Press and Reviews
Concert review - Mahler 2: Resurrection
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The Straits Times LIFE!
Monday, 12 July 2010
(c) 2010 Singapore Press Holdings
Reviewer: Chang Tou Liang
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Concert: Mahler 2 - Resurrection
Concert Date: 10 July 2010
Venue: Esplanade Concert Hall, Singapore
Conductor: Chan Tze Law
Soloists: Jeong Ae Ree (Soprano), Rebecca Chellapah (mezzo-soprano), See Ian Ike (Violin)
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The Youth Olympic Games may be a month away, but the euphoric flush of youth has arrived, vociferously delivered by 350 young musicians and singers at the Esplanade. Never has there been a greater display of musical audacity, shored up by stoutest of hearts and truest of intentions.
Putting things into perspective, it took the Singapore Symphony Orchestra 15 years before giving the Singapore premiere of Gustav Mahler’s monumental Second Symphony in 1994. Two years was all that was needed for the Orchestra of Music Makers (OMM) and its guiding light Chan Tze Law to pull off that same Olympian feat, and with some to spare.
Max Bruch’s First Violin Concerto opened the concert, with young Singaporean See Ian Ike, soon headed for Philadelphia’s famed Curtis Institute, as soloist. Innate confidence, warmth and purity of tone, with unfailing musicality distinguished his playing, running the full gamut of this popular showpiece. A natural and unforced virtuosity, as opposed to making a meal of vacuous gestures, was why this young man stood out. His rock-steady showing will forever put into the shade the recent travesty in the same work by “superstar” Sarah Chang, ice maiden of heartless pyrotechnics.
Fireworks lit up Marina Bay during the intermission, but sparks of a different kind soon ignited in Mahler’s Resurrection Symphony. When stirring tremolos and low strings forcefully opened accounts, it was apparent this was to be a reading of no half-measures. Mahler once proclaimed that “the symphony must embrace everything”, and so OMM plumbed the depths and scaled the peaks.
While the funereal first movement could have benefited from a tauter rein, the force of intent was palpable. The tragedy was for real. Massive climaxes rocked the foundations while excellent solos from flautist Cheryl Lim and concertmaster Edward Tan set the tone for instrumental finery to come.
The leisurely Ländler lilt of the slow movement unfolded with gentle insouciance, contrasted with a manic streak in the Scherzo, adapted from one of Mahler’s more surreal songs. The brief fourth movement showcased mezzo-soprano Rebecca Chellapah’s reassuring tones in Urlicht (Primal Light), a nascent calm before the cataclysmic finale.
The latter provided the tour de force of the evening, a hell-for-leather ride that skirted the abyss before the final choral apotheosis. Brass, on and off the stage, worked overtime and brilliantly. The 220-strong chorus’ collective whisper was rapt and mysterious, blending beautifully with soprano Jeong Ae Ree’s ethereal melismata. When they took to their feet for the valedictory proclamation of “Auferstehen” (Resurrection), it was to spine-tingling effect.
Tonight they have conquered the world. Goodness only knows what our sonic youth will accomplish in ten years’ time.
The Straits Times LIFE!
Monday, 12 July 2010
(c) 2010 Singapore Press Holdings
Reviewer: Chang Tou Liang
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Concert: Mahler 2 - Resurrection
Concert Date: 10 July 2010
Venue: Esplanade Concert Hall, Singapore
Conductor: Chan Tze Law
Soloists: Jeong Ae Ree (Soprano), Rebecca Chellapah (mezzo-soprano), See Ian Ike (Violin)
-------------------------------------------------------------
The Youth Olympic Games may be a month away, but the euphoric flush of youth has arrived, vociferously delivered by 350 young musicians and singers at the Esplanade. Never has there been a greater display of musical audacity, shored up by stoutest of hearts and truest of intentions.
Putting things into perspective, it took the Singapore Symphony Orchestra 15 years before giving the Singapore premiere of Gustav Mahler’s monumental Second Symphony in 1994. Two years was all that was needed for the Orchestra of Music Makers (OMM) and its guiding light Chan Tze Law to pull off that same Olympian feat, and with some to spare.
Max Bruch’s First Violin Concerto opened the concert, with young Singaporean See Ian Ike, soon headed for Philadelphia’s famed Curtis Institute, as soloist. Innate confidence, warmth and purity of tone, with unfailing musicality distinguished his playing, running the full gamut of this popular showpiece. A natural and unforced virtuosity, as opposed to making a meal of vacuous gestures, was why this young man stood out. His rock-steady showing will forever put into the shade the recent travesty in the same work by “superstar” Sarah Chang, ice maiden of heartless pyrotechnics.
