Resonance: The Heart of Singing

Foreword American poet and civil rights activist Maya Angelou wrote, “Life is not measured by the number of breaths we take, but by the moments that take our breath away.” How often do these moments appear in our lives?

How frequently do we contemplate the meaning of living? I thought, “Rather live a life in passivity and waiting, why not create such moments ourselves?”

Resonance: The Heart of Singing, EVOKX’s new concert series, is our rejoinder to Angelou’s quote. A venture to create these breath taking moments for ourselves and for our listeners, in realization of our musical aspirations and sense of adventure.

“And I know that I am honoured to be witness of so much majesty…, thou motive of the stars”. Forrest’s Three Nocturnes is our first foray into choral music that features a full percussion ensemble, a genre of choral music arrangement not often seen in the local context. Through its Singapore premiere tonight, we seek to break new frontiers in repertoire programming for community choirs, and hope to inspire fellow choristers in the spirit of exploration and discovery. Whitacre’s Cloudburst needs no introduction; we sincerely hope you have brought your brollies with you.

And, after venturing into the realm of stars and clouds, you can’t fault us for saying I Believe I Can Fly. We hope you’ll be equally inspired.

Preceding this set of music by American composers, we open the concert with a contrasting selection of choral works by Asian composers.

We are excited to share the stage with our dear friend, Lester Delgado, and his choir, the Vocalismo Choral Group from the Philippines. We first collaborated in Evocation 2012: The Art of Giving and we are delighted to make music with them again tonight. Together, we will perform one of Lester’s most exhilarating compositions, Kyrie Eleison, a personal favourite of mine. I am also very proud to present a newly commissioned arrangement of Dayung Sampan by EVOKX’s assistant conductor, Keane Ong. On a personal note, I am thankful for this stage and this opportunity to share our music with you. It has been a privilege and honour to be a proponent of introspection, an advocate of empowerment, and a conduit of evocation through music.

“The principles of true art is not to portray, but to evoke.” - Jerzy Kosinski This evening, we hope to take your breath away.

Terrence Toh

Repertoire Sacred Music of Lester Delgado

Kyrie Eleison Ave Maria Alleluia Music of Asia: Singapore, China, Indonesia, Japan

Dayung Sampan

Ong Wei Shen Keane

Ni Wa Wa 泥娃娃

Americ Ting-Wei Goh

Bengawan Solo

Gesang Martohartono arr. Ken Steven

Itsuki no Komori Uta 五木の子守唄 Ko Matsushita

Music of Asia: The Philippines

Pasigin

Eudenice Palaruan

Isang Dugo, Isang Lahi, Isang Musika Dodjie Simon arr. Lester Delgado

Tayo’y Mga Pinoy

Heber Bartolome arr. Robert Delgado

- Intermission Music of america

Three Nocturnes Dan Forrest

Cloudburst

Eric Whitacre

I Believe I Can Fly

R. Kelly arr. Lester Delgado

E VOK X

We Sing & Love

EVOKX is a non-profit choral group formed in 2010 by local conductor Terrence Toh. EVOKX is the portmanteau of the words ‘evoke’ and ‘vox’, which means ‘voice’ in Latin. Our fundamental and unifying mission is to engage singers in community and social services through choral singing and performance. We are a choir where budding young musicians’ skills are nurtured, and their love for this art form cultured. In our pursuit for artistic excellence, we seek to evoke senses, emotions, and memories through the music we make.

We aspire to inspire our listeners to liberate their deepest sentiments and feelings. We desire to make music that resonates with our souls. The creation of EVOKX has since brought together Terrence’s students and like-minded singers, providing them with a stage to further pursue their interest in choral singing.

Staying true to our core mission, EVOKX adopts an educational approach towards music making. In making music, we inculcate and instill the values of compassion and charity in our members.

Soprano 1

Soprano 2

alto 1

tenor 1

bass 1

Au Yeong Sok Mun

Celine Oon

Amanda Ong

Muhammad Rasyidi

Alden Pong

Chow Hui Jin

Chua Hui Ming

Brenda Lai

Nazrul Hakim

Calvin Teh

Constance Toh

Gabrielle Lew

Celine Macasieb

Ong Ding Yi

Jacob Seet

Sherilyn Lim

Kiew Chi Wei

Chin Yi Siew

Zachary Lim

Kho Ke Di

Stefenie Rachel Wong

Laura Lee

Lim Yuen May

Stephanie Boon

Li Peishan

Lin Hui Hui

tenor 2

Michelle Loo

Liu Simeng

Chng Chee Hian

Ng Xin Rong

Loo An Qi

Hu Chong’En

bass 2

Pavithra Zereen

Michelle Lim

Kevin Liusputra

Chong Ting Jia

Quyen Hoang

Mohit Kodemela Yeo Zhe Hao

Chua Wee Han

Rachel Xiong

alto 2

Rachel Zanna Lee

Chan Xi

Shamaine Soh

Chew Xin Ying Felicia Huang Hazel Lin

Ryan Lim

Music & Artistic Director Terrence Toh

Terrence Toh is a Singaporean choral director and music educator.

