African Sanctus E-Programme Book

A Choir, A Family, A Community.

In her younger days in Kelantan, Khor Ai Ming woke up each morning to the chirping and singing of hundreds of songbirds belonging to her father, who trained them for competitions.

Now an acclaimed soprano, choral conductor and voice teacher, blending distinct voices into melodious choruses has become Ai Ming’s forte. Since coming to Singapore at the age of 20, she has remained here for more than a quarter of a century to advance her music education and music career. “Along the way, I met my husband Tama Goh, a local musician,” she says. “He encouraged me to focus on becoming a vocalist and specialise in voice teaching in Singapore. I’ve not looked back since!”

A Multicultural Family

Besides performing and giving lessons, Ai Ming works with many local choirs at the professional, community and school levels, bringing the joy of singing to disadvantaged groups such as elderly dementia patients and visually-impaired children. A group which holds a special

place in her heart is Vocal Associates Festival Choruses which she created in 2014 as a platform for her vocal students to gain stage experience.

Soon after she formed the choir, she was invited to contribute a 150-member chorus to the Metropolitan Festival Orchestra’s performance. It was a big gap to fill, but she gamely took up the challenge and extended an open invitation through various channels for new members. To her relief, more than a hundred signed up for auditions. “Surprisingly, there were people from all over the world including Sweden, Japan, the Philippines…and of all ages,” she recalls.

The Vocal Associates have stayed true to its strong multicultural beginnings from those early days and continues to attract people from different cultures to sing together. Members from more than 20 countries, even from as far as Mongolia, Nicaragua and Ukraine, have passed through its door.

Vocal Associates is also uniquely made up of members from a wide age range of 6 to 85. It is very much a family affair too,

with grandparents in the choir with their grandchildren, couples, and parents with young children.

Where Differences Unite, Not Divide

Differences are strengths to capitalise on, as Ai Ming discovers. Being a diverse group makes it more versatile when selecting song genres and languages, often matched to the cultures of her members. When they encounter lyrics in a foreign language, she invites the native speakers among them to explain their pronunciation and meaning to the others. “Even in English, some words are pronounced differently in American English and British English. We pick the sound depending on where the song originated,” she says, citing the friendly exchanges the group often has over language.

VISION

When Vocal Associates performed at its 5th Anniversary concert, named “One Voice, One World” after its ethos, all its members donned traditional attire from their own cultures and sang a repertoire of songs in different languages. The visual impact was stunning, and its message equally powerful.

“Through music, we learn about life,” Ai Ming says. “At Vocal Associates, we learn so much from each other about cultures and people from different parts of the world and at different stages in life. Music and singing bring people together. It is a wonderful feeling of love and compassion.”

- Khor Ai Ming

Our goal is to provide world-class choral performances, showcasing the passion and variety of Singapore’s musical artistry.

MISSION

Vocal Associates is a not-for-profit choral group dedicated to making beautiful music to the highest of international standards. We believe that great performances enrich the lives of the audience and performers alike, and that each performance should be better than the previous one. We are a multi-racial group spanning multiple generations, offering everyone the opportunity to sing, regardless of past experience and training. We believe that it is good to provide cultural enrichment and opportunities for expression through music for the under-privileged members of society through working with various charitable organizations.

PROGRAMME

PART 1

NELLA FANTASIA

VA Solo Artistes & Taipei Musicians Alliance

Morricone

秋蝉

FIVE EYES

VA Ensemble of Young Voices

Peitong Primary School Choir, Singapore

BEETHOVEN VIRUS

Perpetual Arts Strings Ensemble, Malaysia

Arranged by Jessy Oskar

Arranged by Armstrong Gibbs

BanYa

YOU RAISE ME UP

愛心三六五合唱團, Taiwan

望春风

VA Chamber Choir & 愛心三六五合唱團, Taiwan

LOVE UNSPOKEN

VA Senior Choir

Rolf Løvland

Lehar

TENNESSEE WALTZ Pee Wee King BURUNG KAKAK TUA Traditional

朋友 Arranged by Liong Kit Yeng

VA Chorus & Friends from Lion’s Home, Singapore

AMIGOS PARA SIEMPRE Webber

ALL

2

AFRICAN SANCTUS

Esplanade Premiere

DONA NOBIS PACEM - A HYMN FOR WORLD PEACE

Singapore Premiere

Conductor, Khor Ai Ming

Soprano, Esther Maureen Kelly

Muezzin Singer, Rudy Djoe

Choir

Vocal Associates Chorus

Vocal Associates Ensemble of Young Voices

Tamagoh World Music Band

Piano, Bertrand Lee

Lead Guitar, Sebastian Ho

Bass Guitar, Eugene Chew

Percussion, Tamagoh

Percussion, Cheong Kah Yiong

Percussion, Govin Tan

Percussion, Sng Yiang Shan

Percussion, Rola Luo

Technical

Sound Engineer: Sunil Kumar Raghupathy

Assistant Sound Engineer: Kelly Tan

Production Assistant: Jane Fanshawe

Esplanade Production Team

LET THERE BE PEACE ON EARTH

Arranged by Mark Hayes

DAVID FANSHAWE

“Music

and Travel is my trademark. I am a Composer and Explorer.” David Fanshawe

David Fanshawe will best be remembered for his legendary choral work African Sanctus and for his great legacy to World Music The Fanshawe World Music Archive, a vast archive of recordings of traditional music. “His collection of field recordings and the knowledge this imparts is invaluable.” The British Library Sound Archive

He will also be remembered for his charismatic personality and captivating performances, giving speeches and presentations to schools and festivals, and at fundraising and corporate events around the world. He composed over 50 film and television scores and about 25 other works. His work has been the subject of award winning television documentaries, over 30 CD releases, and thousands of concert performances worldwide. David Fanshawe received many international awards, among them a Churchill Fellowship, an Ivor Novello Award, and an honorary DMus from the University of the West of England (UWE).

David Fanshawe married Judith Croasdell Grant in 1971 with whom he had two children, Alexander and Rebecca. He also had one daughter, Rachel, with his second wife, widow Jane Bishop (née Walton) whom he married in 1985.

David Fanshawe was born in 1942 in Paignton, grew up in Camberley, and was educated at St George’s Choir School Windsor and Stowe. He started work in 1959 as a trainee film editor and sound recordist, first for the Film Producers Guild then at Merton Park Studios. He spent the next few years honing his editing skills and taking piano lessons with a teacher he happened to meet by chance. She was composer and pianist, Guirne Creith, who saw in Fanshawe more promise as a composer. And, in 1965, on the strength of performing his own compositions, he was awarded a Foundation Scholarship to the Royal College of Music to study composition with John Lambert.

David records Karamajong, Uganda

COMPOSER & EX PLORER

Fanshawe’s early works for orchestra were Dover Castle and Requiem for the Children of Aberfan, which was first performed by the college orchestra, conducted by Harvey Phillips. Among the many film and television scores he produced throughout the 70s, were Stephen Frears’ films Three Men in a Boat and A Day Out for BBC TV, Flambards and The Good Companions for Yorkshire TV, and David Cobham’s film Tarka the Otter.