Fireworks lit up Marina Bay during the intermission, but sparks of a different kind soon ignited in Mahler’s Resurrection Symphony. When stirring tremolos and low strings forcefully opened accounts, it was apparent this was to be a reading of no half-measures. Mahler once proclaimed that “the symphony must embrace everything”, and so OMM plumbed the depths and scaled the peaks.
While the funereal first movement could have benefited from a tauter rein, the force of intent was palpable. The tragedy was for real. Massive climaxes rocked the foundations while excellent solos from flautist Cheryl Lim and concertmaster Edward Tan set the tone for instrumental finery to come.
The leisurely Ländler lilt of the slow movement unfolded with gentle insouciance, contrasted with a manic streak in the Scherzo, adapted from one of Mahler’s more surreal songs. The brief fourth movement showcased mezzo-soprano Rebecca Chellapah’s reassuring tones in Urlicht (Primal Light), a nascent calm before the cataclysmic finale.
The latter provided the tour de force of the evening, a hell-for-leather ride that skirted the abyss before the final choral apotheosis. Brass, on and off the stage, worked overtime and brilliantly. The 220-strong chorus’ collective whisper was rapt and mysterious, blending beautifully with soprano Jeong Ae Ree’s ethereal melismata. When they took to their feet for the valedictory proclamation of “Auferstehen” (Resurrection), it was to spine-tingling effect.
Tonight they have conquered the world. Goodness only knows what our sonic youth will accomplish in ten years’ time.
Press: Concert Review - Russian Revolution
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The Straits Times LIFE!
Tuesday, 23 March 2010
(c) 2010 Singapore Press Holdings
Reviewer: Chang Tou Liang
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Concert: Russian Revolution
Concert Date: 21 March 2010
Venue: Yong Siew Toh Conservatory Concert Hall, Singapore
Conductor: Chan Tze Law
Soloists: Lim Yan (piano)
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One abiding mission of a young orchestra is to build repertoire, and none has succeeded with such ambition and speed as the Orchestra of the Music Makers. Having lofty ideas of programming is one thing, but execution is another. Despite the odds of not having the luxury of adequate rehearsal space and time, the orchestra's all-Russian programme displayed the length, breadth and depth of its prowess.
Tchaikovsky's Romeo and Juliet Overture began on a very deliberate tempo, but this escalated with Montagues and Capulets feuding with requisite bloodlust. The luscious strings ushered in the famous 'love theme', bringing a stirring climax to this musical advernture-cum-tragedy.
More drama ensued in Tchaikovsky's First Piano Concerto, which saw busy Singaporean pianist Lim Yan treat this warhorse not as a purely display piece but as a clearly thought-out essay pitting piano and orchestra.Excellent horns heralded its famous opening fanfare, while the pianist's majestically punched out chords rang out his intent in a non-histrionic and unfussy manner. With clarity in every phrase, the octave passages and treacherous first movement cadenza were delivered with immaculate aplomb. Orchestral support was big in gesture yet sensitive throughout.
There were some rough patches for soloist and band alike, but none that so plagued and derailed Li Yundi's in famous outing with the SSO last year.
So is Lim a better musician and pianist than Li? Unequivocally yes.
Arguably the best performance of the night was reserved for Prokofiev's Fifth Symphony, a product of wartime privations. Its message of the 'unquenchable spirit of man' reeks of Socialist Realist claptrap without disguising the well-crafted work that it is. Throughout the 45 minutes of the piece, conductor Chan Tze Law coaxed an admirable performance that eloquently brought out the Russian modernist's appealing blend of deliberate cacophony and long-held melody.
With the spectre of tragedy ever looming, there was biting irony, dark humour and even unabashed sentimentality. What kept this behemoth going was its sheer pace, aided by excellent brass and the ever-dependable Vincent Goh on solo clarinet. With engines, pistons and turbines in overdrive, it seemed this exhausting performance would never run out of steam, such was the fervour and drive of the young musicians.
After 2 1/2 hours, there was even time for an encore, Shostakovich's genial Waltz from the Second Jazz Suite. Revelations, Russian or otherwise, never seem to cease with this group.
The Straits Times LIFE!
Tuesday, 23 March 2010
(c) 2010 Singapore Press Holdings
Reviewer: Chang Tou Liang
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Concert: Russian Revolution
Concert Date: 21 March 2010
Venue: Yong Siew Toh Conservatory Concert Hall, Singapore
Conductor: Chan Tze Law
Soloists: Lim Yan (piano)
-------------------------------------------------------------
One abiding mission of a young orchestra is to build repertoire, and none has succeeded with such ambition and speed as the Orchestra of the Music Makers. Having lofty ideas of programming is one thing, but execution is another. Despite the odds of not having the luxury of adequate rehearsal space and time, the orchestra's all-Russian programme displayed the length, breadth and depth of its prowess.
