combined PROGRAMME strIVngs initiate
INTERMISSION
roman numeral for 4
VIOLIN | VIOLA | CELLO | DOUBLE BASS
Four string instruments of Western classical music.
strings + IV
strivngs
read as strings
Established by music director Dwayne, strIVngs aims to push boundaries by providing new learning and performance opportunities for adult learners and hobbyists alike.
The programme is dedicated to enhancing musical skills and making the experience of learning and playing a string instrument as an adult enjoyable and accessible.
it’s never too late to start
NEW BEGINNINGS
Festival for strivngs
ONE!
augmented striVngs
HEARTstrIVngs
never try never know
building a safer space for new learners and beginners
it’s always fun, making music together
play with strIVngs January 2023
play with strIVngs January 2024
play with strIVngs July 2024
explore, try, learn, fail, repeat
CHAMBER I
CHAMBER I
CHAMBER II
CHAMBER
II
sharing our love for music
AWWA DEC 2023
AWWA JULY 2024
Overture to Ruslan and Lyudmila
Mikhail Ivanovich Glinka
Robert D. McCashin (arr.)
The Moldau
Bedřich Smetana
Albert Wang (arr.)
Rhapsody in Blue
George Gershwin
Michael Hopkins (arr.)
Habanera from Carmen
Georges Bizet
Matthew Naughtin (arr.)
Allegro from Symphony No. 5 Op. 67
Ludwig van Beethoven
Brian Holmes (arr.)
Vocalise
Sergei Rachmaninoff
Matthew Naughtin (arr.)
Clair de Lune
Claude Debussy
Matthew Naughtin (arr.)
Pachelbel’s Rhapsody
Johann Pachelbel
Katie O’Hara Labrie (arr.)
Monsoon
Jonanthan Lam
HEART - hear (the) art
From this page onwards, think of yourself as strolling through a musical art gallery.
Start by looking at the picture for each piece—it’s like the artwork you’d find in a museum, capturing the essence of the music visually. Take a moment to imagine the sounds and emotions the image might convey.
Then, read the write-up about the piece to dive deeper into its story and significance. This way, you can connect both visually and emotionally to the music.
Enjoy this journey of art and sound!
Overture to Ruslan and Lyudmila
Mikhail Ivanovich Glinka
arranged by Robert D. McCashin
Mikhail Glinka’s Overture to Ruslan and Lyudmila is a lively and energetic piece that has become one of the most beloved works in Russian classical music. It serves as the introduction to Glinka’s opera Ruslan and Lyudmila, which premiered in 1842. The opera, inspired by a poem by Alexander Pushkin, tells the story of the brave knight Ruslan and his quest to rescue his beloved Lyudmila from the clutches of an evil sorcerer.
The overture is known for its bright and fast-paced energy, capturing the adventurous spirit of the opera. It is written in a form similar to sonata form, with two contrasting themes. The first theme is a whirlwind of scales and arpeggios, full of excitement and vigor, while the second theme offers a more lyrical and graceful melody. Together, they create a balance of drama and charm.
The overture’s rapid tempo and vibrant rhythms reflect elements of Russian folk music, making it a defining piece of the Russian classical tradition, setting the stage for the Russian nationalist music movement, inspiring composers like Tchaikovsky, Rimsky-Korsakov, and Mussorgsky
As a concert piece, the overture stands out for its technical demands and exhilarating pace. It has inspired generations of composers and remains a favorite among audiences and musicians alike. The work is a joyous celebration of heroism and romance, setting the tone for the magical world of Ruslan and Lyudmila.
The Moldau
Bedřich Smetana
Albert Wang (arr.)
The Moldau (Vltava in Czech) is one of the most famous pieces by Czech composer Bedřich Smetana. It is the second movement of his symphonic cycle Má vlast (My Homeland), a collection of six tone poems that celebrate the landscapes, history, and legends of Bohemia. Composed in 1874, *The Moldau* paints a vivid musical picture of the Vltava River as it flows through the Czech countryside.
The piece begins with a gentle depiction of two bubbling springs, represented by soft rippling motifs in the flutes and clarinets. As the streams join to form the mighty river, the music grows fuller, with the main theme—a sweeping and lyrical melody—emerging in the strings. This theme is a hallmark of the piece, evoking the flowing waters of the Vltava as they move through the land.