He holds a Master of Music from Boston University and has studied under Dr. André de Quadros, Dr. Owen Brian William and Dr. Diana R. Dansereau. Terrence’s research interest is in the transformative powers of music, music education and music-making.

In his international debut as a conductor, Terrence led the National University of Singapore (NUS) Choir and Tanjong Katong Secondary School (TKSS) Choir to four gold awards in four competition categories at the 21st Century International Choral Festival in Genting, Malaysia.

The NUS Choir was awarded the “Best Interpretation Award” and Terrence was honoured with the “Most Promising Conductor Award” in the same festival. Terrence led Ngee Ann Primary School (NAPS) Choir to her first ever gold award in the 2004 Singapore Youth Festival (SYF) Central Judging. He also served as assistant conductor of Victoria Chorale in the season where the choir won the Sacra Acapella category at the World Choir Games 2006 in Xiamen, China.

Under his direction, the Anglican High School (AHS) Choir was awarded her first Gold with Honours award in the 2007 SYF Central Judging, a feat repeated in 2009. Terrence led the choir to the Festival of Songs 2008 in Olomouc, Czech Republic and the 11th Consorso Corale Internazionale 2010 in Riva Del Garda, Italy, and won a gold medal and diploma respectively. The choir also participated in Orientale Concentus 2014, Singapore and emerged winner in the Mixed Voices Junior Youth category.

Terrence led the Nanyang Junior College (NYJC) Choir to her first Gold award in the 2011 SYF Central Judging and a Gold Level V diploma at the 12th Consorso Corale Internazionale 2012. He brought the CHIJ Katong Convent Choir to the 28th International Franz Schubert Choir Competition held in Vienna, Austria, Pasir Ris Secondary School Choir to the 3rd International Krakow Choir Festival and Pioneer Junior College Choir to the 3rd Krakow Advent & Christmas Choir Festival.

Equally active in staging public performances in Singapore, Terrence’s choirs are regularly featured in Esplanade’s Limelight, a concert series that showcases the best local school choirs.

Terrence is the founder, artistic and music director of EVOKX, a nonprofit community choir that engages youths in raising public awareness for social and charitable causes. He also serves as the Chorus Master of the Singapore Lyric Opera. Terrence currently directs the choral programmes at Anglican High School, CHIJ Katong Convent, Nanyang Junior College, Pasir Ris Secondary School, Pioneer Junior College and Singapore University of Technology and Design.

Assistant Conductor Sherilyn Lim

Sherilyn Lim is a Master of Architecture graduate from the National University of Singapore. In August 2017, she completed a Continuing Professional Development Programme for Choral Conducting from the Conservatory of Music and Drama at the Dublin Institute of Technology.

As an Assistant Conductor of EVOKX, Sherilyn has led the choir for performances during the Christmas season and at the choir’s annual concert, Evocation 2016: The Art of Giving. EVOKX is where she finds joy in making music with like-minded musicians. She believes in the vital importance of music in bringing people together to make positive changes in the community.

Sherilyn is actively involved in the choral scene with the Singapore Symphony Youth Choir, Singapore Lyric Opera Chorus, and EVOKX. Her chorus performances this year include L’elisir D’amore with the Singapore Lyric Opera, Distant Worlds: music from Final Fantasy, and Brahm’s Song of Destiny with the Singapore Symphony Orchestra.

Pianist

Alden Pong Alden started playing the piano at the age of five, with a hobby of playing familiar tunes by ear and filling in simple chords to go with them. He developed a deeper understanding of music in secondary school where the GCE ‘O’ Level Music curriculum presented an opportunity for much more active application and accelerated development of knowledge.

This education was first put to practical use in 2009 when he joined the Pioneer Junior College Choir and helped accompany rehearsals. Since then, Alden has performed as an accompanist at various choral concerts, as well as at performances and auditions for solo singers.

Percussionists Seah Kim San Marvin Sng Yiang Shan Tan Lee Ying Wang Shan

Vocalismo Choral Group

It started with a vision from the Musical Director, Prof. Lester Frederick G. Delgado. In March 2010, this vision was realised as it gave birth to an astounding collaboration of some of the best musicians in the country.

Led by Prof. Lester Delgado, they aimed to produce high quality and inspiring music that will touch the hearts of many. This synergy of talents is dubbed Vocalismo Choral Group (VCG).

VCG is a professional performing group composed of young, talented, and experienced musicians and singers, most of whom are graduates of UST Conservatory of Music and the Far Eastern University in Manila.

Having wide ranging repertoire from Classical, Broadway, Popular, International, and Inspirational Music, VCG showcases her versatility through performances in special events across the metro. Some notable performances include: Coca-Cola Company’s Anniversary and Family Day in 2010, and Christmas and Valentines Shows at SM Malls in 2011 in the Philippines.

