FACE(T)S OF NATURE / Concordia Quartet / Review

 

FACE(T)S OF NATURE

Concordia Quartet

Chamber @ The Arts House

Friday (21 November 2025)

This review was published in The Straits Times on 24 November 2025 with the title "Concordia Quartet deliver close ensemble work, precise timing and accurate intonation".

Despite changes in personnel within the past year, Concordia Quartet, the dedicated string quartet of Resound Collective, has been remarkably consistent in its concert programming. Violinists Wilford Goh and Kim Kyu Ri, with violist Edward Tan and cellist Lin Juan, have continued to surprise and challenge audiences and their expectations.

Where else but in the Chamber of The Arts House can one expect to hear great chamber music in a perfectly intimate setting? The delightful evening opened conventionally with Wolfgang Amadeus Mozart’s Quartet No.14 in G major (K.387), appropriately nicknamed “Spring” because of its freshness of thematic ideas and cheerful disposition.

Playing in Singapore's "Wigmore Hall".

See the resemblance, sort of?

Playing on a raised platform under a cupola, the setting superficially resembled that of London’s Wigmore Hall but the shared experience of close engagement between players and audience was real. Close-knit ensemble work, precise timing and accurate intonation were all part of the game, and the foursome generously delivered.

Gentility in the opening movement was well-realised and articulated, with the graceful dance of the second movement upping the tempo ever so slightly. Even when shades grew darker for the slow movement, the warmth of sonority never flagged. The finale was all sunshine and smiles, and one cannot get more congenial than this.

For the second half, the quartet literally moved to the floor of the house. The players were seated so close to the audience that one could even see the scored notes on their tablets. Four of Czech composer Antonin Dvorak’s Cypresses, string transcriptions of songs, were selected for variety of moods and feelings. One did not need to know the original words to understand the sentiments of love, grief, joy and contentment portrayed within.

Photo: @ Joelcaptures

The music then transplanted from Central Europe to the Sceptred Isles for six short pieces by two of England’s greatest composers. It was an artistic coup to alternate three of Henry Purcell’s Fantasias In Four Parts with Benjamin Britten’s Three Divertimenti. These transitions between baroque and 20th century aesthetics were both daring and ear-catching.

The order and form of Purcell, polyphony at its prim and prettiest, sounded well-groomed and decorous. His G major Fantasia soon gave way to the dissonance and irony of Britten’s March, music that was both acerbic and anarchic. Purcell’s F major Fantasia then dissolved into a slow and sentimental Waltz which later took on more sarcastic overtones.

Photo: @ Joelcaptures

Chalk and cheese, or oil and water, never the twain shall meet but to the many enthused listeners, these sounded totally plausible because of Concordia’s ardent advocacy. The quartet’s ability to skillfully shift between vastly contrasting dynamics and idioms was a credit to their technique, discipline and musicality.

Photo: @ Joelcaptures

The final D minor Fantasia would now morph into a bristling Burlesque, filled with quickfire responses and split-second surprises. The enjoyment of the small but keyed-in audience was clear and palpable.

Photo: @ Joelcaptures

ROMANTIC TRAVELOGUES / Concordia Quartet / Review

 

ROMANTIC TRAVELOGUES 

Concordia Quartet 

Yong Siew Toh Conservatory Concert Hall 

Saturday (27 July 2024)

This review was published in The Straits Times on 29 July 2024 with the title "Concordia Quartet does justice to rarely heard Romantic works".

The Concordia Quartet, part of the Resound Collective family, has just returned from a successful concert tour to Malaysia, where it gave workshops and performed concerts in Kuala Lumpur and Malacca. Its homecoming concert was a showcase of rarely-heard Romantic repertoire which made one wonder why such good music is not so often performed. 

One reason is the need for excellent professional musicians in peak form to do these works justice, but violinists Edward Tan and Kim Kyu Ri, violist Martin Peh and cellist Lin Juan were fully up to the task. Four years of playing together, with challenges along the way (chiefly the pandemic), bore ample fruits of their labour for all to see and hear. 

Franz Schubert’s Quartettsatz (Quartet Movement) in C minor (D.703) opened the evening. This posthumously published 9-minute single movement of an unfinished string quartet is now recognised as a standalone work. 

Its tension-filled beginning was well-handled, revealing strong cohesion between the players, the stress later diffused by Tan’s solo violin melody in A flat major. This alternating between major and minor keys gave the piece an unsettling feel, which was kept on edge by the foursome all through its short but compact duration. 

Martin Peh demonstrates on the viola
what American-Indian drumming sounds like.

Malaysian violist Andrew Filmer served as an well-spoken host by introducing the works in an intelligent and engaging manner, later joining the quartet for Antonin Dvorak’s String Quintet No.3 in E flat major (Op.97). This is sometimes known the American Quintet as it was composed when he was director of the National Conservatory of Music of America in New York City. 