Tchaikovsky's Romeo and Juliet Overture began on a very deliberate tempo, but this escalated with Montagues and Capulets feuding with requisite bloodlust. The luscious strings ushered in the famous 'love theme', bringing a stirring climax to this musical advernture-cum-tragedy.
More drama ensued in Tchaikovsky's First Piano Concerto, which saw busy Singaporean pianist Lim Yan treat this warhorse not as a purely display piece but as a clearly thought-out essay pitting piano and orchestra.Excellent horns heralded its famous opening fanfare, while the pianist's majestically punched out chords rang out his intent in a non-histrionic and unfussy manner. With clarity in every phrase, the octave passages and treacherous first movement cadenza were delivered with immaculate aplomb. Orchestral support was big in gesture yet sensitive throughout.
There were some rough patches for soloist and band alike, but none that so plagued and derailed Li Yundi's in famous outing with the SSO last year.
So is Lim a better musician and pianist than Li? Unequivocally yes.
Arguably the best performance of the night was reserved for Prokofiev's Fifth Symphony, a product of wartime privations. Its message of the 'unquenchable spirit of man' reeks of Socialist Realist claptrap without disguising the well-crafted work that it is. Throughout the 45 minutes of the piece, conductor Chan Tze Law coaxed an admirable performance that eloquently brought out the Russian modernist's appealing blend of deliberate cacophony and long-held melody.
With the spectre of tragedy ever looming, there was biting irony, dark humour and even unabashed sentimentality. What kept this behemoth going was its sheer pace, aided by excellent brass and the ever-dependable Vincent Goh on solo clarinet. With engines, pistons and turbines in overdrive, it seemed this exhausting performance would never run out of steam, such was the fervour and drive of the young musicians.
After 2 1/2 hours, there was even time for an encore, Shostakovich's genial Waltz from the Second Jazz Suite. Revelations, Russian or otherwise, never seem to cease with this group.
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
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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)
-------------------------------------------------------------
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".
Press: Concert Review - WAYO/OMM: When Heavens Collide
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The Straits Times LIFE!
Tuesday, 16 December 2009
(c) 2009 Singapore Press Holdings
Reviewer: Chang Tou Liang
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Concert: When Heavens Collide
Concert Date: 14 December 2009
Venue: Esplanade Concert Hall, Singapore
Conductors: Peter Moore, Chan Tze Law
Western Australian Youth Orchestra
Orchestra of the Music Makers
Queensland Festival Chorus
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When heavens collide, a big bang usually results. That was the intention of this joint concert that paired the best young musical outfits from Singapore and Perth, Western Australia. The storm of high decibels began with Mars, The Bringer of War, first movement from The Planets by Gustav Holst.
Led by master orchestra-builder Chan Tze Law, the gauntlet was thrown, with confident brass issuing the call to arms over an insistent rhythmic thrust that never let up. It was in impressive start that got even better with the quicksilver reflexes of Mercury, The Winged Messenger and the hymn-like countenance of Jupiter, The Bringer of Jollity.
Only in the slower movements was the large orchestra really challenged. Venus, The Bringer of Peace could have been a tad more tender, while Saturn, The Bringer of Old Age ached a little from its arthritic pace. However, the solos shone, including concertmaster See Ian Ike's little melodies on the violin and many others too numerous to name.
The infectious swagger of Uranus, the Magician then made way for ethereal in Neptune, The Mystic, when voices from the Queensland Festival Chorus wafted like ghostly apparitions through the trellises behind the gallery. Perhaps a more mysterious pianissimo could have been coaxed, but the idea of extreme remoteness and an icy chill was achieved.
Peter Moore, better known as Uncle Peter of Babies Proms fame, led the orchestra on two battlefronts. The former was an exuberant reading of the Symphonic Dances from Bernstein's West Side Story, one with two robust shouts of Mambo! that put the Singapore Symphony Orchestra's usually tepid attempts into the shade. Most impressive was the beautiful string sound that brought out the true pathos of the hit number Somewhere.
The latter was the much-anticipated Star Wars Suite, where John Williams' artful depictions of celestial feuds and escapades became a little game of "spot the influence". On the evidence of this totally enthusiastic and often entrancing performance, one may safely conclude that these young musicians will do great things with the music of Wagner, Richard Strauss, Korngold, Prokofiev, Shostakovich and Walton.
Two rousing encores, a delightfully frothy transcription of Waltzing Matilda (conducted by Moore), and Elgar's Pomp and Circumstance March No.1 (conducted by Chan), ensured that the big bangs continued late into the evening.
The Straits Times LIFE!
