RHAPSODIES OF SPRING 2018: HOME FOR THE NEW YEAR / Singapore Chinese Orchestra / Review

RHAPSODIES OF SPRING 2018:

HOME FOR THE NEW YEAR

Singapore Chinese Orchestra

Singapore Conference Hall

Saturday (27 January 2018)

This review was published in The Straits Times on 29 January 2017 with the title "Canine camp for the new year".

The first music to be heard at the newly renovated Singapore Conference Hall auditorium was Li Huan Zhi's Spring Festival Overture, providing a most rousing start to the Singapore Chinese Orchestra's annual Chinese New Year concert. Soon after conductor Yeh Tsung gave the down beat, one marvelled at the venue's new found acoustics. Once considered over-dry, under- reverberant and requiring audio enhancement, those criticisms will soon be things of the past.

There is now a naturalness to the symphonic sound, such that instrumental details are better defined, rather than being submerged beneath unnatural echoes and artificial augmentations. However hearing better sound does not necessarily translate into hearing better music, as this populist programme proved.

Chinese violinist Lu Siqing was guest soloist, opening with Eric Watson's idiomatic arrangement of Vivaldi's Spring from The Four Seasons. This was the same piece played by Joshua Bell in his famous SCO collaboration in 2016, and it sounded just as good this time, thanks to Lu's innate musicality, virtuosity and sympathetic orchestral accompaniment.

He was also soloist in two short concertante works carrying the imprimatur of Chen Gang, the better-known half in the composing duo of the Liang Zhu Concerto. Basking in his sumptuous sound and Phoon Yew Tien's lush orchestrations would be sufficent reward. But whoever dreamt of such titles like Golden Platform Of The Steel-Smelting Furnace or Taking The Tiger Mountain By Strategy? It seemed more like a marriage between Socialist Realism and the Butterfly Lovers.    

Suona principal Jin Shi Yi is the master
of the single long-held note.

The best music came from Kuan Nai Chung and Law Wai Lun. Kuan's Instrumental Guide To The Chinese Orchestra was the excellent Chinese solution to Benjamin Britten's Young Person's Guide To The Orchestra. Its main theme, Molihua, was subject to variations from all the traditional Chinese instruments and aided by a witty and often mischievous narration by local television personality and comedian Mark Lee.

Law's highly evocative score accompanied the short 2011 film The Reunion Dinner by award-winning director Anthony Chen of Ilo Ilo fame. Nostalgia reigned supreme in this piece which espoused filial piety, family values, and the good old days of not worrying about speaking in Hokkien.

As the Chinese zodiac counted down to the “Year of the Dog”, there had to be canine-related pieces. Eric Watson's medley of Gershwin's Promenade (also known as Walking The Dog) and the Patti Page classic How Much Is That Doggy In The Window? with winds simulating yelps from mutts was camp beyond words.

Increasingly resembling a television variety show, the concert came close to descending into farce with the Chinese New Year songs and vocal/rap numbers penned by the likes of Jack Neo, Kenn C and Mark Lee himself. Lee was at best a crooner while his otherwise able co-host Chen Biyu tended to scream out the high registers. The lyrics extolled wealth and prosperity, Sinophone audiences are parsimonious in sing-alongs, but do have a happy new year anyway.  

MUSICAL LANDSCAPES FOR ALL SEASONS / Singapore Youth Chinese Orchestra / Review

MUSICAL LANDSCAPES 
FOR ALL SEASONS

Singapore Youth Chinese Orchestra

Singapore Conference Hall

Saturday (19 July 2014)

This review was published in The Straits Times on 21 July 2014 with the title "The future of Chinese orchestra is fine".

The Singapore Youth Chinese Orchestra (SYCO) is the junior wing of the Singapore Chinese Orchestra (SCO), formed by young musicians from the age of 11 to 26. A national project of excellence, it serves as a feeder for the main orchestra besides playing an important role in furthering Chinese instrumental music among the young in Singapore.

Led by Quek Ling Kiong and Moses Gay, both conductors of the SCO, its annual concert was an impressive showcase of solo and ensemble virtuosity that bodes well for the future. The 2-hour long programme began with World Premiere of Liu Qing’s Puppet Show.

