RESONANCE
Suona and Guan Society Inaugural Concert
Singapore Chinese Cultural Centre
Sunday (21 November 2021)
WANG DANHONG’S MUSIC SHOWCASE
Singapore Chinese Orchestra
Singapore Conference Hall
Saturday (27 November 2021)
This review was published in The Straits Times on 1 December 2021 with the title "Resonant first outing for Chinese reed instruments".
As recently as three months ago, concerts featuring more than a pair of wind instruments were not possible because of the possible risks of Covid transmission from the deliberate expulsion of air during rehearsals and performances. Restrictions have fortunately been relaxed such that the inaugural concert of the Suona and Guan Society (Singapore), featuring well over thirty reed players, could take place.
The suona is the traditional Chinese reed instrument with a metallic bell which produces a plangent sonority, often associated with ceremonial music, such as that encountered in funerals. When heard en masse, a terrific racket results, evident in traditional piece Gold Harvest, played in unison by twelve suonas and two guans supported by four percussionists. Jin Shiyi, President of the Society, called this celebratory opening piece symbolic of victory by “blowing away the virus”.
Eight further works filled this invigorating 80-minute-long concert, involving various combinations of suonas and guans performed by professionals, amateurs and students ranging from 11 to 57 years of age. Of significance was the newly commissioned Resonance by Dayn Ng for 13 players, a concertante work with outstanding solos by Ng Chu Ying, Zhang Shuo and Meng Jie, the last impressing with implausibly long-held notes.
The most poignant moments came in Farewell At Yangguan, for xinguan (or Sing-guan, as the instrument was created in Singapore) solo by Jin. His lush and mellow tone, resembling that of a saxophone, resounded with an unspeakable melancholy, suggesting that sometimes in the quietest parts, an instrument’s poetic capabilities are best revealed.
Not so quiet was the hour-long concert by the Singapore Chinese Orchestra led by Yeh Tsung dedicated to music by brilliant young Chinese composer Wang Danhong, known for her colourful scores which skilfully combine traditional techniques with modern sensibilities. There is little in her music that does not sound exotic, such as Heavenly Grassland which opened the concert.
Over a background of percussion murmurs emerged Yin Zhiyang’s evocative dizi, heralding the outbreak of dawn and yet another exuberant day of frolicking on the steppes. Wang’s views of China’s Far West, where raucous strains of Central Asian revelry are sine qua non, were none better illustrated in the single-movement erhu concerto Amanissha, inspired by the 16th century Uyghur queen and poet. SCO associate principal Zhou Ruoyu commanded the stage with a solo performance as glittering as her outfit, savouring every bit of its mysterious and ethereal entry before romping home in the most vigourous of dances.
Just as extrovert was Charms Of Jiangnan, a triple concerto for dizi, erhu and pipa with Zeng Zhi, Qin Zijing and Zhang Yin respectively as soloists. Their respective timbres blended harmoniously, reliving sumptuous melodies typical of traditional Jiangnan sizhu (silk and bamboo chamber music), except this was backed by a big ensemble. The final work Ode To The Sun was also premised on a tried and tested formula, beginning quietly, later enlivened with folk dances and finally finishing with exhilarating aplomb, this time with percussion working overtime.
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