SYC Ensemble Singers: next

SYC Ensemble Singers

The SYC Ensemble Singers began life in 1964 as the Singapore Youth Choir (SYC), a national choir for young singers. To celebrate its 40th anniversary in 2004 and to mark a point of musical evolution, the choir was renamed the SYC Ensemble Singers.

Considered a trailblazer and standard-bearer throughout its history, the SYC was the first Singaporean choir to win an international competition, the Llangollen International Music Eisteddfod. It was also the first choir to receive the President’s Charity and the Excellence for Singapore awards. To celebrate Singapore’s 50th year of independence, the choir performed in Washington D.C. at the invitation of the Embassy of Singapore.

Led by Jennifer Tham since 1986, the SYC Ensemble Singers promotes and performs the work of living composers, often exploring spatialised sound, theatre and movement. To date, the SYC has commissioned over 60 works, most recently from Americ Goh (Singapore), Jacob Mühlrad (Sweden) and Saunder Choi (Philippines). Their flexible musicianship and commitment to diverse and complex voices have earned them an international reputation as performers and interpreters of contemporary music.

Connect with the SYC Ensemble Singers and find out more about Living Music:

The SYC Ensemble Singers are…

Charlotte Cheong, Karen Cheong, Szecindyo Chewandi, Chin Zhi Hui, Chong Wai Lun, Nicolette Foo, Calvin Goh, Hong Zhengyang, Angela Lee, Hillary Lee, Aaron Liew, Brian Lim, Lim Ming Boon, Lim Pei Yu, Lin Yun Xin, Look Ru Shin, Justin Lutian, Benlee Tan, Tan Pei Ling, Joseph Tay, Teo Boon Fang, Teo Jia Yu, Shaun Teo, Jennifer Tham, Faith Yang, Albert Yeo

Keen to sing with us? Contact enquiries@syc.org.sg

Jennifer Tham Artistic Director & Conductor

Jennifer is curious about the sight of sound and has a multi-modal listening practice as a conductor and composer. Her work is shaped by a love of words, phenomenology, mapping, spatial practices, conceptual art, contemporary music and choral theatre. With the SYC Ensemble Singers (Singapore)—a mixed chamber choir she has directed since 1986—she works at the intersection of the literary, musical and visual cultures, employing staging, movement and lighting design to reify the patterns of new music on stage. For her role in shaping Singapore’s cultural landscape, she was awarded the Cultural Medallion, the nation’s highest arts accolade, by the President, Republic of Singapore.

Jennifer taught choral conducting and pedagogy at the Nanyang Academy of Fine Arts, and teaches short courses and workshops on repertoire, conducting, and rehearsal technique, equipping young conductors around the world with a toolbox of musicianship games for learning and performing contemporary music. She has chaired and spoken on panels on repertoire and programming at conferences and symposia in Argentina, Denmark, Estonia and Sweden, and was Principal Lecturer at the Lithuanian Conductors Summer Academy hosted by the Lithuanian Choral Union and the Ministry of Culture.

Under the auspices of the Young Musicians’ Society, Jennifer was Artistic Director of the Asia South Pacific Symposium on Choral Music (2001) and its offshoots, the First Aid for Choirs clinics (2002-2017) and Kodály Seminar Asia series (2009-2016), the latter in partnership with the Kodály Institute of the Liszt Academy of Music (Budapest, Hungary). For the International Federation for Choral Music, Jennifer co-coordinates the Asia Pacific Working Committee and the Asia Pacific Youth Choir. She represents Singapore on the World Choir Council, and has been on jury at the World Choir Games and other festivals in Asia, Europe and America since 2003.

In 2021, Jennifer obtained her Master of Fine Arts in Interdisciplinary Arts from the School for Contemporary Arts at Simon Fraser University (Vancouver). Since then, she has been giving foundation courses in musical leadership to student conductors, and sharing rehearsal games in a series of workshops for the Taiwan Choral Association, the Choral Directors’ Association of Singapore, and at the World Symposium on Choral Music 2023 in Istanbul, Türkiye.

