Eyo Hock Seng and Kumpulan Sri Yii Kah Hoe from Kuo Pao Campuran Kun’S Play of the Same Title 23’

Total Page:16

File Type:pdf, Size:1020Kb

Eyo Hock Seng and Kumpulan Sri Yii Kah Hoe from Kuo Pao Campuran Kun’S Play of the Same Title 23’ TitianBudayaNight: CrossingCultures CELEBRATING YEARS OF SINGAPORE- MALAYSIA FRIENDSHIP PROGRAMME 8 December 2015, Tuesday 8.30pm Dewan Filharmonik PETRONAS TITIAN BUDAYA NIGHT: CROSSING CULTURES Singapore Chinese Orchestra and Friends Music Director / Conductor: Tsung Yeh Izpirazione II Simon Kong Su Leong Movement II: Rambutan 3’ 10” Dialogue for Solo Tabla and Chinese Orchestra Eric Watson Tabla: Jatinder Singh Bedi 10’ The Silly Little Girl & The Funny Old Tree* Adapted and composed by Wayang Kulit: Eyo Hock Seng and Kumpulan Sri Yii Kah Hoe from Kuo Pao Campuran Kun’s play of the same title 23’ Intermission 20’ Montage: Three Movements for Jazz Piano & Kelly Tang Chinese Orchestra Piano: Jeremy Monteiro Drum: Tamagoh Bass: Frankie Lee 23’ Songs of P. Ramlee* Composed by P. Ramlee Vocal: Taufik Batisah Re-arranged by Eric 10’ Watson Approximate concert duration: 1h 30min *Commissioned for Titian Budaya All works are Malaysian premieres 3 Message from Message from MINISTER FOR CULTURE, COMMUNITY AND YOUTH, MINISTER FOR TOURISM AND CULTURE, SINGAPORE MALAYSIA Titian Budaya is a celebration of fifty years of close Cultural cooperation and exchange programmes are friendship between Singapore and Malaysia. important to foster friendly relations between people, especially neighbouring countries and to strengthen Since 1965, we have enjoyed many cultural exchanges cultural cooperation based on the principles of mutual that have thrilled audiences on both sides of the respect for sovereignty, equality, reciprocity and mutual Causeway. Many of Singapore’s artists have had the benefit. Such cultural exchanges provide opportunities opportunities to perform or exhibit their works in for us to learn about each other’s distinctive cultures Malaysia. At the same time, Singapore has had the and traditions. privilege of hosting many of Malaysia’s talented artists at Singapore’s cultural events, festivals and institutions. In this regard, the Ministry of Tourism and Culture of Malaysia is honoured to host Singapore’s Titian Budaya Riding on the spirit of collaboration between our artists, cultural showcase to celebrate the friendship between Titian Budaya is a specially curated cultural season. Singapore and Malaysia, marking 50 years of established Some 400 artists and creative talents, of which 150 are diplomatic relations between both nations. from Malaysia, have come together to present the best in music, dance, art and film from our countries. Titian I strongly believe that the variety of events including Budaya is a fitting tribute to the close ties between the traditional orchestral sounds to indie music and people of Singapore and Malaysia. acoustic beats, photography, short and feature films and craftworks will give an opportunity for us to At the heart of this cultural season is Titian Budaya have a closer insight and appreciate the social and Night: Crossing Cultures. It brings together outstanding traditional aspects of Singapore. It is also believed Singaporean and Malaysian artists and composers that Titian Budaya will create awareness and closer to celebrate the shared musical icons, traditions and bonds amongst Malaysians and Singaporeans on the influences of our countries and our people. importance of understanding the distinctive culture of our neighbouring countries as culture has been I would like to express my deepest appreciation to the recognised as the essence of life regardless of borders. Ministry of Tourism and Culture and all our partners from Malaysia, without which tonight’s event would not With that, I would like to congratulate Her Excellency have been possible. Grace Fu, Minister for Culture, Community and Youth, Singapore