AN ODYSSEY OF HUMANITY AND NATURE / Musicians' Initiative / Review

 

AN ODYSSEY OF 

HUMANITY AND NATURE 

Musicians’ Initiative 

Victoria Concert Hall 

Wednesday (16 April 2025),

This review was published in The Straits Times on 19 April 2025 with the title "Musicians' Initiative pulls off breathtakingly ambitious programme".

The thread of over-achieving young orchestras in Singapore continues with Musicians’ Initiative, formerly known as The Young Musicians Foundation Orchestra, led by its dynamic London-based music director Alvin Arumugam. In a very ambitious programme, the performances exceeded all expectations, which should not even be a surprise these days. 

Alvin Arumugam addresses the audience.

The evening began with the world premiere of London-based Chilean composer Anibal Vidal’s Thus Dreamt The Anthems, a 24-minute-long tone poem that dwelled on modern-day social consciousness in an ever-volatile environment. The work was a slow boil, opening quietly and mysteriously, like a nascent dawn with otherworldly sound effects, including string harmonics and offbeat instruments like wind machine, bowed musical saw and flexatone. 

From the miasma emerged a series of human rights and revolutionary anthems from around the world. Fragments of We Shall Overcome and La Marseillaise wafted in and out, but pride of place went to the Chilean song The People United Will Not Be Defeated! by Sergio Ortega and Quilapayun, which was heard almost in its entirety. 

Now well-known as the subject of piano variations by American Frederic Rzewski, it made more than a subliminal impact as the music slow marched onward to a shattering climax before eventually receding to silence. This is not a work for the impatient, but for spirits who refuse to be oppressed. 

Composer Anibal Vidal receives the applause.

The loudest cheers were reserved for the soloist in Robert Schumann’s Piano Concerto in A minor (Op.54), former child prodigy pianist Cynthia Goh, presently a partner at law firm Rajah and Tann Asia LLP which presented the concert. Despite diffident opening pages with a minor slip, she recovered very well to make music beyond mastering the mere accuracy of notes. 

The first movement’s cadenza grew in confidence and stature, and her repartee with the orchestra in the next two movements was close to pin-point. How she surmounted the treacherously tricky syncopated dance of the finale was admirable, radiating an irrepressible joie de vivre to conclude the work. The romantic romp continued in her encore of Franz Liszt’s Liebestraum No.3. 

The orchestra had a showcase of its own in Richard Strauss’ tone poem Also Sprach Zarathustra (Thus Spake Zarathustra), completing the philosophical thematic arc to the concert. One does not need to understand Friedrich Nietzsche’s Superman theories to enjoy this work, which has one of classical music’s most iconic openings. 

Vibrations of the rumbling low C from Yap Wai Hoong on the hall’s Klais organ could be felt as well as heard, as trumpets broke out its unforgettable impression of Sunrise. Even after that familiar fanfare, Arumugam and his forces made sure that the eight linked movements that followed were never less than absorbing. 

While winds and brass were always alert and intensely involved, it was the strings that were the body and soul, expressing longings and passions within the movements. Concertmaster Gabriel Lee’s violin also embodied the echt spirit of the waltzing Tanzlied (dance-song), as the work wound from serious thought to the pure joy of existence itself. In a word, breathtaking.

Post concert photos:

Cynthia Goh and her teacher Boris Kraljevic.

A painting by Barry Yeow
was sold with its proceeds
in aid of the orchestra.

BRAHMS' MOTTO / Musicians' Initiative / Review

 

BRAHMS’ MOTTO 

Musicians’ Initiative 

Esplanade Recital Studio 

Thursday (27 February 2025)

This review was published in The Straits Times on 1 March 2025 with the title "Musicians' Initiative proves small is big in Brahms' Symphony No.3".

Musicians’ Initiative (MI) began life as The Young Musicians Foundation Orchestra (TYMFO), founded by Singaporean conductor Darrell Ang ten years ago. Young local conductor Alvin Arumugam, who also directs the South Asian Symphony Orchestra, took over its reigns in 2017 and has distinguished its concerts with a curatorial approach to programming. 

