Resonance 2019: The Heart of Singing

presents

Evokx

Resonance 2019 The Heart of Singing 3 Nov 7.30pm Victoria Concert Hall

Concert Programme

r e s o n a nce 2 0 1 9 t he he a r t o f s i n g i n g

A Requiem, also known as the Mass for the dead or Missa pro defunctis, has

Foreward

inspired countless composers over the years to compose, largely due to the text

We are thankful to share the stage with

possibly being one of the most dramatic

an instrumental ensemble of immense

of liturgical forms. The most famous of

musical talents and intuitions. The music

Requiems are known to be dark, heavy

making has been extremely rewarding

and

of

and invigorating. I am also proud to

desperate pleading and the terror of

present the seven EVOKX soloists, who

possible eternal damnation. However,

have gone on the extra mile to prepare

you will find tonight’s program to be of a

their voices for their respective solos. I

more meditative nature.

believe they are raring to go.

Fauré’s setting of the Requiem speaks of

In

calmness, acceptance and deliverance. It

ourselves to break new frontiers in

is often mentioned alongside Duruflé’s

repertoire programming for community

composition as both chose to omit Dies

choirs with a Singapore premiere of

irae (Day of Wrath), but include the

Forrest’s Three Nocturnes. In Resonance

closing couplet Pie Jesu (Blessed Jesus).

2019, we stay the course to evoke the

Fauré wanted to communicate his view

spirit of exploration and discovery with

that death is “a happy release” and “an

the

aspiration

Requiem for the Living and David Hill’s

overwhelming

rather

towards

than

a

with

nuances

happiness

painful

above,

experience.”

Resonance

Singapore

2017,

we

premiere

challenged

of

Forrest’s

arrangement of Fauré’s Requiem.

In contrast, Forrest’s setting of the Requiem, albeit for the Living, is a plea;

Once again, I am thankful for this stage

and at its core, a prayer for deliverance

and the opportunity to share our music

from one’s struggle with the pain and

with you. It has always been a privilege and

sorrow associated with humanity.

honour to be a proponent of introspection, an advocate of empowerment, and a conduit of evocation through music.

To bring music to people, and to bring people to music.

Terrence Toh

Programme Requiem in D minor, Op. 48 Gabriel FaurĂŠ, arr. David Hill Soloists Rachel Xiong Yeo Zhe Hao Kester Tay - Intermission -

Requiem for the Living Dan Forrest

Soloists Zachary Lim Sherilyn Lim Leong Wan Xuan Ong Wei Shen Keane

EVOKX we sing and love

EVOKX was founded in 2010 as a non-profit community youth choir by Singaporean conductor and music educator Terrence Toh. The choir’s name

Soprano Alice Hau Alicia Ng Angela Heng Celine Oon Chan Pei Ee Chua Hui Ming Isabella Tian Jeanette Choong Karyn Liow Kiew Chi Wei Anika Laura Lee Leong Wan Xuan Li Peishan Michelle Loo Ng Xin Rong Payaal Upadhya Rachel Xiong Sherilyn Lim Shirley Mu Sok Mun Au Yeong Tang Kuan Yee Vivien Heng

is a portmanteau of the word ‘evoke’ and latin word ‘vox’, which embodies the group’s fundamental mission; the evocation of the human spirit through the choral arts.

At the heart of EVOKX, singers share a passion to inspire resonance with our collective voices; the commitment to instil charity, compassion and empathy in our audience and in ourselves, through the transformative power of choral music.

EVOKX pursues artistic excellence and nurtures our singers’ artistic growth through an emphasis on educational pedagogy and the exploration of an eclectic choral repertoire. We do not stop at finding meaning in what we do, rather, we seek to create meaning with our music making and to extend the unifying power of music and music making to the community at large.

Alto Alvita Ardisara Brenda Lai Calista Mar Cassandra Shim Elizabeth Goh Hoàng Tố Quyên Lim Yuen May Loo An Qi Poh Wei Lin Sarah Tan Shen Yiyang Vanessa Ronald Tenor Alden Pong Chin Hong Jie Chin Zhong Wei Joseph Sunny Mathews Ong Wei Shen Keane Rasyidi Samad Zachary Lim

Bass Andy Lim Chong Zi Hao Joe Hoe Chong You Kester Tay Lee Hilman Ryan Lim Teo Chuan Yi Wilson Koh Yeo Zhe Hao Yeow Lih Wei

EVOKX

Music & Artistic

Director

Resonance 2019: The Heart of Singing

Music and Artistic Director

Terrence toh

Terrence Toh is a Singaporean choral

On top of being a regular feature in

director, music educator and chorus

Esplanade’s Limelight, a concert series

master. He holds a Master of Music from

that showcases the best school choirs

Boston University and has studied under

in Singapore; Terrence has also been

Dr. André de Quadros, Dr. Owen Brian

actively involved in Esplanade’s Voices

William and Dr. Diana R. Dansereau.