for successfully hosting Titian Budaya in Kuala Lumpur. We appreciate the opportunity given to GRACE FU us to witness and experience Singapore’s fabulous and vibrant cultural landscape. “Malaysia Year of Festivals 2015 - Endless Celebrations” 4 MOHAMED NAZRI BIN ABDUL AZIZ 5 About SINGAPORE CHINESE ORCHESTRA Inaugurated in 1997, the 85-musician such as the World Economic Forum and Singapore Chinese Orchestra (SCO) is International Summit of Arts Council in Singapore’s only professional Chinese 2003, and the 2006 International Monetary orchestra as well as a flagship local arts Fund (IMF) Annual Meeting. group. Its patron is Singapore’s Prime Minister Lee Hsien Loong. Taking on the The orchestra also toured Beijing, Shanghai twin role of preserving traditional arts and Xiamen in 1998 and Taiwan in 2000. and culture and establishing new frontiers In 2005, it performed at the Budapest through the incorporation of Southeast Spring Festival and the Singapore Season Asian cultural elements, its home is the in London and Gateshead. In 2007, SCO Singapore Conference Hall. performed at the Beijing Music Festival, the Singapore Season in the China Shanghai Since its inception, SCO has impressed a International Arts Festival, and the Macau broadening audience with its blockbuster International Music Festival. In May 2014, presentations and is fast establishing itself SCO was invited to perform at the Shanghai among its counterparts around the world. Spring International Music Festival and In 2002, it staged a symphonic fantasy epic in Suzhou to celebrate the Singapore- Marco Polo and Princess Blue as part of the Suzhou Industrial Park’s 20th anniversary. opening festival of Esplanade – Theatres on These international platforms provided the Bay. The following year, SCO produced SCO with the opportunities to showcase its a musical and visual conversation with talents, propelling it to the forefront of the Singapore’s most eminent multi-disciplinary international music arena. artist Tan Swie Hian at the Singapore Arts Festival 2003. The orchestra celebrated In line with its vision to be a world-renowned Singapore’s 39th National Day in 2004 people’s orchestra, SCO widens its outreach with a spectacular concert – Our People, by performing regularly at various national Our Music – featuring 2,400 local music parks, communities and schools. SCO also enthusiasts at the Singapore Indoor Stadium. commissions its own compositions and in In 2005, it produced a mega musical 2006 and 2011, organised the Singapore production, Admiral of the Seven Seas, as International Competition for Chinese part of the Singapore Arts Festival 2005. Orchestral Composition that incorporates In 2007, SCO was part of the 240-strong Nanyang musical elements from Southeast combined orchestra that performed at Asia. In 2012, SCO organised Singapore’s the Singapore National Day Parade. In the first 23-day National Chinese Orchestra Singapore Arts Festival 2008, SCO joined Marathon, a spectacular feat that drew hands with TheatreWorks to present the the participation of 31 local Chinese ground breaking production Awaking, orchestras, with over 44 performances and which brought together Kunqu opera an audience of 20,000. On 28 June 2014, music and Elizabethan music. In 2009, SCO SCO created history through the second made history by becoming the first Chinese instalment of Our People Our Music by orchestra to perform in the opening week breaking two Guinness World Records with of the Edinburgh International Festival, and the Largest Chinese Drum Ensemble of in 2010, performed in Paris as part of the 4,557 performers and the Largest Chinese Singapour Festivarts. Orchestra of 3,558 performers at the National Stadium, Singapore Sports Hub. Well-known for its high performance It is with this vision that SCO continues to standards and versatility, the SCO has inspire, influence, educate and communicate 6 performed at numerous prestigious events through its music. 