Tuesday, 16 December 2009
(c) 2009 Singapore Press Holdings
Reviewer: Chang Tou Liang
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Concert: When Heavens Collide
Concert Date: 14 December 2009
Venue: Esplanade Concert Hall, Singapore
Conductors: Peter Moore, Chan Tze Law
Western Australian Youth Orchestra
Orchestra of the Music Makers
Queensland Festival Chorus
-------------------------------------------------------------
When heavens collide, a big bang usually results. That was the intention of this joint concert that paired the best young musical outfits from Singapore and Perth, Western Australia. The storm of high decibels began with Mars, The Bringer of War, first movement from The Planets by Gustav Holst.
Led by master orchestra-builder Chan Tze Law, the gauntlet was thrown, with confident brass issuing the call to arms over an insistent rhythmic thrust that never let up. It was in impressive start that got even better with the quicksilver reflexes of Mercury, The Winged Messenger and the hymn-like countenance of Jupiter, The Bringer of Jollity.
Only in the slower movements was the large orchestra really challenged. Venus, The Bringer of Peace could have been a tad more tender, while Saturn, The Bringer of Old Age ached a little from its arthritic pace. However, the solos shone, including concertmaster See Ian Ike's little melodies on the violin and many others too numerous to name.
The infectious swagger of Uranus, the Magician then made way for ethereal in Neptune, The Mystic, when voices from the Queensland Festival Chorus wafted like ghostly apparitions through the trellises behind the gallery. Perhaps a more mysterious pianissimo could have been coaxed, but the idea of extreme remoteness and an icy chill was achieved.
Peter Moore, better known as Uncle Peter of Babies Proms fame, led the orchestra on two battlefronts. The former was an exuberant reading of the Symphonic Dances from Bernstein's West Side Story, one with two robust shouts of Mambo! that put the Singapore Symphony Orchestra's usually tepid attempts into the shade. Most impressive was the beautiful string sound that brought out the true pathos of the hit number Somewhere.
The latter was the much-anticipated Star Wars Suite, where John Williams' artful depictions of celestial feuds and escapades became a little game of "spot the influence". On the evidence of this totally enthusiastic and often entrancing performance, one may safely conclude that these young musicians will do great things with the music of Wagner, Richard Strauss, Korngold, Prokofiev, Shostakovich and Walton.
Two rousing encores, a delightfully frothy transcription of Waltzing Matilda (conducted by Moore), and Elgar's Pomp and Circumstance March No.1 (conducted by Chan), ensured that the big bangs continued late into the evening.
Press: Concert Review - 2009 HSBC Youth Excellence Awards Concert
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The Straits Times LIFE!, Page C5
Thursday, 27 August 2009
(c) 2009 Singapore Press Holdings
Reviewer: Chang Tou Liang
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Concert: HSBC Youth Excellence Gala
Concert Date: 21 August 2009
Venue: Esplanade Theatre, Singapore
Conductor: Chan Tze Law
Violin soloists: Janell Yeo, Gabriel Ng
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This year’s recipient of the HSBC Youth Excellence Award for Music was not an individual as in previous years, but an outstanding group of individuals – the barely one-year-old Orchestra of the Music Makers (OMM). It was on this very platform accompanying past awardees in concert that the OMM was founded.
Four concerts later, the 90-strong ensemble led by conductor Chan Tze Law had not only found its feet, but has begun to soar. Its depth of repertoire is ambitious, playing works way more advanced than their collective ages suggests, and performing at such a high level as to challenge the professionals. Shostakovich’s Festive Overture appropriately kicked off the concert, and even if the trumpets cracked on the opening fanfare, there was no stopping the outpouring of spirit and exuberance.
Its commitment to local music sealed a sympathetic performance of young award-winning composer Wang Chen Wei’s The Sisters’ Islands. This enjoyable tone poem featured solos on the guzheng and recorder, while marrying Indonesian-flavoured themes with an orchestration that assimilated influences from Sibelius and Tan Chan Boon.
Two former HSBC laureates, violinists Janell Yeo (15 years old) and Gabriel Ng (14 years old), joined the OMM in showy concertante works. The former lit up the stage in Saint-Saëns’ lilting Havanaise, displaying a sweet ingratiating tone, while the former blazed a brilliant path through the finale of Paganini’s Violin Concerto No.1 almost effortlessly To prove he was not just all fingers, Ng’s opening phrase and solo in Beethoven’s Romance No.1 in G major (Op.40) was so warm as to melt the iciest of hearts.
Reprising the past week’s Rachmaninov revelry, OMM brought out the heavy artillery in the finale of the Russian romantic’s Second Symphony. Again, it was the precision of execution and sheer passion that impressed. The strings was just gorgeous, treading the fine line between sentimentality and schmaltz, coupled with the winds and brass in top form capped yet another memorable outing.