In 1966 David made his first journey to the Middle East, where his ambition to record indigenous folk music began. The following year he returned with his tape recorder and made his first recordings in Bahrain. Between 1969 and 1975, he travelled through North and East Africa, where he recorded over 400 hours of music. He was supported by the Ralph Vaughan Williams Trust.

“When the committee heard of David Fanshawe’s plan to travel down the Nile to collect and record the music native to the countries in those still remote areas, we were both interested and impressed by his project. We knew, too, from the examples of collectors of folk music working at the beginning of this century, what musical treasures have been rescued from oblivion in our own islands, in America – from the descendants of the early settlers and from Europe, where musicians of the stature of Bartok and Kodaly devoted much time to this work. So we were glad to be able to help.” Ursula Vaughan Williams

DAVID FANSHAWE

During this period David Fanshawe composed an African trilogy, which began with Salaams - a musical essay based on the chants of the pearl divers of Bahrain. It is dedicated to John Lambert, who conducted the première performance at the Queen Elizabeth Hall in May 1970 and subsequent recording (Philips) with Fanshawe as soloist, in the cantor role. It was Salaams that first brought Fanshawe national recognition. Significantly, it is his first work scored for pre-recorded tape and in a groundbreaking way: a departure from the ‘electronic music’ of the ‘60s and ahead of the time when World Music, as we know it today, exploded on to the scene in the late ‘80s and ‘90s.

Unlike earlier ‘music explorers’ – Ralph Vaughan Williams, Percy Grainger, George Butterworth - David Fanshawe lived in an age of technology. With his tape recorder, not only did he record indigenous music, but he has preserved authentic live performances in his field recordings. It is his use of these ‘live’ recordings that brings a whole new dimension to this genre, particularly in African Sanctus. In his 1974 forward to Fanshawe’s book African Sanctus the late Sir Keith Falkner, Director of the Royal College of Music, wrote “David is perhaps the most original, independent and self-reliant young man I have

known; a visionary with the character and tenacity to convert his visions into reality.”

Completing the trilogy is Arabian Fantasy, a commission from Naim Attallah, to whom the work is dedicated. Arabian Fantasy, a set of variations on an Arabian theme, is based on instrumental folk music recorded in Egypt and became the subject of a BBC/ Namara Entertainments documentary film. Owain Arwel Hughes conducted the première performance at the Royal Albert Hall in 1976. “Let my music embrace the spirit of the sirocco and harmonise people and their musics from east to west.”[DF]

In 1978 David Fanshawe’s focus shifted from Africa to the Pacific when he made his first visit to Fiji. Based at the University of the South Pacific, he then embarked on a ten year voyage of research, recording over 25 nations across the Pacific Ocean, which has resulted in a monumental archive. His research was the subject of the 1987 award winning documentary films Musical Mariner 1 & 2 (Lucky Country), broadcast on national and international TV channels, including PBS’ Explorer Series and National Geographic.

COMPOSER & EX PLORER

The Fanshawe World Music Archive holds thousands of hours of tapes, slides and journals, which have preserved traditional forms of ethnic music-making throughout the Pacific Region. “The cultural significance of David Fanshawe’s work is immense.” National Film and Sound Archive, Canberra

The first composition to be inspired by music of the Pacific came as a result of a commission Fanshawe accepted from the distinguished cellist Steven Isserlis CBE. The specific request was for “a primitive, ethnic-influenced piece, with charm – can these elements be combined in one piece?” The Awakening is an Intermezzo for Cello and Piano and is introduced by pan-pipes from the Solomon Islands. Steven Isserlis recorded The Awakening in 1986 with the composer at the piano (Philips). The Awakening is a pivotal work and was to have found its place in Pacific Odyssey, a largescale work which Fanshawe left unfinished. His last completed work is Pacific Song , which was also to have formed a part of Pacific Odyssey. Inspired by the music of Tonga, it is scored for chorus, flute and percussion. Pacific Song was commissioned by the American Choral Directors’ Association and the première performance was given at its 2007 National Convention in Miami by the Multicultural Honor Choir.

DAVID FANSHAWE

Guest-speaking, Sao Paolo Brazil

Photo: Camilla Watson

In 1992 Fanshawe returned home from Australia. He made one further journey through the tropics in South East Asia to record the traditional music of India, Thailand, and Laos, which is documented in the film Tropical Beat (Eclectic Films). After that he returned to his studio, to digitally copying and cataloguing his collections, and to composing. He also fulfilled about 30 speaking engagements a year to give his highly acclaimed illustrated presentation One World – One Music. Fanshawe revised some of his early scores, notably Tarka the Otter Symphonic Suite and Dover Castle, an ‘autobiographical’ work, which as if to add his signature to the score, was hand-engraved. During this period Fanshawe composed Dona Nobis Pacem, Fanfare to Planet Earth, Millennium March, Serenata, Trafalgar, Lament of the Seas, and finally Pacific Song.

In 2009 when David Fanshawe was awarded an honorary D Mus from the University of the West of England the citation read: “In recognition of his outstanding contribution to bringing music from around the world into the lives of people who neither read nor write music and to his pursuit of musical excellence, which is synonymous with the aims of the University’s Centre for Performing Arts”. The speech he made might apply as well this evening as it did on accepting his degree: “In my serendipitous career, through the adventures of Music and Travel, I have been privileged to experience our world as a composer and musical explorer. It is now my humble dream to go on sharing my aspirations with future generations, through the legacy of my Sound Archives; and by fulfilling my life’s missions, which are: to celebrate the universal language of music; to record for posterity endangered World Music, threatened with extinction; to seek inspiration for my own compositions - thus uniting musical worlds apart. Thank you for this quite unexpected honour and tribute.”

© Katharine Copisarow

David Fanshawe Coposer and Explorer by Jill Tweed 1974

COMPOSER & EX PLORER

THE PHOTOGRAPHY OF

DAVID FANSHAWE

THE PHOTOGRAPHY OF

DAVID FANSHAWE

THE PHOTOGRAPHY OF

DAVID FANSHAWE

THE PHOTOGRAPHY OF

DAVID FANSHAWE

AFRICAN SANCTUS

AN INTRODUCTION TO AFRICAN SANCTUS

African Sanctus has received close to two thousand live performances in over thirty countries across the five main continents. It has long been established in the choral repertoire and performances are planned around the world well into next season. “The music is as fresh today as it was when first heard in 1972”, wrote Sir David Willcocks.

“In 1969 I went to Africa for the first time with the idea of writing a major work.... On the hill of the citadel in Cairo, overlooking the Nile one evening, I suddenly heard in my head the unlikely combination of a western choir accompanying the Islamic Call to Prayer.” Some years later, when the score was published, “I still remember that moment, hoping that one day, it might be possible to hear my music on the concert platform, harmonised with the field recordings I was privileged to find.” David Fanshawe

David Fanshawe’s now legendary journey up the Nile (1969-73) became the framework of the composition, a symbolic cross-shaped pilgrimage. Armed with one rucksack and a stereo tape recorder, he succeeded in recording music from over fifty tribes

in Egypt, Sudan, Uganda, and Kenya, achieving such a close rapport with many local communities that they gave permission for their performances to be specially recorded.