Alvin is a very engaging host.

Works are selected for their synergistic qualities, and special effort is made to demystify classical music by down-to-earth and jargon-free preambles with performed examples. Presently based in the United Kingdom, Arumugam’s last concert with MI in December 2024 showcased a convincing and idiomatic performance of Beethoven’s Ninth Symphony at the School of the Arts. 

Performing Romantic orchestral repertoire in the small confines of Esplanade Recital Studio is a challenge necessitating the use of chamber-sized forces, and that informed MI’s approach. Those accustomed to the big sound heard in more capacious venues (such as Esplanade Concert Hall) would be pleasantly surprised by what forty-odd musicians can do under such circumstances. 

The tuttis in Antonin Dvorak’s Violin Concerto in A minor (Op.53) could have been plethoric and nastily over-reverberant but that was largely avoided under Arumugam’s direction. Instead, the orchestra ably supported Japanese violinist Sayuri Kuru, second violinist in the Singapore Symphony Orchestra, for her impassioned solo. 

She possesses a voluminous tone and healthy vibrato which was ideal for this melodious concerto. The opening movement bristled with palpable tension, contrasted with the central slow movement’s lyricism where sweetness ruled. All the stops were pulled in the folk-inspired finale, where her virtuosity was greeted with the rightful plaudits. 

In his illustrated talk, Arumugam waxed lyrical on the conception of Johannes Brahms’ Third Symphony in F major (Op.90), defined by its opening motto theme F-A flat-F, representing the German words “frei aber froh”, or “free but happy”. He also touched on the friendships which the German composer had with his younger Czech colleague Dvorak, the Hungarian violinist Joseph Joachim and Robert Schumann’s widow Clara. 

Such discourse helped remove the barriers between composed music, performers and the listening public, making for a more illuminating listen. What he omitted to mention was how the first movement’s theme was also derived from a passage from Schumann’s First Symphony. What had sounded retiring was now transformed into something empowering. 

The smallish orchestral forces employed by MI also had a precedent, in the Meiningen court orchestra which had premiered Brahms’ Fourth Symphony under his direction. “Small is big” distinguished this performance, which lacked nothing in grandeur and stature. The opening possessed heft and the development section readily brewed into a titanic struggle. 

Even better was to come in the slow movement, where its often overlooked dissonances were teased out, and has there been a more moving melody than the third movement’s Poco Allegretto? This performance pivoted around this emotional heart and never looked back. All four movements end quietly, making this Brahms’ least performed symphony, but also his most sublime.

BEETHOVEN'S NINTH: YOUR ORCHESTRAL EXPERIENCE / Musicians' Initiative / Review

 

BEETHOVEN’S NINTH: 

YOUR CONCERT EXPERIENCE 

Musicians’ Initiative 

SOTA Concert Hall 

Saturday (7 December 2024) 

Some cultures celebrate the Christmas season with Beethoven’s Choral Symphony. Singapore is not one of these, but it is still a welcome prospect to be greeted with the Ode To Joy. Many Beethoven 9 concerts have it as the sole item on the programme, but Musicians’ Initiative led by Alvin Arumugam preceded its concert with an unusual hour-long first half with what is likely to have been three Singapore premieres. 

The ostensible theme of the concert was a journey from darkness to light, and the world desperately needs that kind of inspiration now. The music of pioneering Japanese composer, the Berlin-schooled Kosaku Yamada (1886-1965), opened the concert. His Madara No Hana (The Spotted Flower, 1913) is a short tone poem which assimilated the influences must have had during his years of study – post-Wagnerian Tristanesque harmonies, impressionist hues and spurts of Richard Straussian lyricism. With neither whiffs of sakura nor sake, it made for a pleasant atmospheric overture. 

Alvin introduces the works
in his own passionate way.