Since September 2012, VCG has also ventured into the international scene, starting with fundraising concerts in HK and Macau. It is a way to promote Filipino pride to an international audience, and at the same time pay tribute to Filipino workers overseas. In May 2012, VCG was invited

by EVOKX for a combined concert at the School of the Arts concert hall, which was supported by the Philippine Embassy in Singapore.

From October to November 2013, VCG embarked on a successful concert tour in Hamilton, Ontario, Canada. They also represented the Philippines in the multicultural Mass participated in by sixteen other nationalities at the Cathedral Basilica of Christ the King, officiated by the Most Reverend Bishop Douglas Crosby, O.M.I..

VCG, in partnership with Circles Entertainment, has been invited to perform at Resorts World in Genting Highlands, Malaysia, for three consecutive years from December 2011 to 2014. It was also in Genting Highlands where VCG performed as front act for the Australian Bee Gees 2012 Concert and All-4-One December Christmas Concert. This is considered to be the group’s most recent accomplishment.

These professional musicians joined forces having one vision in mind.

They all share the same passion in music as they work towards their mission in producing high quality and inspiring music through their heavenly voices and professional performances.

Vocalismo Choral group singers Lester Delgado Ammieruth Suarez Irish Kleine Cabezas Jan Wendell Bandiola Jomar Arteta Joseph Carillo Karlene Laxamana Kelvin Galano Lorely Garcia Lovelle Inoferio Mae Delgado Maja Padrigon Pearl Anquillano Ronell Onate Ronica Mae Mangahas Sabrina Kara Arriola Tricy Aquino Vidagrace Mirang Wilson Cariaga

Guest Conductor Lester Delgado

Prof. Lester Delgado is a graduate of the University of Santo Tomas Conservatory of Music with a degree in Bachelor of Music, majoring in Choral Conducting under Prof. Ricardo Mazo. He finished his Master in Music at St. Paul University under the tutelage of Prof. Eudenice Palaruan and graduated magna cum laude. He is now taking up his Doctor of Musical Arts Major in Choral Conducting.

Under his leadership, Lester has brought choirs in winning championships both in local and international choral competitions such as: St. John Bosco (SJB) Chorale: Champion for 2 consecutive years at the Paskong Himig sa Pasig Choral Competition in 2005-2006 Centro Escolar University Singers-Makati: 4 Gold Prizes at the 3rd Bali International Choral Competition in Bali, Indonesia in 2014 Globe Voices@Work: Gold Prize Winner and given the Adjudicator’s Special Award at the 7th Winter Choral Competition in Hong Kong in 2016.

In 2010, in a move to further improve his career as a choral conductor, Lester collaborated with the best musicians in the country to form the Vocalismo Choral Group (VCG). VCG is a professional performing group that is composed of young, talented and experienced musicians, singers and music enthusiasts who showcase their versatility through performances in specials events in the metro and abroad. The group was already invited to perform in Hong Kong, Macau, Malaysia, Singapore and Canada. He is also the conductor of the Philippine Tourism Chorale of the Department of Tourism and brought them to international performances.

Today, Lester is a professor at the Centro Escolar University Conservatory of Music teaching both in the Undergraduate and Graduate School.

Lastly, knowing his mission in life, Lester composed 10 books for the Liturgical Celebration of the Catholic Church, the Misa Delgado Book Series. A professor, choral clinician, arranger, composer, pianist and conductor.

Programme Notes Two choirs, under two directors. Two words: East; West. Resonance: The Heart of Singing builds on the dynamism of two very distinct cultural identities, but all with the ubiquitous goal of music-making that warms the heart and soothes the soul.

The night begins with three sacred pieces arranged and conducted

by Lester Delgado, featuring first the combined choirs of EVOKX and Vocalismo Choral Group (VCG), with the spotlight then following VCG in their tribute to the Blessed Mary and Jesus Christ.

Kyrie, a transliteration of the Greek Κύριε, vocative case of Κύριος (Kyrios), is commonly known as a prayer in Christian liturgy. Its full name, Kyrie Eleison, translates literally to ‘Lord, have mercy’. In the Tridentine Mass form, which has been officially declared the extraordinary form of the Roman Rite of Mass, the phrase ‘Kyrie, eleison’ is either sung or said three times, followed by the threefold ‘Christe, eleison (Christ, have mercy)’ and a second threefold ‘Kyrie, eleison’.

Delgado’s arrangement of the widely renowned prayer is introduced by an aleatoric refrain of ‘kyrie eleison’, with a solo tenor line supported by an ethereally whispering choral harmony. This builds up to a fast rhythmic section driven by the male chorus and the Dabakan (a percussive drum of Filipino origins), while the female voices weave a tapestry of melodic and harmonic lines above the underlying rhythm. This gives the sacred text a distinctive flavour drawn from its cultural roots, while depicting the crucifixion and the scourging of Jesus going to His cross. The piece draws emphatically to a close, suggesting an enlightened resolution on a major chord, but ultimately resolutely ending on a minor chord.