Throughout the work, Smetana captures the changing scenery along the river’s journey. Listeners can imagine forests, villages, and the grandeur of a royal castle as the music transitions through pastoral dances, a majestic hunting scene, and a nocturnal serenade. The piece also includes echoes of Czech folk music, reflecting Smetana’s deep national pride.
As the river approaches Prague, the music builds to a powerful and triumphant climax, symbolizing the strength and vitality of the Czech people. The piece concludes as the river flows on, merging into the distance and fading into silence.
The Moldau is celebrated not only for its vivid imagery but also for its ability to evoke deep emotion and a sense of place. It is a cornerstone of the Romantic orchestral repertoire and a beloved tribute to Smetana’s homeland.
Rhapsody in Blue
George Gershwin
Michael Hopkins (arr.)
George Gershwin’s Rhapsody in Blue is one of the most iconic works of 20th-century American music. Premiered in 1924, the piece was commissioned by bandleader Paul Whiteman for a concert titled An Experiment in Modern Music. Gershwin’s aim was to bridge the worlds of classical music and jazz, creating a vibrant and uniquely American sound.
The piece opens with one of the most famous moments in music—a long, swooping clarinet (done by the viola in this arrangement) glissando that immediately grabs the listener’s attention. This leads into the main themes of the rhapsody, which blend blues-inspired melodies with jazz rhythms and classical structure. The music flows seamlessly from one idea to the next, capturing the energy and diversity of 1920s New York City.
Gershwin’s orchestration, filled with syncopated rhythms, lush harmonies, and playful interactions between instruments, evokes the feel of a bustling metropolis. The piano plays a central role, with dazzling passages that showcase Gershwin’s virtuosity as both a composer and a pianist. The piece shifts effortlessly between exuberance, nostalgia, and lyrical beauty, reflecting the complexity of the American experience. The arrangement you are listening to this afternoon is specially arranged for string orchestra only.
Rhapsody in Blue was an immediate success and has remained a beloved work in concert halls worldwide. It represents a groundbreaking fusion of musical styles, bringing jazz into the classical tradition and capturing the spirit of a dynamic and rapidly changing era. Gershwin’s masterpiece continues to resonate as a celebration of innovation, culture, and creativity.
Habanera from Carmen
Georges Bizet
Matthew Naughtin (arr.)
The Habanera is one of the most famous arias in Georges Bizet’s opera Carmen, which premiered in 1875. Sung by the captivating and free-spirited title character, Carmen, this aria introduces her bold and sensual personality. Its official title is “L’amour est un oiseau rebelle” (Love is a rebellious bird), and it reflects Carmen’s views on love as unpredictable and untamable.
The aria is set to the rhythm of the habanera, a Cuban dance style that had become popular in 19th-century France. This rhythm, with its sultry and hypnotic quality, underpins the melody, creating an air of exoticism and allure. The music is characterized by its steady, lilting accompaniment and a flowing, chromatic melody that seduces both the characters on stage and the audience.
Carmen’s lyrics convey her philosophy of love as fleeting and uncontrollable, likening it to a bird that cannot be caught. This mirrors her own untamed spirit, setting the stage for the dramatic and tragic events that follow in the opera. The aria’s combination of irresistible melody, rhythmic drive, and provocative text has made it one of the most recognizable moments in opera.
The Habanera remains a standout piece in the operatic repertoire, celebrated for its beauty and its ability to encapsulate the magnetic charm of one of opera’s most iconic characters.
Allegro from Symphony No. 5 Op. 67
Ludwig van Beethoven
Brian Holmes (arr.)
The fourth movement of Beethoven’s Symphony No. 5 in C Minor, Op. 67, is a triumphant conclusion to one of the most famous symphonies in classical music. Premiered in 1808, this symphony represents a journey from darkness to light, with the final movement embodying a victorious resolution.
Opening with a grand and jubilant fanfare in C major, the music bursts forth with unrestrained energy. The transition from the stormy intensity of the earlier movements to the triumphant major key symbolizes triumph over adversity, a recurring theme in Beethoven’s work. This moment of transformation is both dramatic and uplifting, marking one of the most powerful finales in orchestral music.
The movement is marked Allegro and is in sonata form, with bold and heroic themes interwoven throughout. The orchestra is expanded with the addition of trombones, piccolo, and contrabassoon, giving the music a richer and more celebratory sound. The dynamic contrasts, rhythmic drive, and grandeur of the brass contribute to the movement’s sense of exhilaration.
