Art for Art's sake, Music for Music's sake. The Pioneer Voices Presents
Chamber, The Arts House 13 July 2025
Foreword
As we gather to celebrate the 15th anniversary of The Pioneer Voices (TPV), my heart is filled with immense gratitude and joy. It is truly humbling to witness how far we have come—from a small group of former schoolmates bound by a shared love for singing, to the vibrant and dedicated community we are today.
Over the past 15 years, TPV has journeyed through countless rehearsals, performances, and cherished moments together. We have sung in echoing halls and humble spaces, through joyful seasons and challenging times. Each note we sing carries the stories of friendships forged, lessons learned, and memories that continue to bind us as one voice.
This concert is more than a celebration of music it is a tribute to every member, past and present, who has contributed their time, heart, and voice to our choir. It is also a heartfelt thank-you to the mentors, supporters, and loved ones who have stood by us all these years.
As we look back with gratitude and forward with hope, may tonight’s music stir in us the same passion that started it all. Here's to fifteen years of harmony, and to many more melodies yet to come
Thank you for being part of our journey.
Constance President
The Pioneer Voices
Art for Art’s Sake, Music for Music’s Sake
A very warm welcome, and thank you for joining us this evening. It means so much to have you with us as we celebrate The Pioneer Voices’ 15th anniversary. This journey has truly been a roller coaster—filled with ups and downs—but our presence here tonight is a testament to the dedication, passion, and resilience of every member of this ensemble.
We wouldn’t be here without the unwavering support of many individuals. I’d like to express heartfelt thanks to Mr Terrence Toh, Mrs Tan-Kek Lee Yong, Ms Britta Seet, Ms Eileen Toh, Mr Maureen Chen, Mr Oh Keng Yong, and Ms Wen Xiang Ting, along with many others who have guided and supported us through the years. A special thank you also goes to our families and friends for their patience and encouragement through countless rehearsals.
This evening’s concert departs from our usual Journey series. Originally planned as a 10th anniversary celebration, it was postponed due to the pandemic. We’ve since embraced a new theme: Art for Art’s Sake, Music for Music’s Sake. Though the title may sound lofty, the idea is simple—we’re here to share music in its purest form. From spirituals and classical pieces to more avant-garde selections, we hope this performance brings you a moment of peace, joy, and reflection.
We’re honoured to be joined tonight by the Jurong Pioneer Junior College choir, as well as our talented collaborators Jeremy and Linh on strings. I hope you enjoy the music, and more importantly, feel something meaningful through it.
Let the music speak.
Warmly, Keane Ong
Music Director & Conductor
The Pioneer Voices
Concert Programme
When the Earth Stands Still
O Come, Emmanuel
Izar Ederrak
La Muerte Del Angel
Sommarpsalm
Shenandoah
Amazing Grace
~Intermission~
Nyon Nyon
Dies Irae
Ave Verum Corpus
Christus Factus Est Immaculata.
Wade in the Water
Song of Summer
O Love
Don MacDonalds
Elaine Hagenberg
Josu Elberdin
Liliana Cangiano
W. Åhlén
Jonathan Rodgers
Robert T. Gibson
Jake Runestad
Michael John Trotta
Francis Poulenc
Ko Matsushita
Tine Bec
Moses Hogan
Anders Öhrwall
Elaine Hagenberg
Our Conductor Mr. Keane Ong
Mr. Keane Ong, Singaporean lyric baritone, choral director, composer, and pedagogue, obtained his Masters Degree in Vocal Performance and Pedagogy from the Peabody Institute of the Johns Hopkins University, Maryland, USA, where he studied alongside American baritone, William Sharp, and received the George Castelle Memorial Award for Voice.
He also graduated from the Yong Siew Toh Conservatory of Music where he studied under lyric tenor, Alan Bennet. Keane received vocal coaching from various world-class artists, such as Sumi Jo, Roger Vignoles, Frederica von Stade, and The King’s Singers, while also developing his conducting skills under Dr. Halan Parker at the Peabody Institute. He also participated in the Singapore Lyric Opera Leow Siak Fah Artist Training Programme.