As a parting gift to the President and First Lady of Singapore, Elgar’s Nimrod from the Enigma Variations brought out the most subtle and noble of crescendos, rising to a glorious high before gently receding. This is virtuosity at its purest, not just efficiently delivering the notes but to sincerely convey what mere words cannot express.
The Straits Times LIFE!, Page C5
Thursday, 27 August 2009
(c) 2009 Singapore Press Holdings
Reviewer: Chang Tou Liang
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Concert: HSBC Youth Excellence Gala
Concert Date: 21 August 2009
Venue: Esplanade Theatre, Singapore
Conductor: Chan Tze Law
Violin soloists: Janell Yeo, Gabriel Ng
-------------------------------------------------------------
This year’s recipient of the HSBC Youth Excellence Award for Music was not an individual as in previous years, but an outstanding group of individuals – the barely one-year-old Orchestra of the Music Makers (OMM). It was on this very platform accompanying past awardees in concert that the OMM was founded.
Four concerts later, the 90-strong ensemble led by conductor Chan Tze Law had not only found its feet, but has begun to soar. Its depth of repertoire is ambitious, playing works way more advanced than their collective ages suggests, and performing at such a high level as to challenge the professionals. Shostakovich’s Festive Overture appropriately kicked off the concert, and even if the trumpets cracked on the opening fanfare, there was no stopping the outpouring of spirit and exuberance.
Its commitment to local music sealed a sympathetic performance of young award-winning composer Wang Chen Wei’s The Sisters’ Islands. This enjoyable tone poem featured solos on the guzheng and recorder, while marrying Indonesian-flavoured themes with an orchestration that assimilated influences from Sibelius and Tan Chan Boon.
Two former HSBC laureates, violinists Janell Yeo (15 years old) and Gabriel Ng (14 years old), joined the OMM in showy concertante works. The former lit up the stage in Saint-Saëns’ lilting Havanaise, displaying a sweet ingratiating tone, while the former blazed a brilliant path through the finale of Paganini’s Violin Concerto No.1 almost effortlessly To prove he was not just all fingers, Ng’s opening phrase and solo in Beethoven’s Romance No.1 in G major (Op.40) was so warm as to melt the iciest of hearts.
Reprising the past week’s Rachmaninov revelry, OMM brought out the heavy artillery in the finale of the Russian romantic’s Second Symphony. Again, it was the precision of execution and sheer passion that impressed. The strings was just gorgeous, treading the fine line between sentimentality and schmaltz, coupled with the winds and brass in top form capped yet another memorable outing.
As a parting gift to the President and First Lady of Singapore, Elgar’s Nimrod from the Enigma Variations brought out the most subtle and noble of crescendos, rising to a glorious high before gently receding. This is virtuosity at its purest, not just efficiently delivering the notes but to sincerely convey what mere words cannot express.
Press: Youth-oriented orchestra lauded for 'making music happen'
The Straits Times, Home section page B5
25th August 2009
By Wee Junkai
(c) Singapore Press Holdings 2009
Youth-oriented orchestra lauded for 'making music happen'
THOUGH just a year old, the Orchestra of the Music Makers has made such great strides that it will receive the 2009 HSBC Youth Excellence Award for Musical Excellence from President S R Nathan tonight.
The orchestra debuted in August last year as a musical backdrop to the ceremony for the same awards, but with three sold-out concerts under its belt since then, it has become a deserved recipient in its own right.
Formed by alumni of various youth and school music groups, it was intended to be an avenue for volunteer musicians to make symphonic music.
The 95 musicians in their teens and early 20s now make up the orchestra's roster. They are led by conductor Chan Tze Law, who is associate director of Singapore's Yong Siew Toh Conservatory of Music and music director of the Singapore Festival Orchestra.
Everything from funding, rehearsal venues, promotional posters and the orchestra website were sourced and produced by the enterprising young people.
Maestro Chan said: 'The youths did not just make music, but they made music happen.'
Though doing everything themselves helped to cut costs, the group often found it a tough balancing act to keep things going.
Founding member and chairman Lee Guan Wei, 22, said: 'Our concerts have cost us between $17,000 and $30,000 each, with money going to the hiring of technical trainers, the renting of percussion instruments, rehearsal and concert venues.'
The orchestra hopes to use its musical talent for philanthropy - something HSBC and its $200,000 donation to the group, held in trust by the National Arts Council, will set in motion.
It is the first group to win the youth award for musical excellence. Past winners have been individuals, such as pianist Clare Yeo.
After the award ceremony, the orchestra will play in a charity concert which has raised $150,000 for The Straits Times School Pocket Money Fund.
The HSBC awards were launched in 2001, and provide recipients with opportunities as well as funding support to develop their potential.
Receiving the HSBC Youth Excellence Award for Leadership and Community Service is Mr Daniel Tan Tai Leng, 27, for his work with the Movement for the Intellectually Disabled of Singapore (Minds), as the leader of its youth volunteer group.