As the music develops, it builds to an overwhelming climax, with repeated statements of the main themes emphasizing the sense of triumph and unity. The symphony concludes with a radiant and emphatic coda, where the energy of the orchestra seems almost uncontainable, bringing the work to a glorious close.
The fourth movement of Beethoven’s Symphony No. 5 is a masterful expression of joy and triumph, a fitting conclusion to a symphony that has captivated audiences for over two centuries. It is a celebration of resilience and the indomitable human spirit, making it one of the most iconic finales in all of music
Vocalise
Sergei Rachmaninoff
Matthew Naughtin (arr.)
Sergei Rachmaninoff’s Vocalise, Op. 34, No. 14, is a hauntingly beautiful piece of music that has captivated audiences since its composition in 1915. Originally written for soprano voice and piano, it is the final song in Rachmaninoff’s Fourteen Songs, Op. 34. Unlike the other songs in the set, Vocalise has no text, allowing the singer to focus entirely on the expressive power of the melody.
The absence of words gives Vocalise a universal quality, inviting listeners to interpret its poignant and lyrical theme in deeply personal ways. The seamless, flowing melody, supported by lush harmonies in the accompaniment, creates an atmosphere of introspection and yearning. Its simplicity and emotional depth have made it one of Rachmaninoff’s most beloved works.
Over time, Vocalise has been adapted for numerous instruments and ensembles, including versions for violin, cello, or orchestra. Each arrangement highlights the piece’s ability to convey a wide range of emotions, from melancholy to serenity, through its soaring and expressive lines.
Vocalise stands as a testament to Rachmaninoff’s genius for melody and his ability to evoke profound emotion with seemingly effortless grace. Its timeless beauty continues to move audiences, making it a cherished gem of the classical repertoire.
Clair de Lune
Claude Debussy
Matthew Naughtin (arr.)
Claude Debussy’s Clair de Lune is one of the most enchanting and well-known works in the piano repertoire. Composed in 1890 and later revised in 1905, it is the third movement of his Suite Bergamasque. The title, meaning “Moonlight,” is inspired by a poem by Paul Verlaine, which evokes the dreamlike beauty and melancholy of a moonlit evening.
The piece is characterized by its delicate and flowing melody, paired with lush harmonies that create a sense of quiet wonder and introspection. Written in a slow tempo (Andante très expressif), Clair de Lune opens with gentle arpeggios that evoke shimmering light, while the melody unfolds with tenderness and subtlety. The music seems to float, capturing the serene and ethereal qualities of moonlight.
Debussy’s impressionistic style is evident in the use of color and atmosphere, where harmonies and textures create a vivid emotional landscape. The piece’s gentle dynamics and fluid phrasing invite the listener into a world of introspection and quiet reverie.
Though originally written as part of a larger suite, Clair de Lune has become a standalone favorite, celebrated for its poetic beauty and timeless elegance. It remains a masterpiece of impressionist music, offering a moment of calm and reflection in any program.
Pachelbel’s Rhapsody
Johann Pachelbel
Katie O’Hara Labrie (arr.)
Johann Pachelbel’s Canon in D is one of the most enduringly popular works in the classical repertoire. Composed around 1680, it is a prime example of Baroque chamber music. Originally written for three violins and basso continuo, the piece is renowned for its elegant simplicity and harmonious beauty.
In the Canon, it is based on a repeating bass line, or ground bass, that underpins the entire composition. Above this, the three violins play a series of imitative variations, building layers of melodic interplay that create a rich and evolving texture. This technique, known as a canon, involves each voice entering in sequence and imitating the preceding one, resulting in a sense of unity and balance.
The work’s charm lies in its perfect structure and gradual build-up of complexity. Each variation becomes increasingly intricate while maintaining the serene and uplifting character of the piece. The steady, flowing rhythm and the harmonic progression give the Canon a timeless quality that resonates with listeners of all generations.
In this version, the arranger has added beautiful and expressive melodies tailored for the viola and cello, enriching the harmonic and emotional depth of the work. The viola’s warm tones and the cello’s resonant voice bring a new dimension to the Canon, showcasing the lyrical qualities of both instruments. The interplay between the two instruments creates a mesmerizing dialogue that elevates the piece to new heights.