African Sanctus is a celebratory and visionary work expressing unity between peoples, their faiths and, above all, their music. Its message is ‘One Music - One God’. It is an unorthodox setting of the Latin Mass integrated with the composer’s recordings of authentic traditional African music. For David Fanshawe

there were no musical barriers.

The first performance of African Revelations, as it was originally called, took place in 1972 while it was still a work in progress. The following year, on the shores of Lake Victoria, Fanshawe met the ‘Hippo Man’. This remarkable man made a profoundly deep impression on the composer. The ‘Hippo Man’ Mayinda Orawo, cultural leader of the Luo tribe, was the symbolic figurehead of all African myths and legends and his striking image instantly became the logo.

As he finished composing Fanshawe changed the title to African SanctusHoly Africa - the inspired idea of his first wife Judith. He made one final revision to African Sanctus in 1994 when he wrote another movement: Dona Nobis Pacem - A Hymn for World Peace, which will be performed this evening.

Chappell. It was nominated for the ‘Prix Italia’ and the first broadcast coincided with release of the première recording (Philips), conducted by Owain Arwel Hughes. Similarly, in 1994, the BBC produced a new film African Sanctus Revisited, which followed the release of the new recording (Silva Classics) conducted by Neville Creed.

In 1974 the BBC made an ‘Omnibus’ film of African Sanctus, which was shot on location with the composer in North and East Africa, and directed by Herbert

Following the publication of the full score, première performances of African Sanctus were held in 1978, in Toronto and at the Three Choirs Festival (Worcester), swiftly followed by the London première at the Royal Albert Hall. The impact this extraordinary new work made is captured in The Times review “A phenomenon amongst serious composers writing today, his music actually fills concert halls... The effect was spellbinding and won a standing ovation from a capacity audience.” Among the many hundreds of performances since, African Sanctus has been performed at the Sydney Opera House and Carnegie Hall, in Eastern Europe, South America and Asia, at the Choir Olympics in Germany and The American Choral Directors National Convention, and on the Bach Choir’s tour of South Africa in 1997, which marked the 25th anniversary of African Sanctus . Often, performances screen Fanshawe’s original photographs, while some include traditional dance troupes, and others have been choreographed.

1. AFRICAN SANCTUS

To musicians who neither read nor write music

The African music heard in this movement, recorded in 1969, comes from North Uganda and represents the Acholi people who perform their famous ‘Bwala’ dance, a royal welcome Ngoma, renowned for its vitality and splendour. The traditional Bwala (a dance style) praises Acholi leaders and past victories in battle; at one time it heralded visiting chiefs, kings and dignitaries. Each male dancer beats his own drum and some blow whistles of bone and horn. The ‘Royal’ drummer stands in the middle of the circle with special tribal drums that have great significance and power. The dancers pound around in an anti-clockwise circle encouraged by their womenfolk,

some ululating with babies bouncing on their backs. Ostrich plumes, leopard skins and bells adorn the dancers. The Bwala ostinato, a repeated rhythmical pattern, consisting of seven bars of 2/4 followed by one 3/4 bar, is heard three times in the work (movements 1,8,13) and accompanies the chorus who sing the composed Sanctus.

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Gloria in excelsis. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis. Gloria in excelsis.

Holy, Holy, Holy Lord God of Hosts. Your glory fills all heaven and earth. Glory in the highest. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest. Glory in the highest.

聖哉，聖哉，聖哉， 大有權能，大有威嚴的主， 你的榮光充滿天地。 歡呼之聲，響徹雲霄。 奉你名而來的， 是應當稱頌的。

歡呼之聲，響徹雲霄。

Acholi Bwala dance group, Uganda

2. KYRIE: CALL TO PRAYER

Dedicated to the Ambrosian Singers

This special performance of the Azan, Call to Prayer, was recited by the Imam who gave me permission to record him inside the Muhammad Ali Mosque on the hill of the citadel in Cairo, 1969. In this movement the Mu’azzin, harmoniously sounding in the key of D flat, is juxtaposed with my setting of the Kyrie. This fusion emphasises the musical relationships that do exist between the Muslim and Christian faiths; an affirmation of belief in the one God.

Allahu akbar ! Allahu akbar! Kyrie, eleison.

Ashhadu an la ilaha illa ‘llah! Kyrie, eleison.

Ashhadu anna Muhammadan rasulu-llah! Kyrie, eleison.

Hayya ‘ala ‘s-salati! Christe, eleison.

Hayya ‘ala ‘l-falah! Kyrie, eleison.

Hayya ‘ala ‘l-falah! Christe, eleison.

Allahu akbar ! Allahu akbar! Kyrie, eleison.

La ilaha illa ‘llah! Kyrie, eleison.

God is most great !

Lord, have mercy.

I testify that there is no god but God !

Lord, have mercy.

Muhammad is the Apostle of God !

Lord, have mercy.

Come to Prayer !

Christ, have mercy.

Come to salvation!

Lord, have mercy.

Come to salvation!

Christ, have mercy.

God is most great!

Lord, have mercy.

There is no god but God!

Lord, have mercy.

真主至大!

求主憐憫

我證明真主以外再無神靈!

求主憐憫

我證明穆罕默是真主的使者!

求主憐憫

快來禮拜!

求基督憐憫

快來成功!

求主憐憫

禮拜勝於睡眠!

求基督憐憫

真主至大!

求基督憐憫

Muhammad Ali Mosque, Egypt

3. GLORIA: BRIDE OF THE NILE

To Herbert Chappell

The Gloria begins with the sound of an Egyptian wedding recorded on the banks of the Nile in a village south of Luxor. This song praises the guests and bestows blessings upon the bridal couple. Intoxicating rhythms of the wedding band are interjected by the chorus who shout the Latin text in exultation to God; not unlike the early Christians who fought for their faith. Wedding festivities are followed by Khulwa, mesmeric sounds of an Islamic prayer school, recorded in Aroma, East Sudan. Here, boys learn to recite the Koran from memory. Their aleatoric pitches, centred around B minor, merge into a composed fugal texture for unaccompanied chorus, which reiterates the musical relationship between Christ and Muhammad. The soprano soloist, making her first operatic entry, adds a sheen to the chorus, which finally subsides into an echo of the prayer school heard from afar.

Egyptian Wedding Dancer

Boys’ prayer school, Aroma, East Sudan

Gloria in excelsis Deo.

Et in terra pax hominibus bonae voluntatis.

Laudamus te.

Benedicimus te.

Adoramus te.

Glorificamus te.

Gratias agimus tibi propter magnam gloriam tuam.

Domine Deus, Rex caelestis, Deus Pater omnipotens.

Domine Fili unigenite, Iesu Christe.

Domine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi, miserere nobis.

Qui tollis peccata mundi, suscipe deprecationem nostram

Qui sedes ad dexteram Patris, miserere nobis.

Quoniam tu solus Sanctus. Tu solus Dominus.

Tu solus Altissimus, Iesu Christe.

Cum Sancto Spiritu, in gloria Dei Patris.

Glory be to God in the highest. And on earth peace to men of good will.

We praise Thee.