25th August 2009
By Wee Junkai
(c) Singapore Press Holdings 2009
Youth-oriented orchestra lauded for 'making music happen'
THOUGH just a year old, the Orchestra of the Music Makers has made such great strides that it will receive the 2009 HSBC Youth Excellence Award for Musical Excellence from President S R Nathan tonight.
The orchestra debuted in August last year as a musical backdrop to the ceremony for the same awards, but with three sold-out concerts under its belt since then, it has become a deserved recipient in its own right.
Formed by alumni of various youth and school music groups, it was intended to be an avenue for volunteer musicians to make symphonic music.
The 95 musicians in their teens and early 20s now make up the orchestra's roster. They are led by conductor Chan Tze Law, who is associate director of Singapore's Yong Siew Toh Conservatory of Music and music director of the Singapore Festival Orchestra.
Everything from funding, rehearsal venues, promotional posters and the orchestra website were sourced and produced by the enterprising young people.
Maestro Chan said: 'The youths did not just make music, but they made music happen.'
Though doing everything themselves helped to cut costs, the group often found it a tough balancing act to keep things going.
Founding member and chairman Lee Guan Wei, 22, said: 'Our concerts have cost us between $17,000 and $30,000 each, with money going to the hiring of technical trainers, the renting of percussion instruments, rehearsal and concert venues.'
The orchestra hopes to use its musical talent for philanthropy - something HSBC and its $200,000 donation to the group, held in trust by the National Arts Council, will set in motion.
It is the first group to win the youth award for musical excellence. Past winners have been individuals, such as pianist Clare Yeo.
After the award ceremony, the orchestra will play in a charity concert which has raised $150,000 for The Straits Times School Pocket Money Fund.
The HSBC awards were launched in 2001, and provide recipients with opportunities as well as funding support to develop their potential.
Receiving the HSBC Youth Excellence Award for Leadership and Community Service is Mr Daniel Tan Tai Leng, 27, for his work with the Movement for the Intellectually Disabled of Singapore (Minds), as the leader of its youth volunteer group.
Press: Concert Review - Brilliant Music Makers
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The Straits Times LIFE!, Page C7
Monday, 24 August 2009
(c) 2009 Singapore Press Holdings
Reviewer: Chang Tou Liang
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Concert: Rach^2
Concert Date: 21 August 2009
Venue: Victoria Concert Hall, Singapore
Conductor: Chan Tze Law
Piano soloist: John Chen
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The title says it all. For music-lovers, it is merely the abbreviation of Russian Romantic composer Serge Rachmaninov’s Second Piano Concerto or Second Symphony. In this case, both landmark works featured in an exhausting programme that marked a new high for the Orchestra of the Music Makers (OMM).
A sign that the music scene in Singapore has progressed inexorably, this was the third performance of the demanding hour-long symphony by an orchestra of young musicians in just six months. It was also the best by a country mile. This performance had the recipe that made for utterly compelling listening: excellence of execution, an acute urgency to communicate, and the temerity to take all kinds of risks.
Under conductor Chan Tze Law’s firm guiding hands, the music soared from the word go. Pride of place goes to the strings, which drew a sonorous collective sigh before launching skyward into lyrical heaven. This is the stuff of dreams, of reliving nostalgia without resorting to sentimental portamenti (slides and slurs) or other swooning effects.
The incisiveness of attack was most keenly felt in the 2nd movement scherzo, its tumultuous fugal section erupting with genuine Tchaikovskian hysteria. Vincent Goh’s clarinet solo in the slow movement was a joy to behold, as were concertmaster See Ian Ike’s contributions and numerous other solos. The finale’s surging wave after wave of sound was matched by the orchestra’s irrepressible momentum, which rode the epic crest till its brilliant and breathless conclusion.
All this took place after the orchestra played collaborator to New Zealander John Chen’s warm-hearted and totally musical account of the concerto. Unlike certain big-name pianists of his generation, Chen is incapable of making an ugly sound. Beyond the flash and dash of Rachmaninov’s extroverted pages, he also ably brought out the melancholy and angst that distinguished this music.
While he could have emoted more in the slow movement, there was little to be further desired in the sizzling cadenzas of the finale, its rapturously heartrending climaxes and grandstand finish. Two Rachmaninov Études-tableaux (from Op.33) as encores also showcased a crisp and clear-as-a-bell technique.
For those fearing for the future of classical music, look no further. Soloist and ensemble alike, these youths with a mission are set to conquer the world.