7 Photo: SCO Music Director / Conductor TSUNG YEH Photo: SCO Tsung Yeh joined the Singapore Chinese Orchestra (SCO) as Tsung Yeh is also the Music Director of the In 1983, he began his post-graduate study Music Director in January 2002. Under his direction, SCO South Bend Symphony Orchestra in the at Yale University under Otto Werner- expanded its repertoire with innovative works such as Marco Polo United States. In 1995, he was honoured with Mueller. He also studied conducting with and Princess Blue – A Symphonic Epic, Instant is a Millennium the ASCAP Award together with the South Max Rudolf, Leonard Slatkin, Murry Sidlin, – A Musical Conversation with Tan Swie Hian, The Grandeur of Bend Symphony Orchestra. In addition, Sidney Harth, Han Zhong Jie, Huang Yi Jun Tang, Thunderstorm, Admiral of the Seven Seas and Awaking. In he has served as the Music Director of the and Cao Peng. Awaking, he melded Shakespeare and Tang Xianzu’s plays into Hong Kong Sinfonietta. one, elevating Chinese orchestral music to a higher level. In May 2001, Tsung Yeh conducted the Paris- As part of the Conductors’ Mentor Shanghai Duplex Concert – a collaboration As Music Director of Singapore’s National Day Parade 2007, Programme sponsored by the Chicago of the French National Symphony Orchestra Tsung Yeh conceptualised a symphonic music structure with Symphony Orchestra, he worked with and Shanghai Broadcasting Orchestra – supreme, textured virtuosity that incensed national pride in Music Director Daniel Barenboim and that was broadcast via satellite to millions the air. 240 musicians from the SCO, Singapore Symphony Principal Guest Conductor Pierre Boulez. of viewers in Europe and Asia. His previous Orchestra (SSO), Singapore Armed Forces (SAF) Central Band, In April 1991, he replaced the indisposed engagements include San Francisco, Malay and Indian ensembles Nanyin ensemble and a chorus Barenboim
Recommended publications
  • A Special Issue to Commemorate Singapore Bicentennial 2019
    2019 A Special Issue to Commemorate Singapore Bicentennial 2019 About the Culture Academy Singapore Te Culture Academy Singapore was established in 2015 by the Ministry of Culture, Community and Youth to groom the next generation of cultural leaders in the public sector. Guided by its vision to be a centre of excellence for the development of culture professionals and administrators, the Culture Academy Singapore’s work spans three areas: Education and Capability Development, Research and Scholarship and Tought Leadership. Te Culture Academy Singapore also provides professional development workshops, public lectures and publishes research articles through its journal, Cultural Connections, to nurture thought leaders in Singapore’s cultural scene. One of the Academy’s popular oferings is its annual thought leadership conference which provides a common space for cultural leaders to gather and exchange ideas and best practices, and to incubate new ideas. It also ofers networking opportunities and platforms for collaborative ideas-sharing. Cultural Connections is a journal published annually by the Culture Academy Singapore to nurture thought leadership in cultural work in the public sector. Te views expressed in the publication are solely those of the authors and contributors, and do not in any way represent the views of the National Heritage Board or the Singapore Government. Editor-in-Chief: Tangamma Karthigesu Editor: Tan Chui Hua Editorial Assistants: Geraldine Soh & Nur Hummairah Design: Fable Printer: Chew Wah Press Distributed by the Culture Academy Singapore Published in July 2019 by Culture Academy Singapore, 61 Stamford Road #02-08 Stamford Court Singapore 178892 © 2019 National Heritage Board. All rights reserved. National Heritage Board shall not be held liable for any damages, disputes, loss, injury or inconvenience arising in connection with the contents of this publication.