We bless Thee.

We adore Thee.

We glorify Thee.

We give thanks to Thee for Thy great glory.

Lord God, heavenly King,

God the Father Almighty.

Lord Jesus Christ, only-begotten Son.

Lord God, Lamb of God, Son of the Father.

Thou who takest away the sins of the world, have mercy on us.

Thou who takest away the sins of the world, receive our prayers.

Thou who art seated at the right hand of the Father, have mercy on us.

For Thou alone art Holy. Thou alone art the Lord. Thou alone art the Most High, Jesus Christ.

With the Holy Spirit, in the glory of God the Father.

惟願在至高之處， 榮耀歸與上帝， 在地上平安歸與 他的子民。

我們讚美你， 我們感謝你， 我們敬拜你， 我們顯揚你， 為你的榮耀稱頌你。

主上帝，天上的王， 全能的上帝聖父。 主耶穌基督， 聖父的獨生聖子， 主上帝，上帝的羔羊， 除掉世人罪的主： 憐憫我們。

除掉世人罪的主： 應允我們的禱告。

坐在聖父右邊的主： 憐憫我們。

因為只有基督是聖， 只有基督是主， 只有基督是至高者， 只有耶穌基督和聖靈， 在上帝聖父榮耀裡。

4. CREDO: SUDANESE DANCES & RECITATIONS

To Peter Oliff and the Four Men on the prayer mat

Courtship dances, women’s bravery dance and a Kiata trumpet dance herald the liturgy of the word “Deo gratias” and Creed. Percussion, improvised with verve during this interlude, become very heated during the trumpet dance. Emerging out of a massive gong stroke, you hear a unique recording of four men in a trance chanting by moonlight on top of the Marra mountains in West Sudan. They were sitting, swaying backwards and forwards reciting the Koran in a strange mixture of local dialects and Arabic. My setting of the Credo, which counterpoints the four men, is in fact

Deo gratias. Gloria tibi, Domine. Laus tibi, Christe. Credo in unum Deum, Patrem omnipotentem, factorem caeli et terrae, visibilium omnium, et invisibilium.

Et in unum Dominum Iesum Christum, filium Dei unigenitum. Et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, Genitum, non factum, consubstantialem Patri: Patri ! per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de caelis.

a variation on Good King Wenceslas, marked in the score as ‘tribalistic and not without humor!’ This movement further emphasises the praise that we can all share on planet earth.

Thanks be to God. Glory to You, Lord. Praise to You, Christ. I believe in one God, the Father Almighty, Maker of heaven and earth, Maker of all things visible and invisible. And in one Lord, Jesus Christ, The only-begotten Son of God, Born of the Father before time began. God of God, Light of Light, true God of true God, Begotten, not made, one in substance with the Father: Through whom all things were made. The Father ! Who for us men, and for our salvation, came down from heaven.

感謝上主

願榮耀歸與主基督 願讚美歸與主基督 我們信獨一上帝， 全能的聖父創造天地， 並一切有形無形萬物的主。

我們信獨一的主，耶穌基督， 上帝的獨生子， 在萬世以前為聖父所生， 從上帝所出的上帝， 從光所 出的光，從真神所出的真神， 是生、非造，與聖父同體； 萬物都是藉著他受造。

他為要拯救我們世人， 從天降臨。

Courtship Dance, Kiata trumpet, Zalingei, west Sudan

5. LOVE SONG: PIANO SOLO

To Judith and Alexander our son

Having travelled from Cairo to Khartoum and then west to the Marra mountains, I realised that if I turned east to the Red Sea I would, in fact, be following the shape of a cross before going south to Lake Victoria, like a musical ‘Via Dolorosa’, in the shape of a geographical cross: the Sanctus Journey. So I continued by camel to the deserts of the Red Sea Hills, where I met Sheikh Mohammed El Amin Tiriq of the Hadandua tribe. He gave me every facility to record his people and led me to an encampment where I stayed in a beautiful tent, sharing the lives of the Hadandua. One night a cattle boy returned on his camel bringing a small five-stringed Bazenkop harp. He sang this love song which I so much admire, all about a girl called Abdha. “When she passes by you, she gives such an aroma that it never leaves even when you are asleep. If you love her, other people will smell it and men will fall in love with her and women will get jealous.”

In this interlude, the piano part develops the inherent harmonies and rhythms of the recording. The Bazenkop sounds in the key of F minor - quite a revelation coming from the desert. At the end you

hear a Hadanduan mother ringing tiny bells outside her tent. These bells, an ancient custom, announce the birth of a newborn son to the tribe. The bells protect the child and chase away the evil eye. It is a poignant moment in African Sanctus signifying the birth of Jesus Christ.

Hadandua Bells ringing, east Sudan

Hadandua cattle boy plays a Bazenkop harp

6. ET IN SPIRITUM SANCTUM

To Sister Maria de Fatima and Majella Boyd

Four plucked notes introduce the sopranos and altos who sing in harmony with a Christian refugee family of the Zande tribe, who had fled into Uganda from South Sudan. Geographically this is equatorial Africa, with the sound of millions of frogs croaking in the swamps of the southern Nile. The Zande family are first heard discussing and agreeing “hmmm!” which song to perform a “Song of Flight” about their Lord and Saviour Jesus Christ, who had delivered them from the terrors of the war-stricken area of their home near Yambio. This song, which is all about their journey, “footing, carrying foodstuffs and children”, is accompanied by a metal thumb piano mbira, an improvised drum - a bottle beaten on the earth, together with live ethnic drum. The movement reflects the wonderful work carried out by the missionaries in Africa.

Et in Spiritum Sanctum, Dominum et vivificantem: qui ex Patre Filioque procedit.

qui ex Patre Filioque Sanctum.

I believe in the Holy Spirit, the Lord, the giver of life: who proceeds from the Father and the Son. who from the Father and the Son.

我們信聖靈， 是主， 是賜生命者， 從聖父、聖子所出。

Zande family

7. CRUCIFIXUS: RAIN SONG

To Latigo Oteng and Robert Harris

Frogs and a “Dingi Dingi” dance from Uganda, in which adolescent girls praise their warrior boyfriends, were suddenly interrupted by an almighty equatorial thunderstorm. Heavy tropical rains poured down and as I looked up into the blackness above, I imagined voices crying out “Crucify Him !” My interpretation of the Crucifixus is personified by the violence of that storm and the bitter war that was raging in the south of Sudan. I felt as if the war itself signified the wounds suffered by Christ on the Cross.

In Gulu, Northern Uganda I took refuge in an African home, in which the owner, a policeman and famous musician called Latigo Oteng, happened to be singing, accompanying himself on his sevenstringed Enanga harp. Afterwards, Latigo very kindly gave me his harp as a gift saying: “Mr David, please take my harp and play my music to the world.” I have been trying to do that ever since. Sadly, Latigo like many thousands of the Acholi tribe, disappeared – he was probably murdered during the military coup, in 1971.

In the Crucifixus, the soprano soloist counterpoints Latigo’s solo, like a duet. It is as if the Angel triumphantly stills the thunderstorm and recounts the

Crucifixus !