Some of Keane’s notable accomplishments include his bass solos for Leonard Bernstein’s ‘Chichester Psalms’, the Orchestra of the Music Maker, and The Vocal Associate’s production of Mahler’s 8 Symphony during Singapore’s 50 Independence Day celebration. He acted as John Styx in New Opera Singapore’s production of ‘Orpheus in the Underworld’, as well as Ben in their 2022 production of Gian Carlo Menotti’s ‘The Telephone’. th th
Our Conductor Mr. Keane Ong
Alongside other local choral conductors, such as Mr. Terrence Toh, Keane furthered his passion for music and pedagogy by directing and conducting choirs such as The Pioneer Voices and EVOKX, while also teaching in various local school choirs. As a pedagogue, Keane believes in unlocking his students’ artistic potentials through healthy vocal techniques, and by giving them the guidance and support they need to excel in an increasingly competitive world. He strongly believes in life-long learning and is proud to share that, like himself, many of his past students have gone on to pursue undergraduate studies in Vocal Performance. Keane also composed and arranged his own reimaginations of various folk songs, such as ‘Dayung Sampan’ and ‘Man Jiang Hong’, where he incorporated his own style consisting of natural sound effects and ambience.
The Pioneer Voices (TPV), alumni choir of Jurong Pioneer Junior College (JPJC), formerly Pioneer Junior College (PJC), was formed in 2010 with the support of the college, and former conductor, Mr Terrence Toh. The choir serves as an active platform for alumni members of JPJC choir to continue their passion for singing.
TPV actively performed in major college events, appeared as a guest choir in PJC choir concerts, and also joined PJC choir in their competition trips abroad. The choir successfully staged their very first public concert ‘Journey to a New Beginning’ in 2015, followed by their Christmas concerts ‘Journey into the Heart of Christmas’ in 2016 and ‘Journey through Passages of Sacred and Secular’ in 2018.
TPV aspires to nurture the spirit of friendship through music-making, and share their love for the choral arts with their voices.
(L-R): Hua Yuelin, Chan Yu Jie, Lim Shermaine, Jara Chelsea Reyes, Shamaine Soh (down), Constance Toh (up), Clara Ho Tyan, Ng Xin Rong, Tang Kuan Yee
Second Row (L-R): Cynthia Wang, Malbas Klaryce Soh, Mikayla So, Koh Ya Shi
First Row (L-R): Tay Le Yi Latricia, Daphne Oh, Allegra Mina Manini, Eleos Chong Wei Xin
Tenor
Alden Pong
Ban Hong Xiang, Immanuel
Michael Boey
Ong Fu Hwi Ryan
Tan Yao Hao, James
Bass
Domingo Gio Christian Cardinal
Gene Lim
Jang Minjoon
Jim Sean
Liew Kai Keeve
Jurong Pioneer Junior College Choir
The Jurong Pioneer Junior College (JPJC) Choir is a close-knit family of likeminded singers who come together to create meaningful music and foster lifelong connections. Guided by the school’s motto, “While I live, I learn. Plus Ultra”, the group faced numerous challenges with courage and consistently strives to move forward through continuous learning, improvement, and determination.
Though the choir members come from diverse musical backgrounds, they all experienced tremendous growth within a short span of time. They have trained tirelessly to raise their individual musical competencies, along with their ability to create a unified sound. While the current group may be smaller than a typical junior college choir, it continues to flourish, earning respect and remaining grounded in their core values.
As part of their holistic development, the choir not only participates and excels h h d h S
Third Row (L-R): Ang Shanelle, Phang Hui En, Ang En En, Tasmira Moula, Yuki Leong Yu Zhen, Cheryl Kee, Phua Zixuan
Second Row (L-R): Liew Rui Kee, Fathima D/O Abdul Aziz, Valencia Lee Jia En, Lim Yu Jia Alexis, Trisha Lim, Abigail Huang,, Lim Wen Jing, Wong Yu Lan Beverly
First Row (L-R): Alden Pong, Keane Ong
Violinist
Mr. Chiew Yu Yang, Jeremy
f there is one person in Singapore who has championed the cause of he viola more than any other, it would be Jeremy Chiew. His sheer ngle-mindedness has resulted in an nprecedented series of concerts dging the (viola) … firmly into the melight.”
25 Mar 2019, The Straits Times, Viola takes centre stage with gility”
Classically trained in the violin, Jeremy Chiew studied at the Longy School of Music under the tutelage of Dimitri Murrath, where he obtained a Masters in Music Performance (Viola) and received the Patricia Sherman award 'in honour of a high level of accomplishment, an exemplary attitude and a record of contribution to the life of the Longy Community.’ He actively performs with various local ensembles while balancing his teaching schedule, comprising of classes at the Nanyang Academy of Fine Arts, secondary school string ensembles, and a private instrumental studio. Jeremy also volunteers as a viola coach at Beautiful Minds Charity, where he applies Alexander and Dalcroze techniques while teaching children with special needs.