The Straits Times LIFE!, Page C7
Monday, 24 August 2009
(c) 2009 Singapore Press Holdings
Reviewer: Chang Tou Liang
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Concert: Rach^2
Concert Date: 21 August 2009
Venue: Victoria Concert Hall, Singapore
Conductor: Chan Tze Law
Piano soloist: John Chen
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The title says it all. For music-lovers, it is merely the abbreviation of Russian Romantic composer Serge Rachmaninov’s Second Piano Concerto or Second Symphony. In this case, both landmark works featured in an exhausting programme that marked a new high for the Orchestra of the Music Makers (OMM).
A sign that the music scene in Singapore has progressed inexorably, this was the third performance of the demanding hour-long symphony by an orchestra of young musicians in just six months. It was also the best by a country mile. This performance had the recipe that made for utterly compelling listening: excellence of execution, an acute urgency to communicate, and the temerity to take all kinds of risks.
Under conductor Chan Tze Law’s firm guiding hands, the music soared from the word go. Pride of place goes to the strings, which drew a sonorous collective sigh before launching skyward into lyrical heaven. This is the stuff of dreams, of reliving nostalgia without resorting to sentimental portamenti (slides and slurs) or other swooning effects.
The incisiveness of attack was most keenly felt in the 2nd movement scherzo, its tumultuous fugal section erupting with genuine Tchaikovskian hysteria. Vincent Goh’s clarinet solo in the slow movement was a joy to behold, as were concertmaster See Ian Ike’s contributions and numerous other solos. The finale’s surging wave after wave of sound was matched by the orchestra’s irrepressible momentum, which rode the epic crest till its brilliant and breathless conclusion.
All this took place after the orchestra played collaborator to New Zealander John Chen’s warm-hearted and totally musical account of the concerto. Unlike certain big-name pianists of his generation, Chen is incapable of making an ugly sound. Beyond the flash and dash of Rachmaninov’s extroverted pages, he also ably brought out the melancholy and angst that distinguished this music.
While he could have emoted more in the slow movement, there was little to be further desired in the sizzling cadenzas of the finale, its rapturously heartrending climaxes and grandstand finish. Two Rachmaninov Études-tableaux (from Op.33) as encores also showcased a crisp and clear-as-a-bell technique.
For those fearing for the future of classical music, look no further. Soloist and ensemble alike, these youths with a mission are set to conquer the world.
NEW ORCHESTRA LIVING ITS DREAM
Chang Tou Liang
5 January 2009
The Straits Times - Life!
(c) 2009 Singapore Press Holdings Limited
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Concert review
TALES FROM THE ARABIAN NIGHTS
Orchestra of the Music Makers
Chan Tze Law, Conductor
Yong Siew Toh Conservatory Concert Hall
3 January 2009
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'We are the music-makers. And we are the dreamers of dreams.'
The first lines of Arthur O'Shaughnessy's Ode is the inspiration for Singapore's latest symphony orchestra, the Orchestra of the Music Makers. Formed by music students and alumni of local youth and school orchestras, this amateur ensemble could not have had a more ambitious opening act. Its 'soft launch' in August last year, accompanying HSBC Youth Excellence awardees in concert, had fired the first warning shots. This encounter showed a full-scale campaign of symphonic endeavour underway, with a demanding season extending till August.
It took some three minutes for the orchestra to fully warm up. Wagner's rousing Prelude To Act Three Of Lohengrin was hampered by hesitant woodwinds and over-exuberant brass. A big noise was the overall effect. But that was merely a sign of young people straining at the leash and raring to go.
By the opening tutti of Dvorak's Cello Concerto, much of the initial jitters had calmed as the group took to the task of partnering prize-winning cellist Zhou Mi. Zhou is an unusually sensitive musician, one whose conception of the warhorse was born of blood, sweat, toil and tears. Outwardly confident yet intimate in sound, the music has rarely yielded more tragic vistas than this. The orchestra, under master orchestra-builder Chan Tze Law, followed her every nuance and gesture, complementing each passionate phrase with riveting ripostes of its own, which made for an invigorating and almost exhausting outing.
Even more impressive was the orchestra's delivery of Rimsky-Korsakov's Scheherazade, which began imposingly and maintained its tautly driven narrative throughout. The pace also flexed ever so supplely, allowing wonderful solos by guest concertmaster Chan Yoong Han (violin) and Laura Peh (harp) - depicting the seductive storyteller - to shine through. The rich and colourful score saw the lush strings on a field day. Dotted with many more tricky solos, further shows of virtuosity from individual musicians were on show - just too many to name.
This was a bona fide concert showing befitting professionals, not merely an amateur run-through. Its fair share of rough spots may be ironed out with time and experience, but its spirit of joie de vivre is irreplaceable.
Chang Tou Liang
5 January 2009
The Straits Times - Life!