– A Festival of Song, as performer and

Terrence’s research interest is in the

clinician. He has also served as a choral

transformative powers of music, music

specialist for Ministry of Education’s

education and music-making.

World Youth Choral Festival (2008) and Singapore International Youth Choral

In his international debut as a conductor,

Festival (2011).

Terrence led the choirs of National and

Terrence is the founder, artistic and

Tanjong Katong Secondary School to

music director of EVOKX, a non-profit

four gold awards in four competition

community choir that engages youths

categories

Century

in social and charitable causes through

International Choral Festival in Genting,

its outreach program and concert series,

Malaysia. The NUS Choir was awarded

Evocation: The Art of Giving. EVOKX also

the “Best Interpretation Award” and

promotes choral excellence and diversity

Terrence was honoured with the “Most

in programming through Resonance: The

Promising Conductor Award” in the same

Heart of Singing, a flagship concert series

festival.

that explores an eclectic range of choral

University

of

Singapore

at

the

(NUS)

21st

music. He has served as the Chorus Choral direction

programs have

under

consistently

Terrence’s

Master for the Singapore Lyric Opera’s

garnered

production of Turandot (2016), L’elisir (2017),

(2018),

gold awards and distinction certificates

d’amore

in the Singapore Youth Festival. He

(2019) and The Arts Place’s Don Pasquale

has also led the Anglican High School

(2019). As a music educator, he directs

(AHS) Choir and Nanyang Junior College

the choral programs at Anglican High

Choir to gold awards and diplomas at

School, CHIJ Katong Convent, Jurong

the Festival of Songs 2008 in Olomouc,

Pioneer Junior College, Nanyang Junior

Czech Republic, 11th and 12th Consorso

College, Pasir Ris Secondary School and

Corale Internazionale in Riva Del Garda,

Zhonghua Secondary School.

Italy. The AHS choir also participated in Orientale Concentus 2014, Singapore and emerged winner in the Mixed Voices Junior Youth category.

Resonance 2019: The Heart of Singing

Aida

Carmen

EVOKX

Assistant Conductors

Resonance 2019: The Heart of Singing

Assistant Conductors

ONG WEI SHEN K EANE

Sherilyn Lim

Lauded for his impeccable musicality,

Sherilyn believes in the vital role that

expression, and lyricism, Singaporean

music plays in bringing people together to

lyric baritone Keane Ong is one of today’s

make positive changes in the community.

most promising soloists, choral directors,

EVOKX is where she finds joy in making

composers and pedagogues from Asia.

music with like-minded musicians.

Greatly in demand in the symphonic and

As assistant conductor of EVOKX under

recital world, Keane sang the bass solo

the guidance of Artistic Director Terrence

in the Orchestra of the Music Maker’s

Toh, Sherilyn rehearses and prepares

and The Vocal Associate’s production

the choir for performances, and saw the

of

the

choir to two gold awards at the Singapore

celebration of Singapore’s 50th Birthday,

International Choral Festival in 2018. She

and has also sung the Bass Solo for

is also assistant conductor of Zhonghua

Leonard Bernstein’s Chichester Psalms.

Secondary School Choir.

Mahler’s

8th Symphony

for

Keane acted as John Styx in New Opera Singapore’s production of Orpheus in the

Sherilyn

sings

with

Underworld. He has also performed as a

Symphony

chorister and soloist for the non-profit

Her chorus performance highlights this

choir EVOKX’s annual evocation outreach

season include The Chorus of the Planets

series concerts to raise awareness for

and Fauré: Cantique et Requiem with the

needy causes. Keane’s 2018/19 season

Singapore Symphony Orchestra.

Youth

the

Choir

Singapore

and

EVOKX.

includes being the Count in Mozart’s Le Nozze di Figaro with the Singapore Lyric

Sherilyn is a Master of Architecture

Opera, and being Peter Quince in Britten’s

graduate from the National University

A Midsummer Night’s Dream with New

of

Opera Singapore.

Continuing

Singapore.