Cellist
Ms. Trinh Ha Linh
Trinh Ha Linh is a distinguished Singapore-based cellist with extensiv performance experience. She is a graduate of the Yong Siew Toh Conservatory of Music, where she studied under Ng Pei-Sian, Principal Cellist of the Singapore Symphony Orchestra. Linh further honed her artistry through masterclasses with esteemed cellists including Mats Rodin, Markus Stocker, Rhonda Ride and Inbal Meggiddo.
In 2011, she was honoured to be selected for the Asian Youth Orchestra, performing in various Asian countries such as China, Hong Kong, Taiwan, Japan, Thailand, Malaysia, and Vietnam. Linh regularly appears with several of Singapore’s foremost ensembles, including the Metropolitan Festival Orchestra, Orchestra of the Music Makers, and Wayfarer Sinfonietta.
As a founding member of Bossa Celli, Singapore’s premier cello quartet, she is noted for her contributions in innovative programming, and her diverse repertoire that spans classical and contemporary genres. Linh also participated in theatre productions with Dream Academy, including Crazy Christmas (2023) and Broadway Beng: Fukien Special (2024), further exemplifying her versatility as a performer.
Pianists
Mr. Alden Pong & Ms Chan Yu Jie
Alden Pong's journey as an accompanist began in 2009 when he joined the Pioneer Junior College Choir and helped out as a rehearsal pianist, while learning the basics of choral singing. This first taste of ensemble music sparked a lifelong passion for collaborative music making, which followed him throughout his career while he performs regularly as an accompanist for soloists and ensembles, vocal and instrumental alike.
As an avid practitioner of choral singing, h l d h k aching in f singing hearsals.
fter 15 years of dedicated piano studies and erformances, this concert marks Chan Yu Jie’s ebut as a piano accompanist. She joined the rong Pioneer Junior College’s Choir in 2023 here she gained valuable exposure to choral nging and deepened her understanding of usical collaboration.
er debut as a piano accompanist in this oncert brings together her experiences as oth an instrumentalist and a vocalist, marking meaningful step in her musical journey and valuable opportunity to grow as a musician.
When The Earth Stands Still
Don Macdonald
Come listen, in the silence of the moment, before rain comes down. There's a deep sigh, in the quiet of the forest and the tall tree's crown. Now hold me,
Will you take the time to hold me, and embrace the chill?
Or miss me,
Will you take the time to miss me,
When the Earth stands still?
'Cause there's no use running,
'Cause the storm's still coming, And you've been running for so many years
For so many years
Come listen, in the silence of the moment, before shadows fall
Feel the tremor, of your heartbeat matching heartbeat, as we both dissolve. Now hold me,
Will you take the time to hold me, and embrace the chill?
Or miss me
Will you take the time to miss me,
When the Earth stands still?
'Cause there's no use running
'Cause the storm's still coming
And you've been running for so many years
So stay with me,
Held in my arms, like branches of a tree
They'll shelter you for many years
So many years
For so many years (stay with me)
Stay with me
Inspiration struck Don Macdonald as he relaxed on the grass with his son. As waves of tranquillity rolled over him, time seemed to slow down, and he could truly appreciate his time in the present. The sense of serenity is brought out through simple yet endearing blocked chords and seemingly still movement. Imbued within the poetry of this song is his call to be in the present which also shows his appreciation of the gift of life.
O Come, Emmanuel
Music by Elaine Hagenberg
Latin translated by John M. Neale and Henry S. Coffin
O Come, Emmanuel
And ransom captive Israel, That mourns in lonely exile here Until the Son of God appears.
O come thou Dayspring come and cheer
Our spirits by Thine Advent here, and drive away the shades of night, And pierce the clouds and bring us light!
Rejoice! Emmanuel shall come to Thee O Israel.
O come, Desire of nations bind All people in one heart and mind; Bid envy, strife, and quarrels cease, And fill the world with heaven’s peace.
O Rejoice! Emmanuel shall come to Thee O Israel.
O come.
“O come, Emmanuel” originates from an 8th-century sacred poem and is an unusually sombre hymn typically sung during the season of Advent. Elaine Hagenburg composed this arrangement with haunting and distant vocals in mind, to portray the timeless hope and yearning that echoes through generations, striving to tell a story about longing for the ages.
Overlapping melodies within the chorus radiate waves of warmth and the strings add a sense of gravitas to an otherwise unassuming piece of traditional choral literature.
