re:mix
with FOO SAY MING, Violin
Esplanade
Concert Hall
Sunday
(26 April 2015 )
This review was published in The Straits Times on 28 April 2015 with the title "Singapore's colourful seasons".
There was once a trend to perform
Vivaldi's Four Seasons in
juxtaposition with Piazzolla's Four
Seasons of Buenos Aires. Violinist Foo Say Ming was the first in Singapore to attempt that tandem,
and he later added the Singapore Seasons by four Singaporean composers to that
mix.
This concert by crack string ensemble re:mix, in conjunction with the SG50 celebrations, now couples the Singapore Seasons with four short films by local directors, interspersed by movements of Philip Glass's American Four Seasons in itsSingapore premiere.
This concert by crack string ensemble re:mix, in conjunction with the SG50 celebrations, now couples the Singapore Seasons with four short films by local directors, interspersed by movements of Philip Glass's American Four Seasons in its
Glass's second violin concerto does not
present anything new from his earlier output. He has truly created an artform
besides making a fortune by generating repetitive patterns based on triads,
rehashed endlessly to please his legions of fans. Each of its four movements
began with a neo-Bachian violin solo, which Foo stated and shaped with coherence
if not always in perfect intonation. The main body of strings later joined in
for the movement proper, which resembled his film music by way of conjuring
moods and emotions.
Putting down his violin, Foo then led the
ensemble in Kelly Tang's Spring! with
Zen Yeo's film of dynamic Singapore in alternating fast and
slow sequences projected on the biggest screen ever erected in Esplanade
Concert Hall. This visual and aural treat was made more special as the film
closely paralleled the musical tempos. The music was cheery, based on
Chinese-styled themes, while the film built on the premise that Singapore 's rapid and inexorable
progress was built upon the grassroots of hardworking women (and men).
Clearly the stars of the show were to be
the local segments, with the Glass movements serving as interludes. The variety
of each film and the feelings evoked by the music and images within far
outstripped the static and often-limited material offered by the American, and
soon one longed for the latter to end and the former to begin.
Denise Lee's Barely Restrained, was nervous and edgy in its pacing, and Idzwan
Othman's film with close-ups of body parts, foliage and scurrying insects,
focussing on the nation in a micro level, seemed totally apt. Likewise, Derek Lim's
Weep was a funereal dirge in the best
tradition of musical mourning, and one turns to Beethoven, Richard Strauss and
Hindemith as plausible antecedants.
The imagery in Ler Jiyuan and Yap Teng
Wui's film was haunting, of sandcastles washed by lapping waves, abandoned HDB
apartments, cemeteries and long-forsaken landmarks. Lim wrote, in his notes,
about his grandmother's funeral procession, and this most moving episode was
about nostalgia and a seemingly futile yearning for a past that will never return.
Interestingly, as the Singapore Seasons got darker in colour
and mood, Glass's Seasons began to
gain in pace and vibrancy. The last of which provided soloist Foo with many a
virtuosic turn, supported by his players to the hilt, which in turn was heartily
applauded by the audience.
The final Singapore film by Shawn Lee
Miller shot the nation by night, an almost ambiguous statement that portrayed
an LRT ride and seamy Geylang in the same light. Chen Zhangyi's Ariadne's Lament had similarly shadowy
intentions, with an impassioned viola solo by Janice Tsai as the final word in
a cycle which ended in an eerie quiet.
To cheer things up, Foo and his charges
played two encores, and the mood once lightened with Kelly Tang's surefire
arrangement of Tian Mi Mi, with the
melody of Dayung Sampan dressed up as
“The Simpsons meets Pizzicato Polka”. Could there be
anything more Singaporean than that?
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