Chong Wai Lun

Associate Conductor

Wai Lun joined the SYC Ensemble Singers in 2005 and found his passion for choral music. He helped prepare the choir for performances with Vytautas Miškinis, Ko Matsushita and Corrado Margutti, in addition to assisting with SYC’s regular season of concerts and tours. He completed further studies in Hungary and Wales, graduating with a Master’s in Kodály Music Pedagogy and a Master’s in Choral Conducting, from the Kodály Institute of the Liszt Academy of Music, and the Royal Welsh College of Music and Drama, respectively.

In 2018, Wai Lun founded Symphonia Choralis, a community choir specialising in symphonic choral works, and is Chorus Master for the Metropolitan Festival Orchestra (MFO) and Orchestra of the Music Makers (OMM). At the Yong Siew Toh Conservatory of Music, his alma mater, Wai Lun is on faculty as an adjunct lecturer, teaching aural musicianship, and rehearsing the Chamber Singers. He continues to sing with Vocaluptuous, a local a cappella group.

Nicolette Foo Assistant Conductor

Nicolette has been singing with the SYC Ensemble Singers since 2014 and has served on several portfolios including Rehearsal Conductor and Librarian.

Nicolette was first exposed to contemporary choral music when she sang with the Convent of the Holy Infant Jesus (CHIJ) Secondary School Choir, under the direction of Jennifer Tham, later serving as their student conductor. She now conducts several choirs, including the choir of CHIJ Secondary School where her journey as choral conductor began. In 2021, Nicolette received a scholarship to the 6th International Conductors Seminar in Wernigerode from Interkultur.

Meditationes Sacrae (2015)

Andrej Makor (b. 1987)

Text: Matthew 17:9b

Visionem quam vidistis, nemini dixeritis, donec a mortuis resurgat Filius hominis.

Tell the vision to no man, till the Son of man be risen from the dead.

Chiaro (2006)

György Orbán (b. 1947)

Text: Divina Commedia, Canto XXXIII del Paradiso, Dante Alighieri (1307-08)

Translation: The Paradiso of Dante Alighieri, Temple Classics. London. 1904

Vergine madre, figlia del tuo figlio, umile ed alta più che creatura, termine fisso d’eterno consiglio.

tu se’ colei, che l’umana natura nobilitasti sì che ‘l suo Fattore non disdegnò di farsi sua fattura.

Nel ventre tuo si raccese l’amore, per lo cui caldo ne l’etterna pace cosi è germinato questo fiore.

Virgin mother, daughter of thy son, lowly and uplifted more than any creature, fixed goal of the eternal counsel.

thou art she who didst human nature so ennoble that its own Maker scorned not to become its making.

In thy womb was lit again the love, under whose warmth in the eternal peace this flower hath thus unfolded.

Crooked by Nature (2020)

Carmen Braden (1985)

Queen Elizabeth I (1588) From a speech given to troops in Essex preparing for a Spanish invasion.

I know I have the body but of a weak and feeble woman but I have the heart and stomach of a king.

Joseph Swetnam (1615) “The Arraignment of Lewd, Idle, Froward [sic] and Unconstant Women” (excerpts)

Women are called Night crows. Eagles eat not men til they are dead but women devour them alive. Then who can but say that women sprung from the devil?

And he also saith that they were made of the rib of a man and that their forward nature shows, for the rib is a crooked thing, good for nothing, for women are crooked by nature.

I pray you let us consider the times past with the times present.

Rachel Speght (1617) “A Mouzell for Melastomus*, or an Apologetical Answer to that Irreligious and Illiterate pamphlet made by Joseph Swetnam and by him

Entitled The Arraignment of Women.” (*A muzzle for the evil mouth - excerpts)

The efficiency of women’s creation was Jehovah the eternal. The truth of which is manifest in Moses’ narration.

Yet was she not produced from Adam’s foot? Not to be his too low inferior, Nor near his head to be his superior, but from his side near his heart to be his equal. That where he is lord she may be Lady.

Adapted text by Carmen Braden

crooked woman

evil mouth

lock her up

Words translated into Latin and Greek

femina - woman

homine - man

mela - evil

stoma - mouth

regina - queen

Nursery Rhymes (2003)

Eskil Hemberg (1938-2004)

Text: Three Young Rats and Other Rhymes, New York. 1946

Op.113:1

Goosey, goosey, gander, Where shall I wander?