Izar Ederrak
Josu Elberdin
Izar ederrak
argi egiten dau zeru altuan bakarrik
ez da bakarrik, lagunak ditu, Jaun zerukoak emanik
Zazpi aingeru alboan ditu, zortzigarrena gaixorik.
Zazpi mediku ekarii deutsez India Madriletatik.
Izar ederrak
argi egiten dau zeru altuan bakarrik
ez da bakarrik, lagunak ditu, Jaun zerukoak emanik.
Arek igarri nunik dagoan gaixorik: Amore minak badituz onek erraietan sarturik.
The beautiful star, That shines alone in the high heavens, she’s not alone, She has friends that God gives her. She has seven angels, the eighth is sick. they brought seven Indian doctors from Madrid.
The beautiful star, That shines alone in the high heavens, she’s not alone, She has friends that God gives her.
One doctor says about the angel: “This is the heartbreak in her soul.”
“Izar Edderak” is a choral version of a symphonic poem describing the story of a star and an angel who longs for it.
Josh Elberdin’s genius has resulted in a lovely ballad that evokes wonder in its soft, gentle tones and deep yearning in its deeply emotional swells. The storytelling is ameliorated with dramatic shifts in dynamics and an amalgamation of musical styles.
La Muerte Del Angel
Music by Astor Piazolla
Arranged by Liliana Cangiano
This arrangement of “La Muerte Del Angel” was composed by Liliana Cangiano for SATB choir. It was written with the idea of using voices to mimic instruments and is a reimagining of the original composed by Astor Piazolla. Adapted from Alberto Rodriguez Muñoz‘ play “Tango del Angel”, the dramatic shifts in the song's multipolar moods are tailored to set the scene in which the death of an Angel is realised. Intensity, suspense and even sultry undertones are to be expected in this dramatic jazz favourite.
Sommarpsalm
Music by Waldemar Åhlén
Lyrics by Carl David af Wirsen
En vänlig grönskas rika dräkt har smyckat dal och ängar. Nu smeker vindens ljumma fläkt de fagra örtesängar.
Och solens ljus och lundens sus och vågens sorl bland viden förkunna sommartiden.
Sin lycka och sin sommarro de yra fåglar prisa. Ur skogens snår, ur stilla bo framklingar deras visa En hymn går opp av fröjd och hopp från deras glada kväden, från blommorna och träden.
Men du, o Gud som gör vår Jord så skön i sommarns stunder:
Giv att jag aktar främst ditt ord och dina nådesunder.
Allt kött är hö och blomstren dö och tiden allt fördriver, blott Herrens ord förbliver.
The rich dress of fresh green has decorated the valley and the hills. The flowers bloom in the meadow, The wind delights the fields.
The sun's rays in the wooded valley, The waving willows, Announce the coming of summer.
The joyful birds sing praises
Of happiness and the peace of summer.
From forest edge, from the silent nest
Their songs ring out.
A song of joy and A song of hope Rises from their throats
And enlivens our souls.
But you, Oh God, make our place so beautiful in the summer hours
Make me pay heed to your word
And your message of mercy.
Flesh perishes, the flowers die, The temporal passes, The Word of the Lord remains.
Sommarpsalm (Summer Hymn) is a Swedish hymn of thanksgiving. Usually presented in summer, this hymn celebrates the warmth of nature and reflects upon a deep spiritual connection with the beauty of creation. While the piece still sounds like a typical church hymn, extended tonality adds depth to an otherwise traditional song. The poetry reflects on the presence of a God in the summer landscape, invoking a sense of peace, serenity, and gratitude.
Shenandoah
Music by Jonathan Rodgers
An American Folk Song
Oh Shenandoah, I long to see you Away, you rolling river
Oh Shenandoah, I long to see you Away, I'm bound away
Across the wide Missouri
'Tis seven years since I've last seen you
And hear your rolling river
'Tis seven years since I've last seen you Away, we're bound away Across the wide Missouri
This classic folk tune was arranged by Jonathan Rodgers and is a choral reimagining that honours the original melody while enhancing its emotional power through innovative harmonies and effective piano accompaniment. The text highlights a theme of longing through its depiction of yearning for a place, and symbolises a natural human desire for connection and identity.
Amazing Grace
Music by Robert T. Gibson
Lyrics by John Newton
Amazing Grace! how sweet the sound That saved a wretch like me! I once was lost, but now am found; Was blind, but now I see.