(c) 2009 Singapore Press Holdings Limited
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Concert review
TALES FROM THE ARABIAN NIGHTS
Orchestra of the Music Makers
Chan Tze Law, Conductor
Yong Siew Toh Conservatory Concert Hall
3 January 2009
----------------------------------------------
'We are the music-makers. And we are the dreamers of dreams.'
The first lines of Arthur O'Shaughnessy's Ode is the inspiration for Singapore's latest symphony orchestra, the Orchestra of the Music Makers. Formed by music students and alumni of local youth and school orchestras, this amateur ensemble could not have had a more ambitious opening act. Its 'soft launch' in August last year, accompanying HSBC Youth Excellence awardees in concert, had fired the first warning shots. This encounter showed a full-scale campaign of symphonic endeavour underway, with a demanding season extending till August.
It took some three minutes for the orchestra to fully warm up. Wagner's rousing Prelude To Act Three Of Lohengrin was hampered by hesitant woodwinds and over-exuberant brass. A big noise was the overall effect. But that was merely a sign of young people straining at the leash and raring to go.
By the opening tutti of Dvorak's Cello Concerto, much of the initial jitters had calmed as the group took to the task of partnering prize-winning cellist Zhou Mi. Zhou is an unusually sensitive musician, one whose conception of the warhorse was born of blood, sweat, toil and tears. Outwardly confident yet intimate in sound, the music has rarely yielded more tragic vistas than this. The orchestra, under master orchestra-builder Chan Tze Law, followed her every nuance and gesture, complementing each passionate phrase with riveting ripostes of its own, which made for an invigorating and almost exhausting outing.
Even more impressive was the orchestra's delivery of Rimsky-Korsakov's Scheherazade, which began imposingly and maintained its tautly driven narrative throughout. The pace also flexed ever so supplely, allowing wonderful solos by guest concertmaster Chan Yoong Han (violin) and Laura Peh (harp) - depicting the seductive storyteller - to shine through. The rich and colourful score saw the lush strings on a field day. Dotted with many more tricky solos, further shows of virtuosity from individual musicians were on show - just too many to name.
This was a bona fide concert showing befitting professionals, not merely an amateur run-through. Its fair share of rough spots may be ironed out with time and experience, but its spirit of joie de vivre is irreplaceable.
Tuesday, 30 December 2008
(C) Singapore Press Holdings Ltd.
(C) Singapore Press Holdings Ltd.
ROUSING START FOR MUSIC MAKERS
Chang Tou Liang
The Straits Times - Life! - Life News
(c) 2008 Singapore Press Holdings Limited
Saturday, 30/08/2008
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Concert Review:
HSBC Youth Excellence Gala
Victoria Concert Hall
Thursday (28/08/08)
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Witnessing the birth throes of a new orchestra is one of the most exciting phenomena for music lovers. The Orchestra of the Music Makers, formed by alumni of various youth and school orchestras in Singapore and led by conductor Chan Tze Law, made the best possible start.
The primary function of its debut was to partner three past recipients of the HSBC Youth Excellence Awards, but it had many minutes of its own to bask in the spotlight. An unanimity of purpose distinguished Dvorak’s rousing Carnival Overture which, despite some roughness around the edges, provided the evening with a high-octane start.
First of the teenage stars was soprano Janani Sridhar, a singer possessed with natural poise and disarming stage presence. Her sweet and expressive agile voice carried four arias from Mozart’s Don Giovanni and Cosi Fan Tutte with aplomb.
Combining the virtuous with the coquettish, and a change of evening gowns in between, there was further room to develop a set of lungs and cords that could transcend the orchestra and fill the hall. Her encore, the Laughing Song from Johann Strauss’ Die Fledermaus, sparkled like champagne.
Singapore’s youngest ever student in New York’s Juilliard School, Clare Yeo, was next. Her reading of Gershwin’s Rhapsody In Blue tended to be on the staid side, despite clarinetist Vincent Goh’s best efforts to sound sexy in his opening solo. There was, however, much thought to shape phrases creatively, and with utmost musicality. The coruscating cadenza was also whipped off with great confidence.
Yehudi Menuhin School resident Gabriel Ng seems like the most natural virtuoso of the trio. His effortless take on the first movement of Paganini’s Violin Concerto No.1 has to be heard to be believed.
Allying close to spotless intonation with a fearless disregard for the work’s myriad technical challenges, his showing was the one to marvel at. His encore, Kreisler’s Recitative And Scherzo, was further assurance of his abilities.
All three joined the orchestra for the closing number, the Mexican Arturo Marquez’s Danzon No.2, recently made famous by the Simon Bolivar Youth Orchestra. The instrumental prowess and infectious zeal transmitted by all on stage was much cause to rejoice in.
Who really needs to journey to Venezuela when there resides a world’s local bank of prodigious musical talent on our very doorstep?