What came next was unprecedented, two double bass concertos with the excellent Atlanta-based Korean bassist Mikyung Sung. The Asian premiere of Dark with Excessive Bright (2018) by American composer Missy Mazzoli (born 1980), inspired by John Milton’s Paradise Lost, was revelatory. 

Written in a single movement, its all-string accompaniment resembled that in a baroque concerto grosso supporting Sung’s tour de force, which spanned the full gamut of bass technique. This encompassed subterranean growls, gentle caresses to wild lashings, within an idiom that was tonal and at many parts lyrical. The tintinnabuli of Arvo Pärt’s spiritual minimalism was also in evidence. Towards the end, Sung’s touching duo with the orchestra’s bass Sanche Jagatheesan made for a sublime minute or so before a quiet and gentle close. 

Far more traditional was Italian bass-virtuoso Giovanni Bottessini’s Double Bass Concerto No.2 in B minor, which had all the early Romantic virtuoso tropes – bel canto lyricism, transcendental technique and showboating for its own sake. Sung is an understated virtuoso, whose technique is wholly in service to the music. Adapting very well to both vastly diverse idioms, her intonation was always impeccable and made the unwieldy instrument sing. When a bass in its highest registers begins to resemble a cello, one is in the presence of a true master. 

The main event was Beethoven’s Ninth Symphony in D minor (Op.125), popularly known as the Choral Symphony. The smallish orchestral forces employed by conductor Arumugam meant it was going to be lithe and light, much in the spirit of the period instrument movement. Heard on modern instruments, it was still a valid approach. Its opening, almost featherlight in its lift and very little vibrato used, would inform the tenor of the performance. The brisk speeds obligated very accurate playing and the orchestra obliged, the pinpoint pacing dictated by timpanist Christian Borres being a very dominant figure. 

The Scherzo was just as swift and emphatic, with woodwinds in tiptop and unimpeachable form. This conception, which worked very well in the first two movements, was becoming reminiscent of a famous recording in the catalogue, the London Classical Soloists under Roger Norrington. 

The Adagio was less immaculate, but unfolded in an unfussy and non-sentimental manner reaching a passionate climax before clocking in at just eleven minutes (Bernstein in Berlin ‘89 took over 20 minutes). With more rehearsal time, this would have been much better. 

And so to the much-awaited finale. Erupting with appropriate tumult, themes from earlier movements were relived before the An der Freude theme began to take shape. Just seven cellos and four basses meant the required heft was missing, a price to pay for the earlier litheness. Baritone John Lee was the perfect choice to voice the opening O Freunde, nicht diese Töne!, his stentorian presence a reassurance. Less impressive was tenor Raymond Lee who was virtually drowned out by the janissary band in the Turkish march episode. The quartet was soloists was completed by soprano Teng Xiang Ting and mezzo-soprano Cindy Honanta who were excellent. 

Pride of place had to go to the 74-strong Symphonia Choralis (Chong Wai Lun, chorusmaster) which was very well-disciplined and delivered the choral climaxes and tricky fugues with suitable aplomb. The unison Seid umschlungem, Millionen was particularly arresting, hair-raising in intensity but with no hair out of place. As everybody knows, this was Friedrich Schiller’s paean to the “Brotherhood of Man”, the unfettered joy displayed by orchestra, chorus and soloists evident to all who were fortunate to have attended. 

This was clearly the most impressive showing to date by Musicians’ Initiative under music director Alvin Arumugam. Their future concerts will be keenly anticipated.

Enjoy the concert here:

BIRDSONG / Musicians' Initiative / Review

 

BIRDSONG
Musicians’ Initiative
Victoria Concert Hall
Wednesday (25 October 2023)

Orchestral programming is an important part of musical presentation, and Musicians’ Initiative (formerly known as The Young Musicians Foundation Orchestra) got it spot on with this concert built around the avian theme of birds and flying critters. All credit goes to London-based Singaporean conductor Alvin Arumugam for creating this innovative, interesting yet approachable programme that truly opened ears.