Ever the enthusiastic proselytiser, SCO Resident Conductor Quek introduced the important elements of the work, including plucked strings simulating percussion and bowed strings portraying the human aspects of the ancient art-form of puppetry. Concertmaster Huang Yiheng’s gaohu solo also accurately characterised the gingerly steps taken by a novice monk who takes a tumble in this vigorous and engaging piece of musical storytelling.

Leanne Ong Teck Lian was the Chinese language
narrator in Phoon's Chinese Music for All Seasons.

Phoon Yew Tien’s Chinese Music for All Seasons was an ideal vehicle to introduce a brief history of Chinese orchestral music. Within its short 15 minute span, the work covered Chinese music’s humble roots from homophonic and unison instrumental music, through simple ensemble groups to the complex symphonic organisation of the modern Chinese orchestra. In describing a rapidly metamorphosing genre, its colourful canvas included melodies like Sceneries of Wuxi, Coloured Clouds Chasing the Moon and Tune of the Bamboo Flute.

SCO Assistant Conductor-in-Residence Gay conducted three works highlighting different sections of the orchestra. Plucked strings – the pipa, liuqin, ruan and double bass – featured in a suite of three popular songs from Chinese Sights and Sounds by Bao Yuan Kai, a serenade for strings that resembled those Russian balalaika ensemble works of old.

Reflections of the Moon on Erquan by legendary blind erhu exponent Ah Bing brought out a beautiful svelte sonority from bowed huqin strings. It was a nice gesture of conductor Gay to highlight the contribution of young visually-impaired erhu player Stephanie Ow at the end of the piece. Charms of Xiangxi, by a committee of three composers Wang Zhi, Lin Zhen Gui and Yang Nai Lin, was an exuberant show of percussion prowess (below) and full orchestral forces.

To close, Quek returned to conduct Chen Ning-chi’s Romance of the Old Capital, a 1984 symphonic poem that recounted a traveller’s eventful journey on the Old Silk Road. Roy Yuen’s solo guzheng opened this rhapsodic work which took on an exotic melange of Central Asian themes before reaching a rowdy climax with a brassy chorus of suonas bursting forth (below).

Its quiet ending with the return of the guzheng heralded a tumultuous applause. The ending of Liu’s Puppet Show, this time punctuated with scored chanting, was delivered as an exuberant encore. The future of Chinese instrumental music in Singapore is in good hands.

Lunch Celebrating Maestro Tsung Yeh's Cultural Medallion Award 2013

Heartiest congratulations go to Maestro Tsung Yeh, Music Director of the Singapore Chinese Orchestra (SCO), for being awarded the Cultural Medallion in October 2013. Singapore's highest accolade in the arts is awarded annually to artists who have contributed significantly to the nation's cultural scene and heritage. Maestro Yeh's eleven years at the helm of the Singapore Chinese Orchestra can be described as phenomenal, having completely redefined and vitalised the genre of Chinese orchestral and instrumental music. 

No longer can Chinese instrumental music be labelled as staid or old-fashioned, as Yeh's concerts have brought a new cutting edge to the genre. Classical works sit comfortably alongside experimental creations of the Chinese avant-garde, and he is unafraid to adapt selected Western classical favourites to Chinese instrumentations. 

The results have been variable, but are often provocative and there is no want for trying. He has also championed the cause of Singaporean and locally based composers, and the SCO outperforms all other professional ensembles in commissioning and performing local compositions. Central to this philosophy is the development of "Nanyang music", music that assimilates Southeast Asian idioms into Chinese orchestration, a genre that is unique to this part of the world. 

The Singapore Chinese Orchestra is on its way to becoming a world-renowned ensemble and Maestro Yeh's contribution has been its vital life-force. A celebration lunch was held at the Singapore Conference Hall on Tuesday (19 November) to honour the maestro. It was attended by members of the orchestra, staff, board and committee members, all of whom have helped the cause of Chinese music in Singapore.   

As always, Maestro Yeh cuts a relaxed pose, even as
he views the short documentary on the Cultural Medallion.

Maestro Yeh, flanked by Mr Patrick Lee (Chairman of SCO)
and board member Mrs Goh Chok Tong.

All eyes on board member Mr Seng Han Thong's Ipad.

A family photo of the SCO board for the album.

Chairman Mr Patrick Lee has some ideas for the 
orchestra's next endeavour, while 
board member Ms Hu Wenyan looks on warily.