Et incarnatus est de Spiritu Sancto ex Maria Virgine: Et homo factus est. Crucifixus etiam pro nobis: sub Pontio Pilato passus et sepultus est. Et resurrexit tertia die, secundum Scripturas. Et ascendit in caelum: sedet ad dexteram Patris. Resurrexit!

story of Christ crucified. The Rain Song is harmonised with instruments that conjure up an atmosphere of strife, with the war cries of South Sudan piercing through. Electric guitars have important solos and represent an amplified extension of the African harp. The piano part is also crucial; and full chorus, dividing into eight parts, crescendo during the climax of the storm. In a searing texture, menacing and dramatic, martial and warlike, they are driven on relentlessly towards the ultimate glory of resurrection and hope in the everlasting life. This movement is the pivot and central axis of the work; it presents an operatic culmination of ideas, based on historical events and resolves them through the forces of nature. After the storm there is a moment of silence and the sun breaks through.

Crucify ! Was incarnate of the Virgin Mary by the power of the Holy Spirit: and was made man. For our sake, too, under Pontius Pilate, He was crucified, suffered death, and was buried. The third day He rose from the dead as the Scriptures foretold. He ascended to heaven, where He is seated at the right hand of the Father. He rose from the dead!

因聖靈的大能， 為童貞女馬利亞所生， 成為人身， 在本丟彼拉多手下， 為我們釘在十字架上， 被害，受死，埋葬。

應驗了聖經的話， 第三天復活， 升天，坐在聖父的右邊。

Latigo Oteng with Enanga harp, Gulu, north Uganda

8. SANCTUS: BWALA DANCE

To the Acholi Bwala dancers of Uganda

After the storm we celebrate! In this setting of Sanctus, which includes the Benedictus, you can hear all sorts of sounds, both African and European, that are light hearted and fun, in keeping with the spirit of an Ngoma. The returning Bwala dance is preceded by a recording of Bunyoro fishermen of Lake Madinda xylophone. Played by six virtuosi, this ingenious instrument was created out of canoe boards, balanced across two banana trunks. It sounds molto bananary indeed! Chorus and ensemble counterpoint the Ugandans and the score is marked: “Full Blooded and Ritualistic!”

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Gloria in excelsis. (repeats) Benedictus qui venit in nomine Domini. Hosanna in excelsis. Benedictus qui venit in nomine Domini.

Sanctus, Dominus !

Holy, Holy, Holy

Lord God of Hosts. Your glory fills all heaven and earth. Glory in the highest.

Blessed is he who comes in the name of the Lord. Hosanna in the highest.

Blessed is he who comes in the name of the Lord.

Holy, Lord !

聖哉，聖哉，聖哉， 大有權能，大有威嚴的主， 你的榮光充滿天地。

歡呼之聲，響徹雲霄。

奉你名而來的， 是應當稱頌的。

歡呼之聲，響徹雲霄。

Madinda xylophone, Uganda

Bwala Chief, north Uganda

9. THE LORD’S PRAYER

To Owain Arwel Hughes

Although not a formal part of the mass, The Lord’s Prayer takes the place of the offertorium and was composed in response to a heart-rending mother’s lament for a dead fisherman, recorded on the shores of Lake Kyoga, Uganda, 1969. It was stiflingly hot in the papyrus hut where his wife and mother grieved: “Oh, my son! Oh, my son! Oh, my son! Oh, what is this ? Oh, my son!” As I stood looking down upon the body, the words of our Lord came into my mind. This setting of The Lord’s Prayer, represents the southernmost part of my journey along the Nile, where many people speak English and sing the Our Father in church. The accompaniment features a gentle

counter melody on lead guitar, which is contrasted in the middle section by full chorus and soloist who rise in a dramatic climax, denouncing evil and proclaiming the glory of God.

Our Father, who art in heaven, Hallowed be Thy name. Thy Kingdom come. Thy will be done on earth, as it is in heaven

Give us this day our daily bread, And forgive us our sins, As we forgive the sins of them who sin against us. Lead us not into temptation But deliver us from evil, for Thine is the Kingdom for Thine is the glory.

Our Father, who art in heaven, Hallowed be Thy name Thy Kingdom come, Thy will be done on earth, as it is in heaven.

我們在天上的父， 願你的名被尊為聖， 願你的國降臨， 願你的旨意行在地上， 如同行在天上。

我們日用的飲食， 今天賜給我們。

饒恕我們的罪， 如同我們饒恕得罪我們的人。

不叫我們遇見試探， 拯救我們脫離兇惡

Lamentation hut, Lake Kyogo, Uganda

10. CHANTS

To Michael McCarthy and Alan Ferne

The recapitulation in African Sanctus begins with a return to Latin, organum, to nature and the wilds of Africa. Each recorded song is beautiful, like a prayer. Each song is in itself a Lord’s Prayer. One is reminded of the very dust of Africa, the country’s charm and humour, its gaiety and tragedy, its great musical heritage. Sadly so many of these sounds are dying out. This is why I felt the urgent need to preserve what I have been privileged to hear in my time.

Masai milking song, Kenya, 1972

Recorded in a Masai manyatta (homestead) at dusk, this song of praise, describes a special kind of feeling that a woman gives to her cow. If a mother doesn’t sing, the cow may not provide enough milk for her family: “I love you my favourite cow, you provide us with everything”.

Song of the river in Karamoja, Uganda, 1969

Recorded in the heart of Karamoja, this song describes the Omaniman river which flows to the west “The river is bending the trees when it is in flood - Hor Hor! The river is bending the trees as it flows - Hor Hor! It is entering the lake, it has entered the lake, Yeh!”

Turkana cattle song, Northern Kenya, 1970

In a dried-up river bed, Turkana herdsmen sing cattle songs which express the ownership and deep love they possess for their animals. Sitting under the shade of trees in the heat of the day, they sing: “When cattle are thirsty they moo, because they are thirsty. They thirst and they have many colours and long tailsLotodo!”

Luo ritual burial dance, Western Kenya, 1973

Members of the Luo tribe pay tribute at a ritual burial dance by encircling the symbolic figure of a slain warrior. They communicate with the spirits of their ancestors, accompanying themselves with gourd horns, flutes, rattles, whistles and drums. For me, this dance signifies the burial of traditional African culture. The cultural leader of the Luo tribe, Mayinda Orawo, is affectionately known as the ‘Hippo Man’ and he is the symbolic figurehead of African Sanctus.

Quia tuum est regnum, et potestas, et gloria in saecula.

For Thine is the Kingdom, the power, and the glory for ever and ever.

David Fanshawe recording Masai, photo

Judith Croasdell

Karamojong elder, Uganda

Masai warriors, Kenya

Luo ritual Burial Dance, West Kenya

11. AGNUS DEI

To Mayinda Orawo, my friend the Hippo Man

The Agnus Dei expresses the broader picture of Africa as it is today, summarising humanity, man’s suffering, tribal differences and injustices, notably the plight of refugees in countries like Sudan and Rwanda. These injustices are represented by the sound of distant war drums recorded in the desert of East Sudan. The eerie copper drums reverberate as the chorus intone, in chordal clusters, the beginning of the Agnus Dei. Soprano soloist transcends the chorus with a freely delivered solo of triumph which builds to a high and resolutory phrase of conviction repeated three times “Iesu Christe!” A dramatic link from Latin to Arabic resounds as the Mu’azzin answers antiphonally. This duality reiterates the fundamental ethos of African Sanctus. War drums die away leaving peace.