Up stairs, down stairs

And in my lady’s chamber; There I met an old man, That would not say his prayers; So I took him by the left leg, And threw him down the stairs.

Op.113:4

Three little mice sat down to spin.

Pussy passed by and she peeped in.

“What are you at, my fine little men?”

“Making coats for gentlemen.”

“Shall I come in and cut off your threads?”

“Oh no, Mistress Pussy, you’d bite off our heads!”

Op.113:5

Four-and-twenty tailors

Went to catch a snail. Even the bravest of them

Dared not touch her tail.

She stuck out her horns

Like a little Kyloe cow.

Run, tailors, run, Or she’ll have you all now!

Six Chansons (1939)

Paul Hindemith (1895-1963)

Text: Rainer Maria Rilke (1875-1926)

Translation: Elaine de Sinçay

O la biche; quel bel intérieur d’anciennes forêts dans tes yeux abonde; combien de confiance ronde mêlée à combien, combien de peur.

Tout cela, porté par la vive gracilité de tes bonds. Mais jamais rien n’arrive à cette impossessive ignorance de ton front.

O thou doe: what vistas of secular forests appear in thine eyes reflected; what confidence serene affected by transient shades, by shades of fear.

And it all is borne on thy bounding course, for so gracile art thou. Nor comes aught to astound the impassive profound unawareness of thy brow.

2. The Swan

Un cygne avance sur l’eau tout entouré de luimême, comme un glissand tableau; ainsi à certains instants un être que l’on aime est tout un espace mouvant.

Il se rapproache, doublé, comme ce cygne qui nage, sur notre âme troublée… qui à cet être ajoute la tremblante image de bonheur et de doute.

A swan is breasting the flow all in himself enfolded like a slow moving tableau; and so, at some time or place, a loved one will be molded to seem like a migrating space.

Will near us, floating redoubled as a swan on the river, upon our soul so troubled… which swells it by the addition of a wraith a quiver with delight and suspicion.

3. Since all is passing

Puisque tout passe, faisons la mélodie passagère; celle qui nos désaltère aura de nous raison.

Chantons ce qui nous quitte avec amour et art; soyons plus vite, plus vite que le rapide départ.

Since all is passing, retain the melodies that wander by us; that which assuages when nigh us shall alone remain.

Let us sing what will leave us with our love and art; ere it can grieve us, can grieve us let us the sooner depart.

1. La Biche 2. Un Cygne 3. Puisque tout passe 1. The Doe

4. Printemps

Ô mélodie de la sève qui dans les instruments de tous ces arbres s’élève, accompagne le chant de notre voix trop brève.

C’est pendant quelques mesures seulement que nous suivons les multiplés figures de ton long abandon, ô abondante nature.

Quand il faudra nous taire, d’autres continueront… Mais à présent comment faire pour te rendre mon grand coeur complémentaire?

5. En Hiver

En hiver, la mort meurtrière entre dans les maisons; elle cherche la soeur, le père et leur joue du violon.

Mais quand la terre remue, sous la bêche du printemps, la mort court dans les rues et salue les passants.

6.

Verger

Jamais la terre n’est plus réelle que dans tes branches, ô verger blond, ni plus flottante que dans la dentelle que font les ombres sur le gazon.

Là se rencontre ce qui nous reste, ce qui pèse et ce qui nourrit, avec le passage manifeste de la tendresse infinie.

4. Spring

O song that from the sap art pouring and through the sounding board of all this greenwood art soaring, amplify our brief tone the dying strain restoring.

Tis but few measures duration that we share the fantasy, the endless variation of thy long ecstasy, O nature, fount of creation.

After our song is ended, others will assume the part… But meanwhile how can I tender unto thee all my heart in full surrender?

5. In Winter

With the winter, Death, grisly guest through the doorway steals in; both the young and the old to quest, and he plays them his violin.

But when the Spring’s spades are beating, frozen earth beneath blue sky, then Death his way goes fleeting lightly greeting passersby.