Albert Lin's Review of AZARIAH TAN'S PIANO RECITAL

(Click on image to enlarge)

Some background information:

The Young Virtuoso Recital Series is now part of The Asian Pianist Recital Series, organised by Singapore Conference Hall. The Young Virtuoso Recital was created in 2005 to highlight talented young Singaporean pianists who otherwise did not have a chance to showcase their musical abilities due to the lack of opportunities. It was first parked in the Singapore International Piano Festival from 2005 to 2009, until it was unceremoniously dropped by the Singapore Symphonia Co. Ltd. (which has since featured zero Singaporeans).   

There was just one stipulation for each performer: they were to include an original piano work by a Singaporean or Singapore-based composer in their recital.  

Young Singaporeans who have played in this series (and composers featured) were:

2005: Lim Yan 

2006: Lee Pei Ming (Dick Lee)

2007: Albert Lin (Zechariah Goh, Joyce Koh & PM.Lindborg)

2008: Sandi Koh (Tan Chan Boon)

2009: Nicholas Loh (John Sharpley)

2009: Yao Xiao Yun (Leong Yoon Pin)

2013: Abigail Sin (Emily Koh)

2013: Azariah Tan (Kawai Shiu)

THE ASIAN PIANIST: AZARIAH TAN Piano Recital / Photographs

Singaporean AZARIAH TAN PENG CHAY was the third pianist to appear in The Asian Pianist recital series organised by Singapore Conference Hall. He is also the most recent artist selected for the Young Virtuoso Recital, which has been an ongoing series and platform for Singapore's most talented young pianists since 2005. The previous Young Virtuoso featured was Abigail Sin who performed her recital at the same venue on 5 May 2013.

An hour before the recital commenced, a Pianophile Forum was held where invited panellists shared with the audience a selection of their favourite recordings by Asian pianists. The "expert panel" comprised Dr Kevin Tan (Law lecturer and former President of the Singapore Heritage Society), Mr Phan Ming Yen (former Straits Times critic, former The Arts Magazine editor, present Republic Polytechnic lecturer), Mr Victor Khor (concert pianist and alumnus of the Moscow Conservatory) and yours truly.

On the right, Victor Khor plays his I-pad for curious listeners.
The Vietnamese Dang Thai Son is his favourite Asian pianist.

No recordings by Lang Lang, Yundi or Yuja Wang were aired. Instead snippets from Li Ming Qiang (playing Enesco and Chopin), Raul Sunico (Saint-Saëns), Dang Thai Son (Rachmaninov and Mozart), Minoru Nojima (Liszt), Akira Eguchi (Franck) and Esther Budiardjo (Godowsky) were offered. The little audience in the Exhibition Hall was transfixed.  

The lighting in the hall ensured that
Azariah was a glittering presence!

Azariah Tan's piano recital was the main event, of course. It was a very well-balanced programme which had a bit of everything. He opened with J.S.Bach's Partita No.5 in G major and Mozart's Sonata in B flat major K.333, yielding performances of true musicality, style and not a bit of showmanship. 

After the interval, he gave a short preamble on a newly commissioned work by Singapore-based composer Kawai Shiu called Zraz Za, an atonal contemplation on Chopin's A minor Prelude (Op.28 No.2) which is a play on both Azariah's name and the the two syllables of Chop-In. He thanked the Very Special Arts, his very loyal supporters over the years, for commissioning the work.

The composer Kawai Shiu (right) acknowledges
Azariah's World Premiere of Zraz Za.

Azariah completed his programme with Chopin's Berceuse, Fourth Ballade and Liszt's Hungarian Rhapsody No.12. His sensitivity showed in the short cradle song, while he let rip for the virtuoso pieces that closed the recital. His free-wheeling style in the Liszt was particularly impressive, and sent the house into raptures. He performed two encores, both Chopin Études, Op.10 No.3 (E major) and Op.25 No.9 (G flat major).

Azariah is presently his Honours degree at the University of Michigan, and he had to fly off at 3 am the next morning! We certainly look forward to his next recital in Singapore. 

Signing autographs can be hard work too!

The University connection: (From L to R) Dr Kawai Shiu, Prof. Albert Tiu and Prof. Seah Kar Heng (Mechanical Engineering, NUS), Dr Christina Tan (School of the Arts) and Prof. Bernard Lanskey (Head, Yong Siew Toh Conservatory)

Azariah had a legion of Filipino fans, and here they meet
the Pinoy Piano Idol Albert Tiu,
who was Azariah's principal teacher at the Conservatory.  