    [Show full text]
  • Title 'Informal Learning': Lessons from Third Generation Composers for The
    Title ‘Informal learning’: Lessons from third generation composers for the wind ensemble in Singapore Author JinXing, Lai Source 4h Redesigning Pedagogy International Conference, Singapore, 30 May to 1 June 2011 This document may be used for private study or research purpose only. This document or any part of it may not be duplicated and/or distributed without permission of the copyright owner. The Singapore Copyright Act applies to the use of this document. Redesigning Pedagogy 2011 1 ‘INFORMAL LEARNING’: LESSONS FROM THIRD GENERATION COMPOSERS FOR THE WIND ENSEMBLE IN SINGAPORE JinXing, Lai National Institute of Education, Nanyang Technological University, Singapore Paper presented at the 4th Redesigning Pedagogy International Conference May/June 2011, Singapore Redesigning Pedagogy 2011 2 Abstract The musical practice of the Wind Ensemble in Singapore dates back to at least the 19 th century. Dairianathan (2006b: 31) noted how historically " references to the presence of the Band in Singapore seem to have been caught between apparent absences to relatively little known activity among military bandsmen as professionals ". In recent years, the musical practice witnessed a new breakthrough from its enigmatic past, as Dairianathan (2006a: 313) observed that “Band Music underwent a transition towards Music for the Band.” Within the first decade of the new millennium, works for the wind ensemble have been written by young Singaporeans. Two outstanding names are Wong Kah Chun whose compositions are published by Tierolff Music and Benjamin Yeo, whose compositions are published by C.L Barnhouse and Beriato Music. The notable achievement of Wong and Yeo as third generation Singaporean composers was to have their works published by international publishers.
    [Show full text]
  • A Cultural History of the Singapore Arts Festival, 1959 to 2012
    Designing Culture, Policies and Festivals: A Cultural History of the Singapore Arts Festival, 1959 to 2012 VENKATESWARA PURUSHOTHAMAN ORCID ID: 0000-0003-0861-3824 Submitted in total fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY July 2017 Screen & Cultural Studies School of Culture and Communication Faculty of Arts The University of Melbourne Abstract This thesis studies the culture and cultural policies of postcolonial Singapore to chart the cultural history of the Singapore Arts Festival from 1959 to 2012. The study undertakes a detailed examination of the production of culture and contextualises the morphing cultural landscape that informs the Singapore Arts Festival. This thesis is in two parts. Part One sets out the historical contexts and conditions that inform the nature and direction of the Singapore Arts Festival. It studies the design of culture built around multiculturalism, Asian Values and Shared Values and shows how dynamic and pragmatic cultural policies weave these ideas into economic and cultural development in Singapore. The thesis sketches the role of arts in nation-building in the late 20th century and how the role metamorphoses to support economic imperatives of the 21st century. This sets the backdrop for the study of the Singapore Arts Festival. Part Two maps the cultural history of the Singapore Arts Festival through the study of all documented arts festivals from 1959 to 2012. The thesis shows how the Singapore Arts Festival harnessed artistic communities, inspired audiences, developed new platforms for the arts and became an artistic creator and arbiter of cutting-edge performances and productions for a global arts market.
    [Show full text]
  • The Straits Times Life! 03 July 2008 Page 2 -3 Tune
    The Straits Times Life! 03 July 2008 Page 2 -3 Tune Smiths / Music to Call Our Own It's hard to make a living writing classical music in Singapore, but a small group of composers here scores in terms of passion You might not know it, but two music compositions in the recent Singapore Arts Festival caused a small ripple of excitement within the classical music community here. Two works commissioned by festival director Goh Ching Lee – Shades Of Oil Lamps by Dr Ho Chee Kong and Cherish by Tan Chan Boon – were premiered by the London Sinfonietta and the Singapore Festival Orchestra respectively. Ho, who is head of composition at the Yong Siew Toh Conservatory of Music, says: "It was an honour to have my work premiered by a world-class orchestra." Tan says the last time his work was performed at the Singapore Arts Festival was nine years ago when his work, Grand Caprice, was performed by viola player Jensen Lam. The performances at the festival have shone a spotlight on the small but thriving group of 20 to 30 classical composers in Singapore. Concertgoers can expect to hear local works played on a fairly regular basis. At least one Singapore work is performed every two to three months, alongside the works of the masters or international contemporary composers. Singapore composers range from pioneers Leong Yoon Pin, 76, and Phoon Yew Tian, 55, to Dr Ho, 44, and Tan, 42, who are fairly well-known. Heating up the scene are newer composers such as Zechariah Goh Toh Chai, 38, and Joyce Koh, 40.