The second viola gave the music an added warmth, which radiated through its four movements. The use of pentatonic melodies and percussively drumming beats was reflective of native American influences which Dvorak incorporated into the score. However, the music’s smiling congeniality and harmonic richness was all Slavonic. 

The Larghetto slow movement provided a calming respite, with Peh’s viola hymn-like melody a theme for the lovely set of variations to follow. The finale’s skipping dance rhythms and light-heartedness, performed with such infectious zest, made for a most satisfying conclusion. 

Felix Mendelssohn’s String Quartet No.4 in E minor (Op.44 No.2) was composed during his blissful honeymoon in Bavaria. Beethovenian elements of strife and struggle were dispelled, giving way to a sunny disposition to be found in his famous Violin Concerto (Op.64), also in the same key. 

United voices, so aptly reflected in the quartet’s name, made the music truly sing. The Scherzo flew with fairies’ wings, its repeated staccatos touched with feathery lightness, while the Andante relived in Tan’s tender violin melody Mendelssohn’s most lyrical Songs Without Words. The Presto agitato finale soared ahead with accurate rapid playing but whimsicality would never be far away. 

Warm applause was reciprocated with an encore which the Concordia had brought across the Causeway for its Malaysian audiences, with Kelly Tang’s wittily contrapuntal arrangement of Singaporean folksong Di Tanjong Katong providing sheer delight.

A CHAMBER CONCERT NOT TO MISS: CONCORDIA QUARTET'S ROMANTIC TRAVELOGUES on 27 July 2024

Here is a chamber concert not to miss! The Concordia Quartet, part of the re:Sound Collective family, returns to Singapore after a concert tour to Malaysia with a lovely programme of Romantic quartet and quintet music.

What they will be playing:

SCHUBERT Quartettsatz in C minor, D.703

DVORAK String Quintet in E flat major, Op.97 "American"

with Andrew Filmer, Viola

MENDELSSOHN String Quartet in E minor, Op.44 No.2

Watch their latest video here:

Where: Yong Siew Toh Conservatory Concert Hall

When: Saturday, 27 July 2024 at 7.30 pm

Tickets available here:

Romantic Travelogues by Concordia Quartet | 27 July 2024 @ YST (resoundcollective.org)

SINGAPORE CHAMBER MUSIC FESTIVAL: FRIENDS, NEW & OLD, GALA CONCERT: CELEBRATION! / Review

SINGAPORE CHAMBER 

MUSIC FESTIVAL 2024 

FRIENDS, NEW & OLD 

GALA CONCERT: CELEBRATION! 

Yong Siew Toh Conservatory Concert Hall 

Wednesday & Saturday 

(31 January & 3 February 2024) 

This review was published in The Straits Times on 6 February 2024 with the title "Chamber music festival closes with eclectic programme and touching tribute".

The third evening of the Singapore Chamber Music Festival showcased locally-based professional musicians fronted by the Concordia Quartet in partnership with overseas friends. An eclectic programme spanning the classical to contemporary eras was the result. 

Performed first was Mozart’s Oboe Quartet in F major (K.370), with veteran Dutch oboist Joost Flach, a resident in Southeast Asia since the 1980s. Partnered with Concordia’s violinist Kim Kyu Ri, violist Martin Peh and cellist Lin Juan, this tuneful work highlighted the reed’s piquant timbre over backing by mellow strings. The ensemble blended beautifully, not least in the chirpy closing Rondo. 

Much sterner stuff was Shostakovich’s Piano Quintet in G minor which saw Japan’s splendid Aoi Trio teaming with violinist Yang Shuxiang and violist Peh. Although the first two movements were a neoclassical Prelude and Fugue, jarring dissonances informed the work’s grimmer agenda. Pianist Kosuke Akimoto projected authority, balanced by paradoxical moments which included the Scherzo’s madcap vitriol and the finale’s unsettling light-heartedness. The five players demonstrated in the music that one could still bring out a smile while under severe duress. 

The Concordia Quartet – Edward Tan (violin), Kim, Peh and Lin – were on their own for two movements from Mendelssohn’s String Quartet in E minor (Op.44 No.2), contrasting smooth congeniality with swift elfin lightness. The 4-year-old quartet, formed just before the Covid-19 pandemic, is now an assured and seasoned outfit. 

Tchaikovsky’s very popular String Sextet in D minor, or Souvenir de Florence, for pairs of violins, violas and cellos, generated rich sonorities. Leading was Singaporean violinist Jonathan Ong (first violin of the USA-based Verona Quartet), with the juiciest solos. His repartee with cellist Leslie Tan in the slow movement’s gorgeous melodies was a joy to behold. The group completed by Kim, Jeremy Chiew and Edward Tan (violas) and Lin made the best case possible for the usually morose Russian’s sunniest score. 

The festival’s grand finale featured no less than 32 musicians in a celebration of chamber music’s myriad varieties. There were three string quartets, the youngest being Pythagorus Quartet (average age of 11) which cut their teeth in Haydn with much confidence. 