’Twas Grace that taught my heart to fear, And Grace my fears relieved; How precious did that Grace appear, The hour I first believed.
Through many dangers, toils, and snares, I have already come;
’Twas Grace that brought me safe thus far, And Grace will lead me home.
Gibson’s arrangement of the traditional hymn Amazing Grace preserves the song ’ s original meaning of personal transformation through divine grace. It also highlights a core message of forgiveness, hope, and spiritual renewal. Gibson sets a tone of reflection through the use of both vocal and cello solos, and the interweaving vocal lines give the listener a sense of peace, symbolically using water as a way to wash one ’ s worries and sins.
Nyon Nyon
Jake Runestad
Words/phrases involved:
Nyon Nyon
See mah-kah whoo wehn yah bah doo bee dah
Ooit tih-kah ahh sah
Weh nah nah nah
Wehn wah wah now, wehn wah wah now, wah now wah now
Nyon Nyon is a playful and imaginative piece that uses nonsensical phrases to free music from its linguistic constraints. Jake Runestad explores the full range of human voice beyond traditional text and melody and uses the music to celebrate sound, rhythm and texture through the use of syallabic play, rhythmic layering, and dynamic contrast. Runestad crafts a rich tapestry of vocal effects that highlights the versatility of the human voice. He also engages in a joyful exploration of vocal colour, providing a feel of an a cappella jazz band, a beatboxer and a vocal orchestra.
Dies Irae
Music by Michael John Trotta
th
Words from a 13 Century
Dies iræ, dies illa, Solvet sæclum in favilla: Teste David cum Sibylla.
Mors stupebit, et natura, Cum resurget creatura, Iudicanti responsura.
Recordare, Iesu pie, Ne meperdas, Huic ergo parce, Deus, Dona eis requiem.
Salva me!
Chant
Day of wrath and doom impending! David's word with Sibyl's blending, Heaven and earth in ashes ending!
Death is struck, and nature quaking, All creation is awaking, To its Judge an answer making.
Remember, merciful Jesus, lest You lose me
Spare, O God, in mercy spare him. Grant them Thine eternal rest.
Save me!
Dies Irae (Day of Wrath) reimagines the iconic latin text from the Requiem Mass. Traditionally associated with judgement and the end of days, the text speaks on themes of mortality, justice, and redemption. Trotta was inspired by the intense imagery and emotional depth of the text. In the song, he emphasises contrast between fear and hope, chaos and calm, which mirrors the soul’s journey in the face of divine judgement. The arrangement brings this to life through powerful dynamic shifts, rhythmic changes and harmonic tension.
Ave Verum Corpus
Francis Poulenc
Typically used in the Ordinary of the Mass, Ave Verum Corpus has been masterfully set to music by the beloved French composer Francis Poulenc. The mainly hymn-like movement of the music sets up a mood of reverence. The use of word painting is peppered through the piece, highlighting the pain and sacrifice of the crucified Christ. Jesu, Lamb of God, Redeemer, born the virgin Mary's Son, who upon the cross a victim hast man's salvation won. Ave, verum corpus Christi Natum ex Maria Virgine, Vere passum, immolatum In cruce pro homine.
Christus Factus Est
Ko
Matsushita
Christus factus est pro nobis obediens usque ad mortem, mortem autem crucis.
Propter quod et Deus exaltavit illum et dedit illi nomen, Quod est super omne nomen.
Christ became obedient for us unto death, even to the death, death on the cross.
Therefore God exalted Him and gave Him a name which is above all names.
Though set to music countless times, Ko Matsushita’s Christus Factus Est is an exciting arrangement of the common liturgical text and prayer. The canonic structure of the arrangement gives a sense of perpetual motion whereas the close harmonies within the sections create an image of the masses huddling and hoping for a better future. While the text is of a sacred nature and used for certain liturgical processions, one can still interpret the music with a sense of collective hope.
Immaculata
Tine Bec
Immaculata
Kdo vse je že molil pred Tvojo podobo.
Čudno, da ni obledela do nerazpoznavnosti Alida ni zoglenela od tolikih prošenj.
Iz njene miline lije milosti mir; Živa voda teši našo žejo
In glad prebičanega telesa.
Nekdo je vanjo dahnil, zato ostaja lepa in večna ta Tvoja podoba.
You are Immaculate.
Who has ever prayed
Before Your image?
It's strange
That it didn't fade beyond recognition
Or become marred from many requests.
From her grace pours peace of grace;
Living water quenches our thirst
And the hunger of a battered body.