She

has

Professional

completed

a

Development

Programme for Choral Conducting from He

obtained

his

Masters

Voice

the Conservatory of Music and Drama

Performance and Pedagogy from the

at the Dublin Institute of Technology;

Peabody Institute of the Johns Hopkins

and holds a Diploma in Choral Direction

University,

(Distinction) from ABRSM.

studying

with

in

American

baritone William Sharp, and was awarded the George Castelle Memorial Award for Voice. He graduated from the Yong Siew Toh Conservatory of Music with a Bachelors of Voice Performance where he studied under Lyric Tenor, Alan Bennett.

He was also In the Singapore Lyric Opera Leow Siak Fah Artist Training programme.

Resonance 2019: The Heart of Singing

Instrumentalists

Instrumentalists

Meah Tze Chuan violin

An ardent contributor and supporter of

Internationally, Meah has collaborated

the Singapore arts scene, Meah was the

with Unclose (アンクローズ), a popular

violinist for various theatre productions

Tokyo

including “Duck and Dive: The Ugly Duckling

recording for their EP “Syusoku” (2017)

and the Frog Prince” (2009), “National

in Tokyo .

rock

transformation

band,

Broadway Company” (2012), “La Cage aux Folles” (2013, 2017 re-run), “Glass

Apart

Anatomy” (2013, 2014 in Shanghai),“The

schedule, Meah dedicates her time to

Last Five Years” (2014), “Lao Jiu” (2017)

violin education. She teaches students

and “Fiddler on the Roof” (2018).

of all ages at her private violin studio,

from

her

active

performing

and has consistently produced excellent As a sessionist, Meah has recorded for

ABRSM exam results, all while keeping

local movie and drama soundtracks. She

their passion for music-making alive.

is a freelance violinist with the Singapore Lyric Opera Orchestra and also performs

A musician with eclectic music tastes,

on the electric violin with San Nikkis

she can often be spotted head banging to

(electric string trio).

all genres of music from heavy rock to symphonies and operas.

Resonance 2019: The Heart of Singing

Instrumentalists

T a n g I S h y a n ce l l o

A native of Hong Kong currently residing in

I Shyan is also the founder of the Purple

Singapore, I Shyan double majored in Cello

String Quartet (Hong Kong) - a quartet

Performance and Music Education at the

which has been recognized for giving

University of Illinois, Urbana-Champaign.

equal reverence to both traditional quartet

Her performing career focuses on chamber

repertoires and other less standard quartet

music, musical theatre and orchestra and

genres like jazz, tango, bossa nova and

has performed internationally in USA,

pop. She is also an active member of the

Hong Kong, Singapore and Macau.

Chamber Circle - Singapore’s first classical society - dedicated to encouraging and

As

an

orchestral

musician,

she

has

performed with Bolshoi Ballet, Stuttgart Ballet,

Singapore

Lyric

Opera,

cultivating a vibrant chamber music scene in Singapore.

Hong

Kong Chamber Orchestra, to name a few. Musical theatre productions include The Phantom of the Opera, Fiddler on the Roof, Aida, Spelling Bee, Fun Home, The LKY Musical, and the Great Wall Musical.

Resonance 2019: The Heart of Singing

Instrumentalists

Cheryl Lim flute

Dr. Cheryl Lim graduated from the

studies with Emily Skala and Marya

Peabody Institute of Music with a Doctor

Martin. Baroque flute studies began with

of Musical Arts (DMA) degree in 2014

lessons with Gwyn Roberts at Peabody

and upon graduating was simultaneously

Institute and continued at the Oberlin

awarded

Baroque

the

Clinton

Lee

Arrowood

Performance

Institute

with

Memorial Prize for excellence in flute

Christopher Krueger and Michael Lynn

performance. Her Masters was earned at

as well as private lessons with Rachel

the Manhattan School of Music and her

Brown and Lisa Beznosiuk.

undergrad degree with 1st Class Honours from the Yong Siew Toh Conservatory as

Cheryl most recently completed an M.

part of a pioneer batch of students. Her

Phil degree in Education (Arts, Creativity

areas of interests as a performer include

and Education) at the University of

historical performance, new music and

Cambridge.

all forms of collaborative music-making.

mentoring, and enjoys letting students

She

is

passionate

about

discover and explore the richness of life Her conservatory teachers included Jin

through the arts.

Ta, Marina Piccinini and Michael Parloff with additional orchestral and chamber Resonance 2019: The Heart of Singing

Instrumentalists

Yibin seow oboe

Yibin

Seow

is

a

Singaporean-born

writes articles in The Band Post and is

oboist and conductor. He is appointed

invited to give oboe workshops in the

the Guest Principal Oboist of Chamber

Singapore Woodwind Festival 2015. He is

Philharmonic Taipei and Leader-mentor

the maker of the oboe reeds “Repons”.

oboist in the Orchestra of the Music Makers.