Pandan Quartet from Oberlin, Ohio comprised undergraduates with Asian ancestry, and their maturity displayed in Mendelssohn was just as astounding. Jurong Quartet, formed by young local professionals gave a crisp and clear-headed account of Beethoven. All performed first movements from string quartets. 

An outlier was the opening movement from Mozart’s Horn Quintet in E flat major (K.407) with Alan Kartik, the concert’s only wind player, partnered by violin, two violas and cello. Even more arcane was a rare performance of 20th century Russian Alfred Schnittke’s Piano Quartet by The Music Circle (violinist Tang Tee Tong, violist Christoven Tan, cellist Leslie Tan and pianist Cherie Khor), a work of grating dissonance and deep disquiet. Both received gripping performances. 

“Grand Dame” of Singaporean pianists, Toh Chee Hung, still sparkling in her seventies, partnered with Akimoto in two of Dvorak’s Slavonic Dances. She was joined by violinist Ong, violist Peh and cellist Tan in the final two movements from Brahms’ Piano Quartet No.3 in C minor (Op.60), contrasting sheer lyricism with outright passion. These were a touching tribute to Penang-born pianist Dennis Lee, Toh’s husband and ardent supporter of the re:Sound Collective, who passed away last year. 

What could top the sight and sound of eight string players coming together for Mendelssohn’s Octet? Its rapturous finale, performed by all the strings from Concordia, Aoi and violinist Yang and violist Chiew, quoted Handel’s Hallelujah Chorus, which more or less summed up what everybody on and off stage were feeling. 

So what is the big deal about chamber music? It is ultimately a meeting of minds, a celebration of talented and inspired people working and playing, and having a great time together.

EPIC SOUNDSCAPES / Concordia Quartet / Review

EPIC SOUNDSCAPES

Concordia Quartet

Victoria Concert Hall

Wednesday (6 September 2023)

This review was published in The Straits Times on 8 September 2023 with the title "Concordia Quartet's excellent showcase makes it an ensemble to watch".

 

Fans of chamber music have rarely had it so good in the past week, being treated to excellent performances of quartet and quintet music by locally-based professional ensembles. The Concordia Quartet’s most recent concert seemed like the logical follow up on T’ang Quartet’s programme just last week, as if both groups had colluded in advance to present a history of the string quartet genre.

 

Concordia opened with Beethoven’s String Quartet in F minor (Op.95), the work that continued from T’ang’s Op.74 of the previous week. Carrying the nickname Serioso, the music was another example of sturm und drang (storm and stress), which captivated listeners with seriousness, high drama and tragedy. This ensemble has been progressing in leaps and bounds, and this was in evidence throughout the evening.  

 

Listen to how cohesively the angst-filled first movement held up. The opening outburst was  emphatic rather than angry, and the show of resoluteness and tensile strength palpable. A sense of togetherness prevailed in this sink or swim situation. To illustrate how mood-switching regularly occurs in chamber music, the slow movement displayed suppleness in its fugal passages, creating with it an intimate and almost hypnotic spell.      

 

Continuing directly into the third movement, agitation and restlessness provided stark contrasts while the finale returned to the earlier urgency. And when one thought this level of tension could not be further sustained, the ensemble upped gears and raced off in cheery F major to close a very convincing performance.

 

Next came Orawa (1986) by contemporary Polish composer Wojciech Kilar (1932-2013), better known for his film scores in The Pianist (2002) and Bram Stoker’s Dracula (1992). Its title refers to a mountainous region in southern Poland, a work where folk rhythms were channeled onto a minimalist path. Modern but very accessible, its insistent beat and pulsing energy built up relentlessly for about eight minutes before exploding with a collective shout.

 

Photo: Joel Chew

The evening closed with Brahms’ String Quartet No.2 in A minor (Op.51 No.2) which mirrored the “serioso” of the earlier Beethoven but with a difference. Despite his gruff and gauche demeanour, Brahms was capable of much musical warmth and largesse. The first movement opened with seriousness before a more leisurely and lilting subject ensued, the contrasting sunshine and shade being well brought out.

Photo: Joel Chew

 

After a comparative elusive slow movement, the final two movements shone with folk-inflected fervour. Over a rustic drone, a country dance-like melody emerged, later erupting into frenzied festivity. Then followed an even faster finale where the Hungarian influence, so prevalent in Brahms’ music, was celebrated. Performed with a life-affirming vigour and spirit, it made for the concert’s very satisfying conclusion.

 

With time and further experience, Concordia Quartet, formed by violinists Edward Tan and Kim Kyu Ri, violist Martin Peh and cellist Lin Juan, will get even better. Debuting unpropitiously just before the Covid pandemic struck, Concordia Quartet has what it takes to become one of the most important chamber ensembles in Singapore’s musical history.