In the same vein, Ave Maria, the Hail Mary, is one of the most recognisable prayers throughout the Western world. The Angelic Salutation is a traditional Catholic prayer for the intercession of the Virgin Mary.

Originally written in Koine Greek, it is the more modern Latin version that is commonly found set to song today.

The setting of Ave Maria arranged by Delgado uses modern chords that eventually give way to a series of beautiful dissonances, culminating in a glorious shout of recognition to the Blessed Virgin Mary. Delgado has dedicated this piece as a beloved work for the Virgin Mary.

Delgado and VCG close off the sacred trio with the piece Alleluia, an expression of praise to God. Written in ternary form, the three sections of the piece illustrate the story of the birth and teachings of Christ, to the Passion and Death of Christ on the cross, and culminating in the Resurrection. Delgado has dedicated this piece to his beloved father in Heaven.

From the sacred to the music of Asia; EVOKX takes centre stage with pieces originating from Singapore, China, Indonesia, and Japan. Every nation has its history and stories to tell, and EVOKX brings to life four pieces that hold traditional significance for these countries.

Dayung Sampan is a traditional folk song that originated from Indonesia but has since been adapted to a more Singaporean context. It is a song that was commonly taught in the primary school music education programme, and while the tune is simple, its meaning runs deep. The words reflect how our multiracial forefathers made the uncertain journey to the island Temasek, an early name for what would become Singapore.

In this arrangement of Dayung Sampan, Ong captures this uncertain journey made by our forefathers on a rickety sampan (derived from the Chinese term ‘三板’ (sān bǎn), which means “three boards/planks”, in reference to small Chinese boats). Within this piece are imagined feelings that they must have had as they left their homelands, embarked on a majestic voyage, braved storms, and finally reached their new home and new life. Musically, this arrangement of Dayung Sampan features chord clusters and arpeggiated figures that depict the waves and the sea. Different moods are determined through tempo changes and the intensity in both melodic and harmonic writing. As much as it is a musical experience, Ong wanted the arrangement to be a visual experience as well. The melodic lines have been structurally arranged so that the listeners can almost see the melodic wave moving across the stage, and truly experience the meaning of the song to its fullest intent.

In Goh’s arrangement of the folksong Ni Wa Wa, or ‘clay doll’ in Chinese, Goh was quoted as being struck by the strong emotion a child would feel for a small clay doll. The tune’s minor key juxtaposed with its role as a children’s nursery rhyme, has a subtle sinister undertone.

Indeed, if the folk tale linked to the original children’s song is to be believed, the simple Ni Wa Wa hides a deeply emotional, painful and sad story. In the folk tale, the song was originally sung by a young girl, who was born severe deformities and rumoured to be the child of a demon.

The nursery rhyme, taught to her by her mother, paralleled her own life; an ugly clay doll, not worthy enough to be regarded as a real child, with no loving father nor mother.

Goh extrapolates on this sinister undertone by deftly interchanging between the relative major and minor keys of each section of music, creating a sense of unease with a constantly changing tonal centre. He chose to set the childhood tune his mother used to sing to him and his sister into four miniatures, that move through the characteristics of being nostalgic, lively and playful, solemn, and energetic, with the original melody being passed turn by turn to the four voice parts. While the harmonic language sets an eerie atmosphere, the energetic last section that closes with a C major chord reminds us of the innocence of childhood and our playful penchant for the macabre.

Bengawan Solo is an Indonesian song about the Solo River, which flows through central and eastern Java. While many different versions of the song in different languages exist, Steven chose to arrange the piece in its most traditional form. As the traditional tune describes the legendary river in a poetic and nostalgic way, he decided to pursue this flow in capturing the beauty of the river.

Each of the four voice parts alternates its own individual melodic line with occasional cadential closure that brings out both the free movement and warm richness of the river that embraces all who live and breathe.

Rich harmonies and chordal movement echo the abundance and fertility of that same river that has long been used by Javanese merchants for farming and trading. Steven resolves the piece with a ninth-chord, which never really ends, as he feels that the river will keep on flowing and will always be loved; the river that is ever steady as the pride of the people.

Ending off the quartet of Asian melodies, Itsuki no Komori Uta, or ‘Lullaby from Itsuki’, opens with flowing vocalisations that set the scene of Itsuki, a small village in Kyushu, Japan.

A laboured rhythmic pattern in triple time is introduced, sung in ‘portando’, where the voice carries the sound from one note to another, like a continuous sigh. Over this sighing, the female voices sing of a longing to leave and go home, and the male voices tell the story of young daughters of poor peasants sold to rich landlords as servants and babysitters.