Agnus Dei, qui tollis peccata mundi: miserere nobis Quoniam tu solus Sanctus.

Tu solus Dominus, Tu solus Altissimus, Iesu Christe Dominus.

Iesu Dominus, Iesu Christe!

Lamb of God, who takest away the sins of the world: have mercy upon us. For thou alone art Holy. Thou alone art the Lord. Thou alone art the Most High, Lord Jesus Christ. Jesus Lord, Jesus Christ!

上帝的羔羊， 除掉世人罪的主： 憐憫我們。

David Fanshawe recording Masai, photo Judith Croasdell

12. CALL TO PRAYER: KRYIE

To Geoffrey Hancock

The Call to Prayer now evokes a reprise of the Kyrie. Although the composition is virtually the same as No 2., the juxtaposition of tape to live is completely different. The resulting tempo is therefore more fluid; the choir singing a cappella convey an ambience of space and timelessness which expresses unity of faith through prayer.

Norwich cathedral

Maltac cathedral

13. FINALE & GLORIA

To Jane and all the family

African Sanctus ends with a spectacular return of the Sanctus and Gloria accompanied by the pounding energy of the Bwala dancers of Uganda. The score is marked “With Power, Rhythm and Exhuberance!” In this final movement, everybody takes part, augmenting the spirit of the Bwala dance. The last page of the score sums it all up “Glory to the Acholi Bwala Dancers! Glory to Africa!”

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth.

Pleni sunt caeli et terra gloria tua. Gloria in excelsis. Hosanna in excelsis. Benedictus qui venit in nomine Domini.

Gloria ! Gloria ! Deus Sabaoth.

Pleni sunt caeli et terra.

Gloria in excelsis.

Sanctus, Sanctus, Sanctus Dominus!

Holy, Holy, Holy Lord God of Hosts. Your glory fills all heaven and earth. Glory in the highest. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Glory! Glory!

God of Hosts.

Heaven and earth are filled. Glory in the highest.

Holy, Holy, Holy Lord!

Programme Notes by David Fanshawe

聖哉，聖哉，聖哉， 大有權能，大有威嚴的主， 你的榮光充滿天地。 歡呼之聲，響徹雲霄。 奉你名而來的， 是應當稱頌的。

歡呼之聲，響徹雲霄。

Two Acholi Bwala Dancers, Uganda

DONA NOBIS PACEMA HYMN FOR WORLD PEACE

My setting of Dona nobis pacem is composed as a response to African Sanctus; and is a gesture of thanks to the world I have been privileged to see and experience in my time. This work written in 1994, 25 years since African Sanctus was first conceived on the banks of the river Nile in 1969, completes my setting of the Agnus Dei. The work was commissioned by Nicholas Oppenheimer.

Dona nobis pacem is a paean for Today - a Hymn for World Peace, expressing my innermost feelings that reach out far beyond Africa, to a limitless horizon of Hope for the future and Love for the World.

“Musically, Fanshawe’s Dona nobis pacem derives from much of the material in African Sanctus. The opening statement is in fact an inversion of Et in Spiritum Sanctum and a reworking of the final Gloria. Composed in F, the home key of the Sanctus, it is based on a canonic structure in which the themes are handed round from voice to voice and instrument to instrument. This allows a text which began in a deliberately simple way to build to one of considerable complexity and power and at the very point when the contrapuntal ideas reach their height, they are interrupted by the soprano soloist’s dramatic recitative. This by its short, stark phrases, throws into relief the long rolling lines which have preceded it, after which the canonic idea is resumed and the sound is allowed to sink back gently into the peace whence it emerged”. Julian Williamson

Dona nobis pacem.

Magne Deus, Deus noster, Benedicte Domine, Dona nobis pacem.

Ex hoc nunc, et usque in saecula.

Pater, Qui fecisti caelum et terram.

Dona nobis pacem.

Gratias agimus tibi, Domine. Gratias Deo, Sancto. Gratias, Gratias!

Ex hoc nunc.

Dona nobis pacem. Pacem.

Grant us peace.

Great God,

Our God, Blessed Lord

Grant us peace.

Now and for ever.

Father, Who made heaven and earth. Grant us peace.

We give thee thanks O Lord. Thanks be to Holy God. Thanks! Thanks!

Now and for ever.

Grant us peace.

Peace.

Masai child, Kenya

Vocal Associates

Formed in 2014, Vocal Associates is a dynamic non-profit arts group consisting of four major wings - the Vocal Associates Choruses, Vocal Associates Ensemble of Young Voices (VAEYV), Vocal Associates Senior Choir (VASC) and the Songbirds Solo Artistes. The group is mainly made up of voice students of Ms Khor Ai Ming, who receive individual vocal training weekly. These singers have attained distinctions and merits in graded examinations and diplomas under Trinity College London.

Vocal Associates is the product of the vision, passion and commitment of Artistic Director Ms Khor to bring a new level of vocal artistry to the Singapore musical scene. Members hail from different nations and cultures, and range in age from 6 to 85. The active performing arts group also reflects her trademark versatility. They perform regularly in a wide range of genres, including orchestral works, opera, chinese orchestral music, jazz, musical theatre and pop favourites.

Vocal Associates was first formed in 2014 for the performance of Howard Shore’s The Lord of the Rings: The Two Towers with the Metropolitan Festival Orchestra. Since then, they have been invited by various orchestras to perform other works such as Mahler’s Symphony No. 8, Bernstein’s Chichester Psalms and the world premiere of Alarcón’s Marco Polo Trilogy. Additionally, VA has performed in many concerts under invitation by the Singapore Chinese Orchestra (SCO), including SCO’s 20th and 25th Anniversary concerts in 2016 and 2021. The choruses have worked with esteemed conductors such as Justin Freer, Timothy Reynish, Tsung Teh, Joshua Kangming Tan, Hong Xia and Xu Zhijun.

In 2016, Khor led the Vocal Associates Choruses in a spectacular performance at the prestigious Carnegie Hall, New York, to a standing ovation. In 2018, VA went on to perform at the Walt Disney Concert Hall in Los Angeles. In 2019, VA went on a music tour to Okinawa where they performed at a local school, the City Hall and Civic Theatre. In December 2023, VA went on a music tour to Shizuoka, Japan, for a music exchange and performance at Makinohara City Comprehensive Music Hall, and were also invited to perform at Taipei 101 for the 2024 Taipei New Year’s party, organised by the Taipei City Government.

Vocal Associates has also organised multiple concerts since 2010 under the baton and artistic vision of Khor, including the annual Songbird Series, showcasing the VA solo artistes. VA has also presented semi-staged musicals and operas at the Esplanade Recital Studio, including The Little Prince (2018), Eloise (2019), Thomas and Sally (2022), The Sound of Music (2022), The Lion King Jr. (2023), The Magic Flute (2023) and The Phantom of the Opera (2024).