His

include

Yibin started learning the oboe from

playing oboe for the Original Motion

Elaine Yeo and Pan Yun under the tutelage

Picture Soundtrack “My Love Sinema”,

scheme of Singapore National Youth

a

Orchestra

Singapore

recent

local

projects

movie

production

(SNYO).

He

continued

his

and performed as a soloist in “German

undergraduate oboe study under Rachel

Giants” with the SOTA Music Faculty.

Walker in YST Conservatory of Music, and went on to do Masters in Performance

Yibin has taught oboe for more than a

under Emanuel Abbuehl, Musik Akademie

decade in various Institutions including

der Stadt Basel. He has also benefitted

the Junior Royal Northern College of

greatly from masterclasses by various

Music, School of the Arts Singapore and

oboe professors, such as Werner Herbes

the Singapore Armed Forces Band. He

and Alfredo Bernadini.

Resonance 2019: The Heart of Singing

Instrumentalists

benedicT chua HorN

Benedict began playing the horn at the

with the Sydney Sinfonia and obtained

age of twelve under the tutelage of Han

a freelance position with the Australian

Chang Chou. He joined the Singapore

Opera and Ballet Orchestra. He graduated

National Youth Orchestra from 1999-

with a Bachelor of Music (Performance)

2004, and in 2007 was selected as the

with

only Singaporean musician to join the

awarded the Richard Merewether French

Asian Youth Orchestra. At the age of

Horn Fellowship.

First

Class

Honours,

and

was

seventeen, he began professional work as a casual with the Singapore Symphony

Benedict has performed professionally in

Orchestra, and has since held Principal

musical productions such as the Phantom

positions with the Singapore Lyric Opera

of the Opera, Les Miserables and Wicked. He

Orchestra, The Philharmonic Orchestra,

has also worked alongside popular artists

Metropolitan Festival Orchestra, and the

such as Guy Sebastian, Il Divo, Kitaro and

Orchestra of the Music Makers.

Hans Zimmer on their respective concert tours.

Upon

graduation

from

high

school,

Benedict was offered full scholarships

Benedict

from both the Sydney Conservatorium

Musicology at King’s College London

of Music (University of Sydney) and the

where his primary research focused on

Yong Siew Toh Conservatory of Music

the ascendancy of instrumental music

(National University of Singapore). In

in 18th century Europe. Besides playing

Sydney, he studied under Andrew Bain

and researching about music, Benedict

and later specialised on the natural horn

enjoys sharing life with his wife Vivian

with Darryl Poulsen. He also performed

and their three children.

obtained

Resonance 2019: The Heart of Singing

his

Masters

of

Instrumentalists

nigel foo harp

Isaac lee organ

Nigel started playing the harp in 2009

Isaac Lee is organ instructor at the

with the Nan Hua Harp Ensemble. His

Methodist School of Music and adjunct

passion for the harp blossomed over his

lecturer at the Singapore Bible College.

years there, which led him to studying in

He successfully completed a fellowship at

the Yong Siew Toh Conservatory of Music

the Roskilde Cathedral, a UNESCO heritage

under full scholarship.

site that boasts the 1555 Raphaelis organ.

Recent highlights include solo recitals at

He has studied under Magdalene Wong,

Roskilde Cathedral, Denmark; Petronas

Singaporean

Concert Hall, Kuala Lumpur and Victoria

currently

pioneer studying

Mashurova,

principal

harpist,

and

under

Gulnara

harpist

of

is

Concert

Hall,

Singapore.

A

regular

the

recitalist at the VCH Organ Series, he enjoys

Singapore Symphony Orchestra, since

sharing the platform with young artists

2015.

and

focuses

heavily

on

collaborative

performances that seek to excite, educate Music festivals he has attended include Ticino

Musica

in

Switzerland,

and entertain.

and

Académie Internationale d’Été de Nice where he studied under Fabrice Pierre and Marie Pierre Langlamet.

As

an

avid

performer,

he

has

also

organized and performed in several wellreceived harp recitals in the conservatory and hopes to spread his love for the harp.

Resonance 2019: The Heart of Singing

Instrumentalists

Derek koh percussion Touted as one of the most promising

with the orchestra for half of its season.

musicians of his generation by The

Derek has also won summer fellowship

Straits Times (Singapore), Derek Koh

positions in the Grammy-award winning

has been part of the award-winning

Oprheus Chamber Orchestra (New York),

Chinese

Yi

Aspen Music Festival (Aspen, Colorado),

Music Company (Dingyi) since 2010,

Miami Music Festival (Miami, Florida),

and also appears regularly as a freelance

and PRISMA Festival, (British Columbia).