The palpable estrangement of the girls from their families is felt in an abrupt key change over two bars, moving into an impassioned lament, “Who will cry for me if I die?”, that dies down to a quintessentially Japanese metaphor of cicadas that sing on pine mountains. Matsushita’s setting of the piece perfectly carries over the emotions originally intended in the lullaby. Both his and the original, unlike usual lullabies, are neither soothing nor gentle. The last refrain opens emphatically, with a crescendo over a meter change that speaks of the underlying tension and anger, that quickly gives way again to elegiac pleas to the sisters, which eventually dies away to nothing but emptiness.

More music of Asia follows, this time with VCG proudly bringing to us uniquely Filipino songs. Pasigin is a traditional Filipino folk song, usually accompanying dance, with rhythms resembling those of fishermen scooping schools of fish. Inspired by the fish nets used by the Capiznon in Capiz, a province located in the Western Visayas, Philippines, the song expresses the fun experiences of being a fisherman.

Isang Dugo, Isang Lahi, Isang Musika, ‘One Blood, One Race, One Music’, was composed for the first KBP Pop Music Festival in 1988 and became one of the finalists in the competition. The setting presented by VCG is arranged for a soprano and tenor with a backup SATB choir. The pleasing harmonies and powerful lyrics reflect the dream of uniting all Filipinos through music.

‘We are Filipinos’, Tayo’y Mga Pinoy is a unique synthesis of rock and blues. A finalist during the 1978 Metropop Song Festival in Manila, it was later recorded and performed by multiple Filipino artistes. The polyphonic choral arrangement showcased by VCG closes the first half of the concert with their love for the Philippines and their pride of what they can achieve as Filipinos.

With the night half over, EVOKX and VCG share the stage to bring to life the music of three American composers - Dan Forrest, Eric Whitacre, and R. Kelly. The combined choirs, along with percussion ensemble, meld voice and rhythm to open the heavens and bring forth the beauty of the night.

Countless poets and musicians have tried to capture and recreate the profound and inexplicable majesty of the night sky, and the connection we feel as we gaze towards the heavens is as enigmatic as religious spirituality. In Three Nocturnes, a formidable three movement piece for chorus and percussion ensemble, Forrest brings together poetry and music, inspired by the night skies over the plains of Kansas. The lush harmonic writing and colourful use of percussion bring this piece alive.

The opening movement sets Sara Teasdale’s “Stars”, which Forrest uses to paint the expanse of the heavens. Forrest opens the first movement to ‘sonic space’, where individual instruments and voices enter quietly on the tonic. From this quiet introduction in the minor key, the music grows to its relative major wherein the music and text open up to ‘a heaven full of stars’. A lively section follows, where rhythms give colour to the imagery of ‘beating hearts of fire’ – hearts that resonate with the rumbling sonority of the timpani and the clear timbre of the xylophone and tambourine. In considering the heavens, one inevitably comes back to the consideration of ourselves in the entire scheme of the world, and the music once again returns to the ‘sonic space’ where our fiery souls give way to the majesty of the universe.

Both Teasdale and Forrest do so much more than painting pretty pictures - they bring to life the magnificence of the stars. As all stars shine, all stars exist; painting the sky with their colour for a time much like forever to us paltry humans. However, far from the feeling of insignificance or wonder that oftentimes come with such portrayal of the stars, they - and we - simply watch, and gaze, and be “honored” just to see them in their majesty.

Transitioning from the minor key of the first movement to its parallel major, the celesta introduces the second movement with its music boxlike quality, perfectly capturing the mechanised clockwork texture of moving cogs and gears that Forrest alludes to Big Ben. Forrest uses staccato singing and an additive contrapuntal texture, the alternating enharmonic writing bringing to mind the image of twinkling stars. Comparing the stars to the omnipotent, omnipresent Father, commented Forrest in his Composer’s Note, “Several hints of this temporal element are present in the piece” where the stars emerge right on time to light up the “Astral Hall” that is the night sky.

In the last movement, Forrest’s distinctive compositional style emerges, with lush emphatic chords that shift and shimmer. All four voice parts move in harmonic unison towards the tonal centre of the first movement, in an exaltation of “...Thou motive of the stars”. It inspires the concept of the earth in its ancient idea, being at the centre of the universe and by association, the stars. The ‘vast Rondure’ of the choral-style movement and setting only compounds the magnificence of the idea. The piece closes with the sopranos and basses leading on a sustained tonic note mirroring the first movement, with the piano, crotales, and the soprano voice closing on a gentle reprise of the melody. The mysterious stillness and silence that opened the piece returns, ending Three Nocturnes by returning to where we began: marvelling at the majesty of the stars.

Where Three Nocturnes moves in lofty celestial reaches, Cloudburst portrays how earthly forces of nature have their own enigmatic ways.

The second of three pieces presented tonight for chorus and percussion ensemble, the Cloudburst is a ceremony - a celebration of the unleashed kinetic energy in all things. It sets the Spanish poem, El cántaro roto (The broken water-jar) adapted from Octavio Paz about rain coming to a parched land, a spiritual journey that builds up to a profound representation of the power of water and rebirth.