 

The evening began with late Finnish composer Einojuhani Rautavaara’s most popular orchestral work, Cantus Arcticus (1972). Also titled Concerto for birds and orchestra, it uses recorded sounds of arctic swamp birds from Northern Finland in its lush three-movement canvas. A pair of flutes, ably helmed by Carolin Ralser and Paul Huang in sinuous song, opened proceedings in The Bog, ushering in clearly audible birds on tape. A sense of awe and mystery pervaded the music, with birds being the stars while humans provided support.

 

A fine eco-acoustic balance was struck in the middle movement Melancholy with fine muted strings. It got even better in Swans Migrating where birds and instruments achieved parity. With a return of flutes and woodwinds, the music rose to a sonorous climax, with a suitably big melody to match. There has not been a performance of this glorious work since the 1990s (by Singapore Symphony Orchestra in a bird-themed concert under Lim Yau), and this served a timely reminder that good music should never be neglected.

 

The concert’s selling point had to be the ubiquitous Butterfly Lovers Concerto by Chan Gang and He Zhanhao, performed by young violinist Jocelyn Ng. Ng will be remembered as the confident soloist in Vivaldi’s Four Seasons at those gimmicky Candlelight Concerts She furthered her resume with an enthralling reading that lacked nothing of passion and poetry. Playing completely from memory, she exuded a bright, lustrous tone, and exercised good intonation throughout.

 

It is probably best to ignore the work’s melodramatic story and wallow in the music making, which had top notch support from Musicians’ Initiative principals, which reads like a young Who’s Who in Singapore classical music. Opposite Ng was cellist Tang Jia, their duets portraying the romance of Liang Shanbo and Zhu Yingtai being particularly intimate. Tang, percussionist Benjamin Boo (on drum and clappers) and harpist Fontane Liang, all of whom Singapore Chinese Orchestra musicians and principals, were joined by pianist Aya Sakou. The orchestra generated a big sound, and this performance received the loudest plaudits of the evening.

Watch the video of this performance here:

 

The second half saw the Singapore premiere of young London-based Chilean composer Anibal Vidal’s Gliding Murmuration, a 10-minute symphonic poem inspired by starlings sighted at the Channel resort of Brighton. Its still Takemitsu-like opening with brass, piano and vibraphone could easily be called murmurs, but the sound palette soon expanded with lapping waves, rumbles of thunder and a shift from grey clouds to blinding sunshine.

Its range of shades and colours, from murky to iridescent, was very well brought out by the orchestra, then closing with gentle woodwind squawks, a reminder of feathered friends within the landscape. This very interesting work was not just about birds, but rather a portrait of nature, the sea and elemental forces of geography. The best part: at no moment was one reminded of the now much-imitated and hackneyed music of Olivier Messiaen.

 

The evening closed with Stravinsky’s not often programmed Firebird Suite (1945), which at 30 minutes is lengthier than the better-known suite from 1919. Its orchestral forces are smaller but nowhere were familiar tropes from the well-loved classic compromised. The dark subterranean grind of its opening was brooding, leading to the Firebird’s magical dance, sounding more coquettish than one previously imagined. Then came a sequence of pantomimes not heard in the 1919 suite, which distended the narrative somewhat without adding so much except for the Dance of the Princesses (Scherzo) with its playful prancing about.   

 

The Khorovod (Round Dance) was sensitively handled and the Danse Infernale, always the suite’s rousing highlight, resounded with deserved trenchancy. It was not the most accurate reading, but a committed one with every player extended to the limits of their abilities. In short, it was exciting. The most beautiful moments came in the Lullaby with Kee Ruihan’s excellent bassoon solo, and the radiant beginning of the Final Hymn, lit by a gilded edge which the orchestra mustered with conductor Arumugam’s Midas touch. The crescendo generated in its final rally concluded a memorable concert on a high, likely the Musicians’ Initiative’s best in recent years. More of the same is hoped and eagerly anticipated.