Chamber

percussionist

Ensemble

with

the

Ding

Singapore

Symphony Orchestra and the Singapore

A graduate of Nanyang Academy of Fine

Chinese

guest

Arts (NAFA) School of Young Talents

Principal Timpanist for the Szechuan

where he was scouted at the age of 5,

Symphony

Asian

he continued his undergraduate studies

tour in 2016, Derek has also appeared

at the institution where he received his

as a percussionist with the Chamber

Bachelor of Music (First Class Honours)

Orchestra of Europe and the Hong Kong

conferred by the Royal College of Music

Chinese Orchestra.

(RCM) under the tutelage of Mark Suter

Orchestra.

Invited

Orchestra

on

as

their

and

Christian

Schiøler.

Derek

most

Derek has recorded with the Singapore

recently received his Master’s degree

Symphony

BIS,

at Mannes School of Music under the

under

support of the prestigious Mannes Dean’s

Sony and Dingyi under the Longyin

Scholarship, studying under Maya Gunji,

label.

Joseph Tompkins, and Michael Werner.

Singapore

Orchestra Chinese

under

Orchestra

In 2016, he was selected to be

in the inaugural Musician Fellowship program

started

by

the

Singapore

Chinese Orchestra, where he worked Resonance 2019: The Heart of Singing

Come unto me, all ye who labor and are heavy laden, and I will give you rest.

Resonance 2019: The Heart of Singing

Programme Notes

Programme Notes

introduction

A Requiem is a musical setting of the Mass for the Dead. In the Roman Catholic Church, this Mass is offered as repose for the souls of the deceased. Tonight, we present you two Requiems by composers of the past and present, FaurĂŠ and Forrest.

Resonance 2019: The Heart of Singing

Programme Notes

Requiem in D minor, Op. 48 Gabriel Fauré (1845-1924) arr. David Hill (1957) I II III IV V VI VII

Introit - Kyrie Offertorium Sanctus Pie Jesu Agnus Dei Libera Me In Paradisum

Tonight’s performance of Gabriel Fauré’s

The

next

three

movements,

Requiem is a chamber arrangement by

(Holy), Pie Jesu (Blessed Jesus), and Agnus

David Hill, scored for violin, cello, harp and

Dei (Lamb of God) are an antithesis to the

organ. While Requiems are traditionally

first two movements, shedding light to

solemn and sorrowful, Fauré took a leap

the darkness on a bright major key.

Sanctus

of faith by representing it in a positive and uplifting manner, which earned him

Sanctus

praise from his contemporaries.

introducing the theme. The higher voices

begins

with

the

sopranos

set an angelic tone in contrast to the Introit opens the Requiem with slow

earthly tones of the altos and tenors,

and stately chords. Devoid of any florid

who were responsible for introducing

melodic

the

the theme in the first two movements.

solemnity of a Mass for the Dead. Laying

The meter takes on a waltzing pulse

out the scene of a vast, dark silence, we

of three in the instruments, while the

are then presented with Kyrie, setting the

choir intertwines in complex meter. This

first key melodic motif of the entire work.

irregularity suggests a more mysterious

motion,

it

settles

into

nature of the divine. This is further Leaving behind the homophonic, chordal

accentuated by juxtaposing the minor

texture of the first movement, Offertorium

key with the major key in the melodic

introduces an intricate interplay between

motifs between the sopranos’ duet with

overlapping

and

the tenors and basses. In the second

tenors. Maintaining a quiet atmosphere

half of the movement, the meter settles

throughout most of this movement, it

comfortably

is contemplative and introspective in

the tonality resolves into a major key,

its prayer. The movement ends with

culminating in a glorious, resounding

an ‘Amen’ in the parallel major key,

“Hosanna in excelsis” (Hosanna in the

transitioning to the shift towards light in

highest).

lines

of

the

altos

into

the following movements.

Resonance 2019: The Heart of Singing

simple

threes,

and

Programme Notes

The midpoint of the seven movements is marked by Pie Jesu, where a solo Soprano line carries us through this subliminal ethereal take on the requiem prayer, a breath of innocence from start to finish.

“Deliver me, O Lord, from everlasting death on that dreadful day...”

Agnus Dei returns to the same vein with the tenors carrying the first melody.