Since 2016, VA has been organising two major concerts at Singapore’s Esplanade Concert Hall annually, performing major works such as Faure’s Requiem (2017), John Rutter’s Mass of the Children (2016 & 2018), Karl Jenkin’s The Armed Man: A Mass for Peace (2018), Carl Orff’s Carmina Burana (2019), an adaptation of Handel’s Messiah in Hallelujah (2022), Gwyn Arch’s Carnival inspired by Saint-Saens’ Carnival of the Animals (2022) and Rutter’s Magnificat (2023).

In celebration of her 10th Anniversary, Vocal Associates will be performing David Fanshawe’s African Sanctus on 15 June 2024, at Esplanade Concert Hall.

www.vocalassociates.org

Vocal Associates Ensemble of Young Voices Vocal Associates Ensemble of Young Voices

Vocal Associates Ensemble of Young Voices (VA Ensemble of Young Voices) is an ensemble of solo voices from 6 to 21 years of age. These young singers have a wide repertoire including choral masterpieces, opera, musical theatre, cinema theme songs, oratorios, and modern compositions. They have had many choral and soloist performance experiences under their belts. VA Ensemble of Young Voices has performed with orchestras like the Singapore Chinese Orchestra, Metropolitan Festival Orchestra, Orchestra of the Music Makers, the Philharmonic Winds, and Asia Virtuosi. Orchestra works presented includes Lord of the Rings - The Two Towers, Bernstein’s Chichester Psalms, and Mahler’s Symphony No. 8.

VA Ensemble of Young Voices has also performed in Vocal Associates’ annual concerts at the Esplanade Concert Hall since 2016, presenting works like Handel’s Messiah, Carnival of the Animals, Mass of the Children, Faure’s Requiem, A Mass for Peace, and the Wind in the Willows. ln August 2020, VA Ensemble of Young Voice joined VA Chorus singers in lending their voices for National Day, in appreciation of Singapore, through a virtual choir production, Song for Singapore. In December 2022, VA Ensemble of Young Voice was invited by Children’s Museum Singapore to perform at their Grand Opening.

On its own, the Ensemble of Young Voices has put up a number of childrenopera and musical performances such as The Magic Flute Children’s Opera in 2014, The Sound of Music in 2015, Hansel & Gretel in 2016, The Little Prince in 2018, Eloise - An Opera for Young People in 2019, The Sound of Music in 2022 and Lion King Jr The Musical in 2023. These productions not only showcased the voices of these talented young singers as both soloists and ensemble, but also their acting skills.

VA Ensemble of Young Voice has also performed on the international stage, delivering performanc es in New York City’s Carnegie Hall (2016), Los Angeles’ Disneyland Anaheim and the Walt Disney Hall (2018), Okinawa Japan’s Civic Theatre Ashibina, the Okinawa City Hall, and Shimabukuro Elementary School (2019). Most recently, they travelled to Japan and performed at the Makinohara City Comprehensive Music Hall (2023).

Khor Ai Ming

Artistic Director | Conductor

Celebrated as a contemporary classical soprano, choral conductor and voice teacher, Khor Ai Ming is the recipient of the COMPASS Artistic Excellence Award 2015 for her exceptional achievements as an artiste in Singapore. Ai Ming is active in various fields of the Singapore arts scene. She has also been honoured repeatedly with invitations to present new-music works for world and

Singapore premieres. Ai Ming has graced many large-scale celebrations, a testament to her versatility and innate musicianship. Works Ai Ming has presented as Singapore or Asia premieres include Gottfried von Einem’s Der Besuch der alten Dame in the lead role of Claire Zachanassian, the complete cycle of Schoenberg’s Pierrot Lunaire, Berio’s O King, Gaslini’s Magnificat, Paul Wilson’s Spiritus, Messiaen’s La Mort du Nombre, Juhi Bansal’s The Lost Country of Sight, Tony Makarome’s Shiva and Jeremy Monteiro’s Shakti Dance. She sang the theme song in both Chingay Parade 2011 and 2014. She was also the soprano solo in the Music for Fireworks at the Marina Bay Singapore Countdown 2012 composed by Iskandar Ismail. In 2013, Ai Ming performed her second Schoenberg’s Pierrot Lunaire under the Esplanade Spectrum Series with the Asian Contemporary Ensemble to critical acclaim by The Straits Times. The Straits Times has also reported that her annual solo recitals at the Esplanade Recital Studio are “a keenly awaited fixture in the concert calendar”.

As the principal of Ms Khor’s Studio, one of Singapore’s leading voice and music schools for aspiring vocalists, Ms Khor consistently produces the highest scorers for Trinity College London’s music examinations. Between 2013-2024, more than 50 of her solo voice students won top prizes at the American Protégé International Vocal Competition (including Best Performer Awards & Judges Distinction Awards), and were accorded the honour of performing at the world-famous Carnegie Hall, New York.

Solo students who have gone through years of personal training and grooming under Ai Ming’s tutelage have continued to pursue their aspirations to become professional vocalists at premier music conservatories around the world. Her solo students have been accepted to renowned colleges, including The Royal Northern College of Music (UK), Manhattan School of Music (USA), Berklee College of Music (USA), The University

of Queensland (Australia) and Yong Siew Toh Conservatory of Music (Singapore).

Ai Ming was the chorus mistress of both the Singapore Lyric Opera Chorus and Children’s Choir. As chorus mistress, she gained considerable experience working with distinguished opera directors including Andrew Sinclair, Tom Hawkes, David Edwards and Paul-Emile Fourny for the productions of Offenbach’s Les Contes d’Hoffman; Puccini’s La Bohème, Manon Lescaut, and Madama Butterfly; Verdi’s La Traviata; Bizet’s Carmen; Mozart’s Die Zauberflöte and Don Giovanni. She has also had the pleasure of collaborating with many eminent orchestra conductors including Tsung Yeh from the Singapore Chinese Orchestra, Joshua Tan from the Singapore Symphony Orchestra and Alice Farnham from the Royal Opera House.

Ai Ming enjoys working with young people and believes in spreading joy and love through singing. She conducts several local school choirs, some of which have garnered Distinction Awards at the Singapore Youth Festival. She also gives vocal lessons to students in the Music Elective Programme and O Level Music at local schools.

Ai Ming has served as a mentor to the Singapore Street Festival for the past 20 years. In recent years, Ai Ming has generously dedicated much of her time and effort to community work, with a special interest in the elderly and disadvantaged children. She is the choir conductor for The Purple Symphony Choir. She also gave singing classes to the children at the Cerebral Palsy Alliance Singapore. She started weekly therapeutic singing programmes for the Lions Home for the Elders, and saw encouraging improvement in some residents with dementia. She has also been the instructor of Breast Cancer Foundation Ladies Chorus for the past 10 years. In 2015, she founded two community choirs: The Joy Chorale under Braddell Heights Symphony Orchestra, and East Coast Choir under Kampong Chai Chee Community Centre.

Ai Ming is the Artistic Director of Vocal Associates. She holds a Fellowship in Voice (FTCL), and is under the tutelage of international opera star Ning Liang. She resides in Singapore with her drummer husband, Tamagoh and their two dogs, Cavoodle Baby Buggar and Shih-Tzu Tanoshi.

