Next Concert
Russian Revolution
Chan Tze Law, conductor
Lim Yan, piano
Date: 21 Mar 2010, Sunday
Venue: Yong Siew Toh Conservatory Concert Hall
Time: 7.30pm
PYOTR I. TCHAIKOVSKY Romeo and Juliet Fantasy-Overture
PYOTR I. TCHAIKOVSKY Piano Concerto No. 1 , Op. 23
SERGEI PROKOFIEV Symphony No. 5 , Op. 100
Lim Yan, recipient of the National Arts Council 2006 Young Artist Award joins the orchestra in Tchaikovsky’s ever-popular First Piano Concerto, which was once deemed unplayable. Similarly, Tchaikovsky’s Romeo and Juliet did not meet with immediate success but is now one of his best-known works. The orchestra closes the concert with one of the most popular 20th century symphonies - Prokofiev's Fifth, which according to the composer, "glorifies the strength and beauty of the human spirit"
Chan Tze Law, conductor
Lim Yan, piano
Date: 21 Mar 2010, Sunday
Venue: Yong Siew Toh Conservatory Concert Hall
Time: 7.30pm
PYOTR I. TCHAIKOVSKY Romeo and Juliet Fantasy-Overture
PYOTR I. TCHAIKOVSKY Piano Concerto No. 1 , Op. 23
SERGEI PROKOFIEV Symphony No. 5 , Op. 100
Lim Yan, recipient of the National Arts Council 2006 Young Artist Award joins the orchestra in Tchaikovsky’s ever-popular First Piano Concerto, which was once deemed unplayable. Similarly, Tchaikovsky’s Romeo and Juliet did not meet with immediate success but is now one of his best-known works. The orchestra closes the concert with one of the most popular 20th century symphonies - Prokofiev's Fifth, which according to the composer, "glorifies the strength and beauty of the human spirit"
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Press: Concert Review - Mahler 1: Memories of Youth
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The Straits Times LIFE!
Tuesday, 5 January 2010
(c) 2009 Singapore Press Holdings
Reviewer: Chang Tou Liang
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Concert: Mahler 1: Memories of Youth
Concert Date: 3 January 2010
Venue: Victoria Concert Hall, Singapore
Conductor: Chan Tze Law
Soloists: Cheryl Lim (flute), Laura Peh (harp)
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After a year of over-achieving, the Orchestra of the Music Makers has hit the ground running in the new decade. In what resembles a promising beginning to a Mahler symphony cycle, the young musicians put on a show of instrumental prowess that beggared belief.
The evening began in the manner which the Vienna Philharmonic closes its New Year Concerts, with Johann Strauss the Younger's Blue Danube Waltz. Gossamer light tremolo strings ushered in the opening horn solo, which unfortunately did not have the mythical quality of sounding from afar. The brass chorale also lacked subtlety, making for a bumpy first half-minute. However, as soon as the waltz rhythm got underway, it was plain sailing, even affording the luxury of several tantalising rubatos.
The Viennese theme continued with Mozart's lovely Concerto in C major (K.299) for flute and harp. A work of exquisite craftsmanship rather than inspirational genius, it showcased two young ladies who were also members of OMM. Cheryl Lim was the more confident, projecting a tone of crystal-like clarity and seamlessness throughout. Harpist Laura Peh, a tender 16, had several awkward moments with wrong notes, but held her own with composure and grace. Together, the music alternated between lyrical beauty and scintillation, ably supported by the unobtrusive orchestra.
The test of the pudding was surely in Gustav Mahler's First Symphony, nicknamed The Titan. Its opening pianissimo hum of nature was a feat of control from the strings, and woodwind solos also distinguished, notably clarinetist Vincent Goh's cuckoo impressions. While the solo French horn had issues with flubbed passages, the massed group of eight horns was a force to behold.
It was this selfsame unity of spirit that galvanised the ensemble as a whole, rendering an invigorating performance that was greater than the sum of its disparate parts. The dance and funeral march of the middle movements were suitably earthy and raw, nuances that so coloured Mahler's world of banalities, skillfully brought out by conductor Chan Tze Law.
If there were moments that simply blew one away, these would be the finale's agonising "cry from the wounded heart", a 20-minute journey from tragedy to final triumph. These youngsters, for whom nothing is impossible, certainly know the meaning of "titanic".
The Straits Times LIFE!
Tuesday, 5 January 2010
(c) 2009 Singapore Press Holdings
Reviewer: Chang Tou Liang
-------------------------------------------------------------
Concert: Mahler 1: Memories of Youth
Concert Date: 3 January 2010
Venue: Victoria Concert Hall, Singapore
Conductor: Chan Tze Law
Soloists: Cheryl Lim (flute), Laura Peh (harp)
-------------------------------------------------------------
After a year of over-achieving, the Orchestra of the Music Makers has hit the ground running in the new decade. In what resembles a promising beginning to a Mahler symphony cycle, the young musicians put on a show of instrumental prowess that beggared belief.
The evening began in the manner which the Vienna Philharmonic closes its New Year Concerts, with Johann Strauss the Younger's Blue Danube Waltz. Gossamer light tremolo strings ushered in the opening horn solo, which unfortunately did not have the mythical quality of sounding from afar. The brass chorale also lacked subtlety, making for a bumpy first half-minute. However, as soon as the waltz rhythm got underway, it was plain sailing, even affording the luxury of several tantalising rubatos.
The Viennese theme continued with Mozart's lovely Concerto in C major (K.299) for flute and harp. A work of exquisite craftsmanship rather than inspirational genius, it showcased two young ladies who were also members of OMM. Cheryl Lim was the more confident, projecting a tone of crystal-like clarity and seamlessness throughout. Harpist Laura Peh, a tender 16, had several awkward moments with wrong notes, but held her own with composure and grace. Together, the music alternated between lyrical beauty and scintillation, ably supported by the unobtrusive orchestra.
The test of the pudding was surely in Gustav Mahler's First Symphony, nicknamed The Titan. Its opening pianissimo hum of nature was a feat of control from the strings, and woodwind solos also distinguished, notably clarinetist Vincent Goh's cuckoo impressions. While the solo French horn had issues with flubbed passages, the massed group of eight horns was a force to behold.
It was this selfsame unity of spirit that galvanised the ensemble as a whole, rendering an invigorating performance that was greater than the sum of its disparate parts. The dance and funeral march of the middle movements were suitably earthy and raw, nuances that so coloured Mahler's world of banalities, skillfully brought out by conductor Chan Tze Law.
If there were moments that simply blew one away, these would be the finale's agonising "cry from the wounded heart", a 20-minute journey from tragedy to final triumph. These youngsters, for whom nothing is impossible, certainly know the meaning of "titanic".
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