However,

the

powerful,

homophonic

chordal texture of the beginning Introit

In

Paradisum

and Kyrie are reintroduced. A second

Requiem to a close. The lilting arpeggios

iteration of the tenors’ opening line paves

in

the way to Lux Aeterna (Eternal Light),

of peace and salvation for the souls of

where the homophonic chordal texture

the dead. Use of chromaticism in this

here carries a chromatic progression

movement

of chords up towards ‘Eternal Light’.

the divine expressed in Agnus Dei. The

Finally, after three ‘light’ movements, the

sopranos carry the melody in the light

opening theme of the Introit is heard yet

and pure tones as heard in Sanctus and Pie

again, recalling the original solemnity of

Jesu, while the rest of the choir adopts the

the Requiem, foreshadowing the darkness

homophonic chordal texture heard in Kyrie

to return in the next movement.

and Agnus Dei, and in one short instance,

the

(In

Paradise)

instrumentation

rekindles

the

recall

brings scenes

mystery

of

playfully layers melodious lines as heard Fauré builds toward the most dramatic

in Offertorium. The final movement aptly

climax in the entire work in Libera me.

revisits and reconciles the music of all

The movement opens with a lamentful

the movements in the work, recalling not

baritone

“Libera me Domine de

only the positive, hopeful themes, but

morte aeterna” (Deliver me, O Lord, from

also re-expressing the darker themes in

eternal death) above a steady march of the

a new light, as if to say that the darkness

ensemble. Chromatic harmony is adopted

had all been an illusion, and at the heart

here as well, but in contrast to Agnus Dei,

of it all was God’s divine love, beauty and

it evokes an unsettled heart, foreboding

salvation.

solo,

the Judgement Day or Day of Wrath (Dies Irae) to come. Taking a minor key through

Following the uplifting resolution of

most of this movement, a brief moment of

Fauré’s masterpiece, we bring you Dan

hope and respite comes at “Lux perpetua”

Forrest’s Requiem for the Living.

(perpetual light) in part of the prayer for peace and salvation, before the choir

Faure’s programme notes by Alden Pong,

comes together in unison to reprise the

edited by the music committee.

opening prayer of the baritone solo.

Resonance 2019: The Heart of Singing

Programme Notes

I. Introit - Kyrie Requiem aeternam dona eis, Domine et lux perpetua luceat eis.

Rest eternal grant them, Lord our God, we pray to thee: and light perpetual forever shine on them.

Te decet hymnus, Deus in Sion: et tibi reddetur votum in Jerusalem.

Thou, O God, art worshipped in holy Sion: unto thee the vow shall be performed in Jerusalem.

Exaudi orationem meam, ad te omnis caro veniet.

Hear us, Lord; Lord, hear thy servants’ prayer: Lord, unto thee all flesh shall come.

Kyrie eleison, Christe eleison.

Lord have mercy. Christ have mercy.

II. Offertorium O Domine Jesu Christe, Rex gloriae, libera animas defunctorum de poenis inferni, et de profundo lacu:

Lord Jesus Christ, thou that rulest in majesty, O free the souls of thy faithful departed from torment eternal, and from the fathomless waters:

O Domine Jesu Christe, Rex gloriae, libera animas defunctorum de ore leonis, ne absorbeat eus tartarus: O Domine Jesu Christe, Rex gloriae, ne cadant in obscurum.

Lord Jesus Christ, thou that rulest in majesty, O free the souls of thy faithful departed from out of the lion’s jaw, lest they drown in the depths of hell: Lord Jesus Christ, thou that rulest in majesty, O save them from utter darkness.

Hostias et preces tibi Domine laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus.

Fac eas, Domine, de morte transire ad vitam Quam olim Abrahae promisisti et semini eius.

Hear our prayer and let our cry come unto thee; God our Father, bow thine ear: we pray this day for all the souls departed; O remember them, Lord, we pray.

Grant them, Lord, deliverance from death unto life, we pray thee, as of old thou hast promised to our fathers, Abraham and his seed.

O Domine Jesu Christe, Rex gloriae, libera animas defunctorum de poenis inferni, et de profundo lacu: ne cadant in obscurum.

Amen.

Lord Jesus Christ, thou that rulest in majesty, free the souls of thy faithful departed from torment eternal, and from the fathomless waters.

Save them, O Lord, from the darkness of hell.

Amen.

III. Sanctus Sanctus Dominus Deus Sabaoth, Pleni sunt coeli et terra gloria tua.

Hosanna in excelsis.

Holy, Lord God of hosts.

Heaven and earth are full of thy glory, O Lord.

Hosanna in the highest.

Resonance 2019: The Heart of Singing

Programme Notes

IV. Pie Jesu Pie Jesu Domine, dona eis requiem.

Pie Jesu Domine, dona eis sempiternam requiem.

Blessed Jesus, Lord, I pray, in thy mercy grant them rest.