    [Show full text]
  • Do Singaporean Classical Composers Incorporate Elements Of
    Do Singaporean classical composers incorporate elements of Singaporean culture into their works? SIM LI KERN, MARK Originally submitted in partial fulfilment of the requirements for the degree of Bachelor of Arts (Hons) Music LASALLE College of the Arts School of Contemporary Music Singapore 2018 All Rights Reserved, National Library Board, Singapore Table of Contents INTRODUCTION 1 CHAPTERS CHAPTER 1: DEFINITION OF “NATIONAL CULTURE”. FINLANDIA AND MÁ VLAST. 4 CHAPTER 2: EXAMPLES OF SINGAPOREAN CLASSICAL COMPOSERS INTEGRATING 7 ELEMENTS OF SINGAPOREAN CULTURE INTO THEIR PIECES. CHAPTER 3: THOUGHTS AND REFLECTIONS ON THE RESEARCH PROCESS 26 CONCLUSION 30 WORKS CITED 31 APPENDICES Interview Questions 36 All Rights Reserved, National Library Board, Singapore Sim 1 Introduction In an interview with TIME magazine on July 10, 2015, Prime Minister of Singapore Mr. Lee Hsien Loong was asked what he thought is the largest challenge that Singapore is currently facing. His answer was, taking into consideration a 50-year timeframe, the sense of national identity. Mr. Lee felt that in order for the Singaporean government to implement any policies effectively and get the citizens to make important decisions, the people must feel that they are Singaporeans. Essentially, Singaporeans need to be united and believe that they are unique and have their own special place in the world (Beech et al.). What, then, comprises the Singaporean identity? Singlish, Singapore’s distinctive patois which blends English with other local dialects and languages? Common cultural traits such as “choping” (reserving) a table at a food court with a packet of tissue? The nation’s hawker food heritage, which features dishes from different cultures, like Indian rojak, bak ku teh and laksa (Tsang 58)? Rallying around what is “native” to Singapore and honoring the unique aspects of the country would be an excellent starting point.
    [Show full text]
  • October Music Festivals at the Arts House Celebrate Music with the Inaugural Singapore International Festival of Music and the 5Th Anniversary of the Lieder Festival
    FOR IMMEDIATE RELEASE October Music Festivals at The Arts House Celebrate music with the inaugural Singapore International Festival of Music and the 5th Anniversary of the Lieder Festival Singapore, 16 September 2015 – The Arts House is home to two music festivals in October – the inaugural Singapore International Festival of Music from 26 September to 10 October, and the 5th Lieder Festival from 16 to 18 October. Singapore International Festival of Music Presented by The Arts House and OperaViva, the Singapore International Festival of Music (SIFoM) is the first classical music festival in Singapore and showcases over 40 young Singapore musicians. Themed War & Peace, the Festival will feature six chamber music concerts with Singapore musicians as the pillars of the Festival. With repertoire from Messiaen’s Quartet for the End of Time to Grigori Frid’s The Diary of Anne Frank, the music of this Festival serves as a reminder that hardship and peace can bring forth great art. In addition, the Festival will include the world premiere of a new composition by Malaysia’s preeminent composer, Chong Kee Yong, whose String Quartet will be unveiled. “The Arts House is delighted to be part of SIFoM where we engage with an outstanding cohort of classical musicians, eager to share the fruits of the hard work, knowledge and skills they acquired in prestigious international institutions. In an age when cultural activities and businesses are diversifying and proliferating, institutions such as ours must have the intuition to recognise the particular needs of our artists and to create a nurturing environment for them to grow and to sustain their growth,” says Lee Chor Lin, Chief Executive Officer of Arts House Limited.
    [Show full text]