The piece begins with a reverent utterance of ‘La lluvia’, the rain, colluding in a dissonant tone clusters characteristic of Whitacre. A baritone solo sings of bird beaks of light and pomegranate stars, while the choir laments the burnt earth and dust. This rich imagery is set to music that moves meditatively through scattered seventh chords, giving the section its spiritual quality. A spoken, arrhythmic incantatory recitative beckons us to dreams, which then gives way to the choir entering in successive bell-like tones. The ninth chords are portentous of what is to come, leading to the enigmatic soprano solo line to ‘return to the point of departure’.

The second section, titled “The Cloudburst”, is introduced by the pealing of handbells and gentle windchimes. The choir crescendos into an aleatoric section, underpinned by the ominous rumblings of the bass drum and thundersheet, culminating in the eruption of thunder and rain. The instruments fade one by one to leave the voices, the soft roll of thunder, and the trickling of raindops in a soft whisper that ends off the piece with a quiet tribute to the rain.

To end the night is R. Kelly’s I Believe I Can Fly, originally written and produced for the soundtrack of the 1996 film Space Jam. The combined choir presents a contemporary version of this piece, arranged by Delgado for voice and percussion specially for this concert. In his writing, Kelly incorporated both romantic and spiritual connections because of his belief that it could go both ways. However, before all else, this song serveds as an inspiration to others who have difficulties believing in themselves. Obviously, humans without the aid of tools and machines are not known for flight. However, with the belief in our hopes and dreams, and with faith and trust, we can achieve our miracles.

In the end, after the music has stopped and the night is over, the shadows bring the dawn of a new day. With the end of Resonance: The Heart of Singing, one message rings true above all: despite the six degrees of separation, we are all one in the world of music and singing. At the heart of singing, we believe in the magic of music and song, and in the hope that music can bring.

Programme notes by Brenda Lai and Sherilyn Lim

Words to the Music

Kyrie Eleison

Lester Delgado Text from Christian liturgy Kyrie eleison Christe eleison

Lord have mercy Christ have mercy

Ave Maria

Lester Delgado Text from Christian liturgy Ave Maria, gratia plena, Dominus tecum.

Benedicta tu in mulieribus, Et benedictus fructus ventris tui, Ventris tui, Jesus.

Sancta Maria, Mater Dei, Ora, ora pro nobis peccatoribus,

Nunc et in hora mortis nostrae.

Hail Mary, full of grace, The Lord is with thee.

Blessed art thou among women, Blessed is the fruit of thy womb, Thy womb, Jesus.

Holy Mary, Mother of God, Pray for us sinners, Now, and at the hour of our death.

Alleluia

Lester Delgado Text from Christian liturgy Alleluia

Praise the Lord

Dayung Sampan

Arranged by Ong Wei Shen Keane (1990) Text from an Indonesian folksong Translation by Nur Izyan bte Fart Horraman Dayung sampan Dayung dayung sampan

Dayung mendayung sampai ke Singapura Sampai Singapura

Rowing a boat Rowing a boat Row and row til we reach Singapore Reach Singapore

泥娃娃 Ni Wa Wa

Arranged by Americ Ting-Wei Goh (1982) Text from a Chinese folksong Translation by Gabrielle Lew 泥娃娃, 泥娃娃 一个泥娃娃

Clay doll, clay doll, A clay doll,

也有那眉毛 也有那眼睛 眼睛不会眨

She has eyebrows too, She has eyes too, But her eyes do not blink.

泥娃娃, 泥娃娃 一个泥娃娃 也有那鼻子 也有那嘴巴 嘴巴不说话

她是个假娃娃 不是个真娃娃 她没有亲爱的妈妈 也没有爸爸 泥娃娃, 泥娃娃 一个泥娃娃

我做她妈妈 也做她爸爸 永远爱着她

Clay doll, clay doll, A clay doll, She has a nose too, She has a mouth too, But her mouth does not speak.

She is a fake doll, Not a real baby, She does not have a dear mother, Nor does she have a father.

Clay doll, clay doll, A clay doll, I’ll be her mother, I’ll be her father, I’ll love her forever.

Bengawan Solo

Gesang Martohartono (1917-2010), Arranged by Ken Steven (1993) Text by Gesang Martohartono Translation by Felicia Huang Bengawan Solo Riwayatmu ini Sedari dulu jadi…

Perhatian insani

Solo river This history of yours Since a long time ago, you have people’s attention

Musim kemarau Tak seberapa airmu Dimusim hujan air..