(From L to R): Geoffery Yu, Guy Hentsch, Prof. Thomas Hecht
(Head of Piano, YST), Florence Fauls (former SSO Programme Executive) and Mike Fauls.

Azariah with his piano teacher Winnie Tay (extreme right),
Angelyn Aw (3rd from R) and piano students. 

Meeting of the Tan clan: (From L to R): Dr Tan Chay Hoon (Aza's mother), Dr Christina Tan,
Mr Leslie Tan (Aza's father), Aza, Dr and Mrs Kevin Tan.

Aza with the Singapore Conference Hall staff.

THE ASIAN PIANIST RECITAL SERIES presents AZARIAH TAN (Singapore)

Don't miss this exciting piano recital by one of Singapore's top young talents!

When: Sunday 1 September 2013, 7 pm
Where: Singapore Conference Hall

Programme: 

BACH Partita No.5 in G major
MOZART Sonata in B flat major, K.333
KAWAI SHIU Zraz Za   WORLD PREMIERE
CHOPIN Berceuse, Op.57
CHOPIN Ballade No.4, Op.52
LISZT Hungarian Rhapsody No.12

There will be a pre-concert forum on Favourite Asian Pianist Recordings at 6 pm in Exhibition Hall 1 (First Floor). Admission is free.

A short article in The Straits Times 
published on 23 August 2013.
(Click on image to enlarge)

Review of MARY WU'S PIANO RECITAL by The Straits Times reviewer Albert Lin

Published in Life! on 27 August 2013.

Photos from MARY WU'S PIANO RECITAL

The Hong Kong pianist MARY MEI-LOC WU was the second pianist to be featured in The Asian Pianist Recital Series presented by Singapore Conference Hall. Her piano recital took place on Sunday 25 August 2013, and she performed works by Bach-Busoni, Ravel, Gershwin, Chopin, Bright Sheng, Zhou Long, Victor Chan and Joyce Tang. A requisite of this series is that pianists must perform music from their country of origin. On this occasion, Mary performed pieces from four Chinese composers, which include two composers from Hong Kong. Needless to say, all these performances were Singapore premieres, while Images, Colours by Joyce Tang was a World Premiere. 

The recital was preceded by a pre-concert talk by local music historian Phan Ming Yen on the subject of The Rise of the Asian Pianist. Always interesting and thought-provoking, he suggested that the higher profile Asian pianists assume on the world stage today might be due to Western classical music seeking a new market in Asia, with the rise of the middle classes in the nations of the Far East. He introduced some interesting but lesser known Asian pianists who made their name in the 1950s and 60s, such as the Japanese Kiyoko Tanaka and Chinese Liu Shih Kun, by some rare recordings. He also intimated that great Asian pianists had existed 50 years ago, and may even be better than the current high profile lot represented by Lang Lang and Yundi.  

A rapt audience listening to some historical Asian piano recordings.

Mary's recital opened at 7 pm with a performance of the Bach-Busoni chorale prelude Ich ruf' zu dir, Herr Jesu Christe.  This was followed by a stunning reading of Ravel's Gaspard de la nuit. Notice how Singapore Conference Hall uses different projections to accompany the various works. These were not chosen in conjunction with the ongoing Singapore Night Festival!

The four Chinese works performed were Bright Sheng's My Song, Victor Chan's Passion Within (inspired by the aftermath of the 2003 SARS tragedy in Hong Kong), Zhou Long's Wu Kui (Hunter's Dance) and Joyce Tang's  Images, Colours. In certain ways, these were the most interesting works because some of the Chinese idioms and rhythms used showed a shared heritage with the better known scores of Bartok and Ginastera. Chan's piece had even a New Age and gospel sensibility to it, while Tang's three-movement work, dedicated to Mary Wu, was impressionistic. All the works were tonal and very accessible.

Pastel blue, with no moving images, was used as the backdrop for
Gershwin's Rhapsody in Blue, naturally! Fortunately this was
the same setting used for Chopin's Third Sonata.

Despite the small audience, Mary Wu's recital was very well received, and she performed two encores, Albeniz's Evocacion from Iberia Book 1, and I Got Rhythm from The Gershwin Songbook.

.

More work after the recital,
signing autographs!

Mary Wu meets with Azariah Tan,
who performs in the next recital
on 1 September 2013, and members
of The Asian Pianist artistic team.