Someone breathed into it, Therefore beautiful and eternal
This image of Yours remains
An original composition by Slovenian composer Tine Bec, Immaculata speaks of the pure and immaculate nature of a deic figure. The use of the Slovenian language with its unique consonation amplifies the meaning of Bec’s text. A single leitmotif ties the entire piece together and paints the constancy of the aforementioned figure. Bec’s use of repeated motifs create a lush soundscape of music and leaves the listener to reflect on one ’ s own prayers and desires.
Wade In The Water
Moses Hogan
God's a gonna trouble the water
Wade in the water children
God's gonna trouble the water
See that host all dressed in white, The leader looks like the Israelite.
See that band all dressed in red, Looks like the band that Moses led.
Moses Hogan’s arrangement of the traditional spiritual Wade in the Water takes inspiration from the American gospel culture. This song references slaves escaping the slave-catchers by crossing the river Jordan and using the ripples of the water to hide their tracks and footprints. This Spiritual highlights the tension and apprehension the slaves faced as they creeped their way through the river in an attempt to escape their captors and symbolises the fight for freedom.
Song Of Summer (I Denna Ljuva Sommartid)
Anders Öhrwall
I denna ljuva sommartid
ga ut, min själ och gläd dig vid den store Gudens gåvor.
Se hur i prydning jorden står.
Se hur för dig och mig hon får så underbara håvor.
När jag hör trastens klara sång, När lärkan ljublar dagen lång högt ovan fält och backar, då kan jag icke tiga still.
Min Gud, så länge jag är till för livet jag dig tackar.
Ack, är det redan här så skönt på denna jord, så härligt grönt, hur skall det då ej bliva i himmelen där Gud berett vad ingen här i världen sett, och ord ej kan beskriva!
In this sweet summertime go forth, my soul, and rejoice in the gifts of the great God.
Behold, the earth is beautifully adorned, see how for you and me she holds such wonderful treasures!
When I hear the thrush's clear song
And the lark rejoices all day long
High above the fields and hills
Then I cannot remain silent
My God, as long as I exist For life I thank you.
Alas, if it is already so beautiful here, on this earth, so wonderfully green, how will it not be, in heaven, where God has prepared, what no one in this world has seen, and words cannot describe.
Anders Öhrwall was a Director of Music at Adolf Fredrik Church, and also a member of the Royal Swedish Academy of Music where he received the Litteris et Artibus Award in 1987. He wrote choral adaptations of many Baroque and traditional pieces, including I Denna Ljuva Sommartid, which is a traditional Swedish summer psalm. This piece signifies the transition from spring to summer, welcoming a change of seasons and expressing gratitude for the arrival of summer and the many blessings it brings. The added strings in this arrangement further illustrate the sights and sounds of summer and works hand in hand with the choir to create quite the beautiful image of the subject.
O Love
Elaine Hagenberg
O Love that will not let me go, I rest my weary soul in thee; I give thee back the life I owe, That in thy ocean depths its flow May richer, fuller be.
O Joy that seeks me through pain, I cannot close my heart to thee; I trace the rainbow through the rain, And feel the promise is not vain, That morn shall tearless be.
Elaine Hagenberg’s “O Love” is a moving composition which expounds upon the bittersweet nature of human relationships. There is simply more than meets the ear as performers and listeners of the music. Ascending melodic lines portray a more hopeful outcome of any relationship while unresolved harmonies depict the pangs of heartache in the same situation. The added cello accompaniment does also add an element of wistfulness to the piece.
Acknowledgements
MUSIC AND ARTISTIC DIRECTOR
Keane Ong
MUSICIANS
Alden Pong
Chan Yu Jie
Chiew Yu Yang, Jeremy
Trinh Ha Linh
CONCERT COMMITTEE
Alden Pong
Chia Zhao Perng
Clara Ho
Constance Toh
Keane Ong
GUEST CHOIR
Jurong Pioneer Junior College Choir
PROGRAMME NOTES AND DESIGN
Allegra Manini
Michael Boey
Ng Xin Rong
Shamaine Soh
VENUE
The Arts House
FRONT OF HOUSE
Angelina Grace
Wong Yi Jing
PHOTOGRAPHY
Elgin Ting
STAGE MANAGER
Jacob Seet
VIDEOGRAPHY
Pandawithacam
EMCEE
Allegra Manini
Amanda Ong
Ban Hong Xiang, Immanuel
Clara Ong
Constance Toh
Cynthia Wang
Eleos Chong
Keane Ong
Michael Boey