Meluap sampai jauh

In the dry season not much is your water In the rainy season, water overflows far

Mata airmu dari Solo Terkurung gunung seribu Air meluap sampai jauh Dan akhirnya ke laut

Your spring from Solo Is isolated by the Seribu Mountain Water flows far away And finally reaches the sea

Itu perahu Riwayatnya dulu Kaum pedagang selalu…

Naik itu perahu

That boat Its history in the past The merchants always Rode the boat

五木の子守唄 Itsuki no Komori Uta Arranged by Ko Matsushita (1962) Text from a Japanese folksong Translation by edition KAWAI (Japan) おどま 盆ぎり 盆ぎり 盆から先にゃ おらんと 盆が早よ来りゃ 早よ戻る おどま かんじん かんじん あん人達ァ よか衆 よか衆 よか帯 よか着物（きもん） おどんが うっちんちゅうて 誰（だい）が泣いた くりゅうきゃ うらの松山 せみが泣く せみじゃ ござんせん 妹でござる 妹泣くなよ 気にかかる

I will only be here Until the time of “Bon”.

After that I will leave.

The sooner it arrives, The sooner I can go home.

I am a poor slave.

My masters are rich; They wear fine kimonos with fine sashes.

Who will cry for me If I die?

Only the cicadas On yonder pine mountain.

But who is crying now?

Not cicadas But my little sister.

Oh sister of mine, Do not cry!

It only makes my load Harder to bear.

Pasigin

Arranged by Eudenice Palaruan (1968) Text from a Filipino folksong Translation by Eudenice Palaruan Isa sadtong kahaponanon Sa higad sang amon punong May lukon kag may hipon Ikaw didto nga matipon

Sibot-sibot sa panghigaron Pasayan amon nga sundon Sikop-sikop sa hagapisik Manga ulang gatalalsik

One afternoon beside our fish pond there were big shrimps and small shrimps which you can gather

Panakla sang mga mangla Si Nonay nagapangahayhay Walay isda isampot sa balay Nag-abot iya nga sibot Kay sumag-it sa talibugsok

Si Nonay nagapangahayhay Gapanagoy nasampot sa balay Madamong kuha nga isda Ipasalubong kay palangga

People are carrying their fish containers Nonay was quite frustrated She had no fish to bring home She caught some sipot-sipot But they all fell along the river bank

Isa sadtong kahaponanon Sa higad sang amon punong May bangus kag untidos Ikaw didto mapadulos

I’m so tired of gathering the small shrimps for they keep on jumping while the ulang are so restless

Nonay was happy whistling on her way home She caught a lot of fish to offer to her sweetheart One afternoon beside our fish pond The bangus are not so bountiful So keep your eyes on them

Nagaisol ang mga uson Gakamang mga bagongon Alimango gakapaykapay Nagasunod mga kalampay

The uson are moving back The bagongon are crawling The big crabs are snapping along with the small crabs

Ang gataw sang mga isda Nagalimid sang mga taba Hinay-hinay pag-butwa agud siguro ang kuha.

Be careful not to throw the fat when you open the fish Carry them slowly and Make sure you collect them all

Isang Dugo, Isang Lahi, Isang Musika Dodjie Simon, Arranged by Lester Delgado Text by Dodjie Simon Translation by Lester Delgado Isang himig ang aking narinig Minsa’y nanaginip ating bansa’y umaawit Isang himig pagibig ang hatid Ang musika’y batid sa bawat puso at isip

I heard one song And I dream of our nation singing it One song that brings love And music to every heart and mind

Ikaw at ako tayo ay pilipino Isang bansa ba’t di magkaisa Isang dugo, isang lahi, isang musika Ang pangarap ko’y bansang mapayapa

You and I, we are Filipinos One nation but why are we not united?

One blood, one race, one music My dream is a peaceful country

Isang himig pag-ibig ang hatid Ang musika’y hatid sa bawat puso at isip Isang awit ang aking narinig Kristiyano at Muslim Magkaisa sa awitin

I heard one song And I dream of our nation singing it One song that brings love and music Whatever your religion, let us Unite through a song

Tayo’y Mga Pinoy

Heber Bartolome (1968), Arranged by Lester Delgado Text by Heber Bartolome Translation by Lester Delgado Tayo’y mga Pinoy Tayo’y hindi Kano Huwag kang mahihiya Kung ang ilong mo ay pango

We are Filipinos Not Americans Don’t be ashamed Of your snub-nose

Dito sa silangan Akoy isinilang Kung saan nagmumula Ang sikat ng araw

Here in the Orient I was born From where the light Of the sun came from

Ako ay may sariling Kulay kayumanggi Ngunit di ko maipakita Tunay na sarili

I have my own Brown colour But I can’t show My true self

Kung ating hahanapin Ay matatagpuan Tayo ay may kakayahang Dapat na hangaan

If we search for it We will realise That we have skills and talents That are worthy of praise

Subalit nasaan Ang sikat ng araw Ba`t tayo ang humahanga Doon sa kanluran

But where is it The light of the sun But why do we keep Praising the West

Bakit kaya tayo ay ganito Bakit nanggagaya, meron naman tayo

Why are we like this Why keep imitating, while in fact we have our own

Meron isang aso Daig pa ang ulol Siyay ngumingiyaw Hindi tumatahol

There is a dog Greater than a fool It keeps meowing But never barks

Katulad ng iba Paingles ingles pa At kung pakikinggan Malimali naman Huwag na lang

Like those people Trying hard to speak English If you listen to them They can’t speak straight Just quit if you can’t

Three Nocturnes Dan Forrest (1978)

I - Stars

Text by Sara Teasdale Alone in the night On a dark hill With pines around me Spicy and still, And a heaven full of stars Over my head White and topaz And misty red; Myriads with beating Hearts of fire

That aeons Cannot vex or tire; Up the dome of heaven Like a great hill I watch them marching Stately and still.