O blessed Jesus, Lord, I pray, in thy mercy grant them everlasting rest.

V. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Lamb of God, who takest away the sins of the world: O grant them rest for evermore.

Agnus Dei, qui tollis peccata mundi, dona eis requiem, sempiternam requiem.

Hear us, hear us, O Lamb of God: we pray thee, Saviour of all the world, O grant them eternal rest.

Lux aeterna luceat eis, Domine, Cum sanctis tuis in aeternum, quia pius es.

Light perpetual shine upon them, Lord, we pray: with all thy saints in endless glory, for thy tender mercy’s sake.

Requiem aeternam dona eis Domine, et lux perpetua luceat eis.

Rest eternal grant them, Lord our God, we pray to thee: and light perpetual forever shine on them.

VI. Libera me Libera me, Domine, de morte aeterna in die illa tremenda, Quando coeli movendi sunt et terra, Dum veneris judicare saeculum per ignem.

Lord, I pray, deliver me from death’s everlasting fire on that great Day of Judgement, on that last dreadful day: When the earth and the heav’ns shall shake and tremble, and thou shalt come with thy mighty flaming fire of judgement.

Tremens factus sum ego, et timeo dum discussio venerit atque ventura ira.

Trembling, I stand before thee in fear and dread: thy wrath shall descend on the earth and bring all flesh to desolation.

Dies illa, dies irae, calamitatis, et miseriae, dies illa, dies magna, et amara valde.

Day of trial, day of judgement, death and destruction, torment and distress: day of anger, day of vengeance, day of mourning, of woe and bitter grief.

Requiem aeternam dona eis Domine, et lux perpetua luceat eis.

Rest eternal grant them.

Lord our God, we pray to thee, and light perpetual shine ever on them.

VII. In Paradisum In paradisum deducant angeli: in tuo adventu suscipiant te martyres, et perducant te in civitatem sanctam Jerusalem.

Chorus angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem.

God’s holy angels lead you to paradise: may saints in their glory receive you at your journey’s end, guiding your footsteps into the Holy City Jerusalem.

Choirs of angels sing you to your rest: and with Lazarus raised to eternal life, may you for evermore rest in peace.

Text translation by John Rutter © 1984 Hishaw Music, Inc Resonance 2019: The Heart of Singing

Programme Notes

Requiem for the Living Dan Forrest (1978) I II III IV V

Introit - Kyrie Vanitas Vanitatum Agnus Dei Sanctus Lux Aeterna

From the words of the composer himself:

of the movement provides a feeling of

“the work is a prayer for rest (“Requiem”)

hope. Inevitably, the main theme of

for the living, as much as for the deceased.”

grief returns near the end with an even

While the Requiem is typically for the

stronger cry for mercy and rest - this is

deceased, the composer alludes to the

also reflected in the text.

living’s need of rest as much as the dead need their own eternal rest. With some

An

energetically

deviation from the regular Order of Mass,

movement, Vanitas Vanitatum, combines

this Requiem portrays a hopeful narrative

the use of the gentler Pie Jesu and

of restoration from the many pains and

Lacrimosa text from the Dies Irae Sequentia

wounds the world needs so desperately

(a sung liturgical poem) with references

to heal. Forrest’s Requiem for the Living

to the exclamatory Ecclesiastical text

is presented in five movements: Kyrie,

from the Biblia Sacra Vulgata to provide

Vanitas Vanitatum, Agnus Dei, Sanctus and

an honest, almost “nasty” perspective

Lux Aeterna. Taking about 16 months to

into the problem of pain and the vanity

compose, Forrest gave careful thought

of

and dedication to the creation of this

“octatonicism, unexpected rhythmic figures,

masterpiece, the results of which can

and big tone clusters for the organ pedals”.

be heard with the thorough motivic

The fast-paced and exciting beginning

development of a simple three-note

and ending sections of the movement

melodic theme introduced at the start of

provide an introspection to “the problem

the piece.

of pain which causes crises of faith” that

humanity

charged

today

following

characterised

by

humanity struggles with. It also alludes to Opening with Kyrie, Forrest turns a

the biblical character of Job, an exemplar

simple three-note melodic motive into

of pain and suffering. The gentler middle

an earnest prayer for rest, unfolding the

section seems to prophesy the coming of a

vast possibilities that the main motive

time of rest before being interjected with

offers. A general descending movement

the return of an energetic proclamation

of each thematic development alludes

of pain and vanity.

to an outpouring of human grief, while each upward lilt towards the middle Resonance 2019: The Heart of Singing

Programme Notes

While trying to create musical ideas that exudes the idea of inevitability, Agnus Dei was one of the most difficult movements for Forrest to compose. Although out of the traditional requiem order, Forrest felt that the Lamb of God needed to be introduced after the time of pain, torture and vanity from the previous movement.

