin Jun’s inventive Variations on Chan Mali Chan showcased the solo prowess of Erica Goh on euphonium (instrument resembling a tuba except being smaller) while Mohamad Rasull’s May You Achieve Happiness was a fantasy on Zubir Said’s children’s day song Semoga Bahagia, with Malay words sung by both orchestra members and audience. This concert was shared by three conductors, Clive Choo, Joseph Teo and Adrian Chiang. 

Photo: Benjamin Chiau


The Orchestra of the Music Makers conducted by Joshua Tan the following evening on the same stage presented an all-20th century programme. No need to recoil in fear, as all three composers were Romantic in heart. 

Photo: Jeremy Ho

It did not take much to enjoy American composer Samuel Barber’s Violin Concerto (1939), with its two lyrical slow movements and quicksilver finale. American violinist Stella Chen, 1st prize winner of the 2019 Queen Elisabeth International Violin Competition (Belgium), exhibited a gorgeous tone that truly melted hearts. 

Photo: Jeremy Ho

The second movement’s poignant oboe solo by Seow Yibin leading into Chen’s impassioned entry was one of many moments to cherish. The velocity and virtuosity conjured by soloist and orchestra in the finale’s near-impossible machinations had to be seen and heard to be believed. Chen’s duet with concertmaster Chan Yoong Han in Carlos Gardel’s tango Por una cabeza for two violins made for the sassiest of encores. 

It's time to tango:
Stella Chen with Chan Yoong Han.

The concert opened with Kurt Weill’s Symphonic Nocturne from Lady in the Dark as orchestrated by Robert Russell Bennett oozed musical sex appeal. Using the song My Ship as its idee fixe (fixed idea or recurring theme), lush strings, seductive woodwinds and slick silvery brass all shined in this suite of songs without words.



Sergei Prokofiev’s wartime Fifth Symphony (1944) completed the demanding programme, led completely from memory by conductor Tan. Despite his avowed modernism, the Soviet composer kept its idiom accessible in tribute to “the unquenchable spirit of man”. 

Photo: Jeremy Ho

The music’s overall pacing was well-marshalled, with angular melodies and thorny dissonances smoothed over by the orchestra’s very polished performance. The acerbic Scherzo and finale’s furiously driven juggernaut were also breathlessly impressive.