And I know that I Am honored to be Witness Of so much majesty.

II - Lightly Stepped A Yellow Star Text by Emily Dickinson

Lightly stepped a yellow star To its lofty place — Loosed the Moon her silver hat From her lustral Face — All of Evening softly lit As an Astral Hall — Father, I observed to Heaven, You are punctual.

III - Thou Motive of the Stars Text by Walt Whitman

(Excerpts from “Passage to India”) O vast Rondure, swimming in space, Cover’d all over with visible power and beauty, Alternate light and day and the teeming spiritual darkness, Unspeakable high processions of sun and moon and countless stars above.

Thou transcendant!

Light of the light, shedding forth universes, thou centre of them, Thou mightier centre of the true, the good, the loving, Thou moral, spiritual fountain — affection’s source — thou reservoir, Thou pulse — thou motive of the stars, suns, systems, That, circling, move in order, safe, harmonious, [Across] the shapeless vastnesses of space.

Cloudburst

Eric Whitacre (1970) Text by Octavio Paz Translation by Lysander Kemp La lluvia…

The rain…

ojos de agua de sombra, ojos de agua de pozo, ojos de agua de sueño.

Eyes of shadow-water, eyes of well-water, eyes of dream-water.

Soles azules, verdes remolinos, picos de luz que abren astros como granadas.

Blue suns, green whirlwinds, birdbeaks of light pecking open pomegranate stars.

Dime, tierra quemada, no hay agua?

Hay sólo sangre, sólo hay polvo, sólo pisadas de pies desnudos sobre la espina?

But tell me, burnt earth, is there no water?

Only blood, only dust, only naked footsteps on the thorns?

La lluvia despierta…

The rain awakens…

Hay que dormir con los ojos abiertos, Hay que soñar con les manos, Soñemos sueños activos de río buscando su cauce, sueños de sol soñando sus mundos, hay que soñar en voz alta, hay que cantar hasta que el canto eche raíces, tronco, ramas, pájaros, astros, hay que desenterrar la palabra perdida, recordar lo que dicen la sangre y la marea, le tierra y el cuerpo, volver al punto de partida…

We must sleep with open eyes, we must dream with our hands, we must dream the dreams of a river seeking its course of the sun dreaming its worlds, we must dream aloud, we must sing till the song puts forth roots, trunk, branches, birds, stars, we must find the lost word, and remember what the blood, the tides, the earth, and the body say, and return to the point of departure…

I Believe I Can Fly

R. Kelly (1967), Arranged by Lester Delgado Text by R. Kelly adapted by Lester Delgado I used to think that life could not go on And life is nothing but an awful song But now I know the meaning of true love The meaning of and everlasting love If I can see it, then I can do it If I just believe it, there’s nothing to it I believe I can fly I believe I can touch the sky I think about it every night and day Spread my wings and fly away I believe I can soar I see me running to that open door I believe I can fly See I was on the verge of breaking up Sometimes silence can be so loud There are miracles in life I must achieve But first I know it starts inside of me If I can see it, then I can do it If I just believe it, there’s nothing to it ‘cause I believe in you If I can see it, then I can do it If I just believe it, there’s nothing to it If I just spread my wings I can fly

Acknowledgements music & artistic director

Terrence Toh

music committee

Guest conductor and choir

Lester Delgado Vocalismo Choral Group Executive committee

Assistant Conductor

President

Soprano Section Leader

Secretary

Alto Section Leader

Treasurer

Sherilyn Lim

Quyen Hoang Brenda Lai

Stephanie Boon Chew Xin Ying Nazrul Hakim

Tenor Section Leader

Publicity Officer

Bass Section Leader

Logistics Officer

Ong Ding Yi

Chua Wee Han

in appreciation of

Videography

Ong Jian Liang

Photography

Sherilyn Lim

Michelle Lim

Executive Associate of Operations Lim Yuen May

Executive Associate of Finance Hu Chong’En

Alfred Ng Elgin Ting

Venue

School of the Arts, Singapore

Loan of Handbells East View Primary School Programme Booklet Design Sherilyn Lim with kind support from

National Arts Council

The Philharmonic Winds (Singapore) Ltd

Best Drum Store LLP

Myriads with beating Hearts of fire That aeons Cannot vex or tire;

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