This arrangement highlights the versatility of Pachelbel’s composition, demonstrating its ability to adapt to different instrumental combinations while retaining its tranquil and uplifting character. The added layers of melody and the rich textures of the viola and cello breathe new life into this Baroque masterpiece, offering audiences a unique and captivating listening experience.
Monsoon
Jonathan Lam
Monsoon is a contemporary composition inspired by Singapore’s monsoon season, a time of dramatic rains and shifting moods. Drawing from the tradition of musical works inspired by the seasons, such as Vivaldi’s The Four Seasons and Piazzolla’s Estaciones Porteñas (The Four Seasons of Buenos Aires), the piece captures the essence of the monsoon’s unique character and raw energy.
Written in late 2023 specifically for StrIVngs, Monsoon centers around a three-note motif in stepwise movement. This motif acts as the musical heartbeat of the piece, weaving between the different instruments to create a sense of unity and flow. It mirrors the dynamic elements of the monsoon—its unpredictability, intensity, and moments of deceptive calm.
The composition invites listeners to prepare for a battle against the weather. Through sweeping melodies and rhythmic shifts, it portrays the unrelenting downpour, the turmoil of the winds, and the fleeting hope that the skies might clear—only for the storm to return with renewed ferocity.
The music begins unrelentingly, with intense and driving energy that evokes the ferocity of the monsoon’s onset. It then shifts to a slightly gentler and introspective passage, offering a brief reprieve—a deceptive calm. But this tranquility is short-lived, as the music builds to a climactic and dramatic conclusion, whacking everyone with its sheer force and power.
Through its relentless rhythms, sweeping melodies, and sudden shifts, Monsoon immerses the listener in the raw and untamed spirit of this natural phenomenon. It is an auditory battle against the weather, capturing the essence of rain-soaked skies, turbulent winds, and the unyielding might of the storm.
Initiate Momentum
Robert Longfield
Themes from The Planets
Gustav Holst
Douglas E. Wagner (arr.)
Combined
Bohemian Rhapsody
Freddie Mercury
Robert Longfield (arr.)
Music from Frozen
Kristen Anderson-Lopez, Robert Lopez
Robert Longfield (arr.)
A Christmas Festival
Leroy Anderson
Michael Story (arr.)
An Ode to Joy Festival
Ludgwig van Beethoven
PROGRAMME (2nd HALF)
MUSICIANS (strIVngs)
First Violins
Jennifer Lee
Deborah Ko
Cynthia Ong
Chua Sher Ren
Anne Marie Ang
Teo Kah Ming
Jolene Seetoh
Megan Selvam
Emily Ding
Jeremy Theong
Ronald Lim
Lishire Yeong
Lee Sing Yin
Nick Chin
Second Violins
Saw Yvonne
Jolene Lee
Tan Ying Hui
Neo Jin Yong
Elaine Lim
Adlina Ashar
Kevin Goh
Amanda Koh
Patricia Febria
Esther Fang
Kimberly Su
Millicent Goh
Juliette de Souza
Jade Goh
Viola
Priscilla Lai
Ami Hinojales
Kimberly Yeo
Alex Kwek
Cherry Tan
Cello
Hoi Wan Theng
Kay Thwe Myint
Jonathan Lam
Amy Stebbings
Jan Lester
Jasmine Yeo
Mieko Otsuki
Amy Ying
Sun Yingjian
Serene Woo
Kanako Ikeda
Betty Lim
Genevieve Loke
Liz Tan
Chua Yi Heng
Genevieve Ong
Alvin Aloysius Goh
Christina Ong
Double Bass
Thaddeus Ong
Amirul Hazim
MUSICIANS (initiate)
First Violins
Alex Yap
Isaac Chong
Amirul Hazim
Kelly Liu
Lee Joleen
Low Shiyi
Angie Ng
Kelly Tan
Kim Jimin
Yeo Ci Pei
Second Violins
Jade Goh
Abigail Lee
Chiky Phan
Seah ZM Shizu
Isobel Li
Anita Yuen
Amber Goh
Lisa Grason-Lim
Viola
Caleb Lai
Juliana Chua
Genevieve Toh
Ng Yoke Cheng
Cello
Mieko Otsuki
Danny Toh
Genevieve Ong
Fiona Lin
Peter Yeung
Double Bass
Alvin Chan
DOUBLE BASS! JOIN US!
No need to bring around, instrument provided
Thank you! See you at the next concert!
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