6. Orchard

The earth is nowhere so real a presence as mid thy branches O orchard blond, and nowhere so airy as here in the pleasance of lacy shadows on grassy pond.

There we encounter that which we quested, that which sustains and nourishes life, and with it the passage manifested of sweetest tenderness undying.

Mais à ton centre la calme fontaine, presque dormant en son ancien rond, de ce contraste parle à peine, tant en elle il se confond.

But at thy center the spring’s limpid waters, almost asleep in the fountain’s heart, of this strange contrast scarce have taught us, since of them it is so truly part.

Vale, vale (2009)

György Orbán (1947)

Translation: Arts Nova Editio

Vále, vále, búcsúzásom ezzel kezdem versirásom erkezett mert utazásom tőled való elválásom.

Vále azért: jól tartottál csak szép tavaszt virágoztál, vígságok napokat reám hoztál.

Az vig elmaradnak, mint az harmat, megszáradnak, arany láncok elszakadnak, vig szerelmek elolvadnak,

így marad el tőled szívem, így szárad meg solvad szivem, így feslik szét annyi évem.

Mint csillagi za egeknek, füvei minden hegyeknek, fövényi a tengereknek, halai a mély vizeknek.

Adjon az Isten annyi jókat, menyei fő áldásokat, élhessél csak víg napokat.

Vale, vale, my farewell with this I start my poem because it is time to go, time to leave you.

Vale for treating me well, for blossoming nice spring, for bringing me happy days.

All the merry times fade away, like dew, dry out. golden chains are torn, happy loves melt away,

this is how my heart melts away from you, this is how my heart dries and melts, this is how my years fade away.

Like the stars in the sky, like the grass in the mountains, like the sand of the sea, like the fish in deep waters.

May God give you all the best, heavenly blessings, happy days.

Near (2012)

Evelin Seppar (1981)

Text: Elizabeth Barret Browning (1806-1861)

Excerpts compiled by Evelin Seppar from ‘Sonnets from the Portuguese’ (c. 1845-46)

1. How a mystic shape did move behind me and drew me, move still, oh, still, beside me.

6. When our two souls stand up, face to face, silent, drawing nigh and nigher, until our lengthening wings break into fire at either curved point.

7. In this deep joy to see and hear thee and breathe within thy shadow a new air, I do not think of thee – I am too near thee.

22. Thy heart in mine with pulses that beat double.

And I heard a voice (2017)

Arvo Pärt (b. 1935)

Estonian Translation: Harald Pöld (1874-1939)

Ja ma kuulsin hääle taevast ütlevat: „Kirjuta: Õndsad on surnud, kes Issandas surevad nüüdsest peale; tõesti, ütleb Vaim, nad hingavad oma vaevadest, sest nende teod lähevad nendega ühes!”

Johannese ilmutusraamat 14:13

And I heard a voice from heaven saying: ‘Write this: Blessed are the dead who die in the Lord from now on.’ ‘Blessed indeed,’ says the Spirit, ‘that they may rest from their labours, for their deeds go follow them!’

John, Revelation 14:13

Lux Antiqua (2011)

Jordan Nobles (b. 1969)

Human fascination with the night sky predates the dawn of history. Regardless of origin, be it Arabic, Greek or Latin, almost all star names are old - hundreds or even thousands of years old. They are a part of our collective cultural heritage. Modern astronomers study many stars too faint to see without the telescope, and these are so numerous they are known only by catalogue numbers and coordinates. As a result, official star names are essentially limited to the very old names. The ones that our ancestors could see and wonder at. These stars have supplied us with countless flights of imagination.

The Stars chosen for this piece are not all the brightest or closest stars; but out of the multitude of named stars in the night sky I chose, the ones that I felt had the most beautiful names. Stars such as Suhail al Muhlif, Aludra, Nair al Saif and Zubenelgenubi inspired me to write music for them as soon as I spoke them. It was quite a difficult process as many of them have great names. I narrowed it down to 100 stars and then 50 and then finally the 35 that I ended up using. A mixture of names from Greek, Latin, Arabic and one Chinese. (Programme note by Jordan Nobles)