The structure of this movement is also befitting that of the introduction of this Lamb of God. The quasi call and response between the soloist and chorus is akin to a shepherd leading his flock which musically leads to Sanctus, the fourth movement written as a hopeful response to the Agnus Dei. Three distinct images of the wonders of Heaven and Earth and an answer to suffering is shown and heard in the fourth movement, Sanctus. The first

The Hubble Deep Field a picture taken over the course of ten consecutive days in December 1995, by the Hubble Space Telescope.

image, inspired by the Deep Fields image as seen through the Hubble telescope,

After a hopeful declaration for the future,

provides insight into the wonders of the

Lux Aeterna sums up Requiem for the Living

vast universe, characterised by a lyrical

with a warm and heartening realisation of

choral line over sparse orchestration

an eternal light offered when it is sought

with some polymeter in the harp and

by humanity. Forrest directly quotes the

percussion. The wonders of our Earth

words of Jesus from Matthew 11:28 in the

is inspired by the image of Earth taken

tenor solo, ushering all to eternal rest.

from the International Space Station,

The piece ends by recalling the three note

characterised by vibrant orchestration

motif from the beginning, bringing us to

and choral declamation. The buildup

a mystical yet placid end.

of energy from the beginning of this movement culminates into an explosion

Forrest’s programme notes by Ong Wei Shen Keane,

of energy in the final section. Finally, the

with reference to Dan Forrest’s official write-up.

bustling vitality of mankind on earth is

edited by the music committee.

represented by a triumphant and hopeful Hosanna.

Resonance 2019: The Heart of Singing

Programme Notes

I. Introit – Kyrie Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Exaudi orationem meam, ad te omnis caro veniet.

Kyrie eleison; Christe eleison.

Rest eternal grant to them, O Lord, and let perpetual light shine upon them.

Hear my prayer, for unto Thee all flesh shall come.

Lord have mercy; Christ have mercy.

II. Vanitas Vanitatum Vanitas vanitatum, omnia vanitas!

Pie Jesu Domine, dona eis requiem.

Lacrimosa, et locutus est, pereat dies in qua natus sum.

Vanity of vanities, all is vanity!

Merciful Lord Jesus, grant them rest.

Full of tears, he said, Let the day perish wherein I was born.

III. Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis, dona eis requiem.

Lamb of God, who takes away the sins of the world, have mercy on us; grant them rest.

Agnus Dei, qui tollis peccata mundi, dona nobis pacem, miserere nobis, dona eis requiem

Lamb of God, who takes away the sins of the world, grant us peace; have mercy on us; grant them rest.

IV. Sanctus Sanctus, Dominus Deus Sabaoth.

Pleni sunt caeli et terra gloria tua.

Hosanna in excelsis!

Holy, Lord God of Hosts.

Heaven and earth are full of Thy glory.

Hosanna in the highest!

V. Lux Aeterna Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum: quia pius es.

Et lux perpetua luceat eis.

May light eternal shine upon them, O Lord, in the company of Thy saints forever: for Thou art merciful.

Let perpetual light shine on them.

Venite ad me omnes qui laboratis, et onerati estis, et ego reficiam vos.

Come unto me, all ye who labor and are heavy laden, and I will give you rest.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Dona nobis pacem.

Rest eternal grant to them, O Lord, and let perpetual light shine upon them.

Grant us peace.

Text translation by The Providence Singers Inc. Resonance 2019: The Heart of Singing

Acknowledgements Music and artistic director Terrence toh

intrumentalists Benedict Chua Cheryl Lim Derek Koh Isaac Lee Meah Tze Chuan Nigel Foo Seow Yibin Tang I Shyan

e x e c u t i v e c o m m i tt e e President alden pong secretary lim yuen may Treasurer Kiew Chi Wei anika executive associate of finance li peishan publicity sherilyn lim assistant publicity zachary lim logistics chua hui ming executive associate of operations angela heng

M u s i c c o m m i tt e e assistant conductors Ong Wei Shen Keane Sherilyn Lim section leaders alden pong brenda lai Hoang To Quyen i n a pp r e c i a t i o n o f venue victoria concert hall photography elgin ting videography iben Studio stage manager Nazrul Hakim backstage crew Faith Giselle Khong front of house C hew X i n Y i n g Debbie Ooi s u pp o r t i n g o r g a n i s a t i o n

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