Acclaimed by the Straits Times:

“…few are blessed with Khor’s versatility. After all, who is equally at home singing Chinese and Malay songs, Western classical standards and modern works such as Schoenberg’s Pierrot Lunaire?”

“She brought out the delightful innocence of these far-from-straightforward miniatures by means of some captivating vocal and visual characterisations.

“….gloriously communicative personality and innate musicianship…”

“….a highly sophisticated and perceptive performance which went far beyond an ability to control a voice.”

“…one of the nation’s most versatile and distinctive art song practitioners.”

Esther Maureen Kelly

American soprano, Esther Maureen Kelly, has performed in many of the foremost concert venues across the United States and China; including the Lincoln Center, Kennedy Center, NCPA Beijing, and Shanghai Grand Theatre. She was fortunate to be a soloist in the historic 50th anniversary concert of the Philadelphia Orchestra being the first American orchestra to perform in China. This past season, she made her Queen of the Night debut at the Esplanade in VA Singapore’s production of Die Zauberflöte, and was a soloist in the premiere of the Echoes of Ancient Tang Poems with the Philadelphia Orchestra under the baton of Maestro Lio Kuokman. During the 2021-2022 season, she made her debut at the Kennedy Center as a soloist for the COAL+ICE Festival and her Lincoln Center debut as a soloist for the East/West Concert, with the New York City Ballet Orchestra. In January 2022, she was one of the soloists with the US-China Music Institute’s Sound of Spring Concert under the baton of Maestro Jindong Cai. Ms. Kelly was a leading soprano in the world premiere of Ancient Tang Poems from iSING! Suzhou to the World, at the iSING! International Young Artists Festival. Recently, she has performed as Younger Alyce in Glory Denied, Maddy in the world premiere of All Things Shall Pass, Diane in Orphée aux enfers, Amore and Euridice in Orfeo ed Euridice, as well as First Lady in Die Zauberflöte.

Rudy Djoe

Rudy Djoe is a versatile Singaporean crooner celebrated for his soulful vocals and his ability to seamlessly transition between genres such as Jazz, Pop, Traditional Malay, and Keroncong. Since launching his career nearly two decades ago, after winning the “Anugerah 12” Malay TV Singing Talent show produced by Prime 12 (now Suria Mediacorp), Rudy has performed at numerous events both in Singapore and the region. Noteworthy performances include: MUARA Festivals (Malay Traditional Arts Festival) at Esplanade Theatre by The Bay Fiesta Muzik, an Indonesia-Singapore joint concert produced by TVRI & Suria Mediacorp Simfoni Keroncong Nusantara with Orkestra Melayu Singapura, in conjunction with Pesta Raya (Malay Arts Festival) 2023 UNESCO International Jazz Day jazz’in @ Capitol Singapore – A Night in Asia, Singapore Night Festival 2023 Pesta Jazz 2021 by Jazz Association Singapore Orchestra at Capitol Theatre “Kaleidoscope - An Asian Jazz Odyssey 2023” by Jazz Association Singapore Orchestra at Singapore Chinese Cultural Centre Batam Jazz Festival 2017 & 2023 in Indonesia Langkah Gergasi, Orkestra Melayu Singapura 30th Anniversary Concert at Victoria Theatre, Singapore. In February 2021, Rudy showcased his 2016 album, “Dari Kalbuku,” along with Malay and Indonesian classics in an online event he produced. A highlight of this showcase was a special rendition of ‘Rasa Sayang,’ performed with Singapore’s renowned pop entertainer and Cultural Medallionist, Rahimah Rahim. Rudy is also a visual arts educator who graduated from Lasalle College of The Arts (Singapore), and his artistic experience enriches his musical expressions as a vocalist, songwriter, and lyricist.Rudy’s talent has earned him recognition in both the Malay and English entertainment scenes, earning the nickname “Suara Madu” or “Voice of Honey” from Singapore Jazz Maestro & King of Swing, Jeremy Monteiro. Inspired by legendary figures in English, Malay, and Indonesian music—including Sugiman Jahuri, Saloma, P. Ramlee, Ahmad Daud, Bing Slamet, Sam Saimun, Nat King Cole, Andy Williams, and Matt Monro—Rudy views singing as a form of melodic storytelling. He believes in the power of captivating melodies, stating, “A singer is a melodious storyteller. If the melody is dull, the entire story would be meaningless.”

Tamagoh World Music Band

Tamagoh

Tamagoh, a member of the Jeremy Monteiro Jazz Band since 1989, performed in countries like Japan, Moscow, the U.S.A, Canada, New Zealand. Together with Jeremy Monteiro, he worked with Terumasa Hino, Carmen Bradford and Eldee Young since 1994.

He has also performed with pop artiste like Ronan Keating, Frances Yip, Maria Cordeiro, Eric Moo, Coco Lee, Anthony Lun, Sarah Brightman, and Sandy Lam.

Tamagoh has performed in Jakarta Jazz Festival, The 2010 London Jazz festival in Pizza Express Jazz Club, Frankfurt’s Jazz Keller, and the Wellington Arts Festival 2004.

Tamagoh was conferred the COMPASS ARTISTIC EXCELLENCE AWARD 2005 for his outstanding artistic contribution to Singapore, and he was recipient of the SOKA Association GOLDEN LION AWARD for his contribution to WORLD PEACE movement. In June 2005 he received SINGAPORE STREET FESTIVAL TRIBUTE AWARD.

Tamagoh performed with Chris Brubeck in the Singapore Chinese Orchestra. In 2010 he had the honor to perform with the China Broadcasting Chinese Orchestra featuring the Jeremy Monteiro Trio. Together with Jazz Legends Jon Faddis, Paquito D’Rivera, Roy Hargrove, Russel Malone, Renee Rosnes, Dennis Mackrel, Jeremy Monteiro, Jon Hendricks, and Todd Coolman, Tamagoh was part of James Moody’s Scholarship Fund concert in New York City’s B. B. Kings Bar and Grill in 2008.

Cheong Kah Yiong

One of the most highly sought-after percussionists in Singapore due to his flexibility in Western and Chinese music literature, Cheong Kah Yiong has performed with many of Singapore’s most important ensembles including the Singapore Symphony Orchestra, Singapore Chinese Orchestra, Metropolitan Festival Orchestra, Ding Yi Music Company and The Philharmonic Orchestra. Kah Yiong frequently collaborates with theatre and dance companies such as Intercultural Theatre and The Arts Fission Company as solo percussion, most recently touring with the latter to Melbourne, Australia, presenting music and dance in an eclectic program curated by Dr Joyce Koh and Victoria Chou. He was a member of the SAF Central Band for 5 years and is also a member of the Singapore-based contemporary percussion group, Morse Percussion. He is currently furthering his studies at the Manhattan School of Music. His principal teachers include Christopher Lamb, Duncan Patton, She-e Wu, Steven White, Kyle Zerna, Mark Suter, and Christian Schioler

Eugene Chew

Eugene Chew is a versatile musician unbound by musical labels. With the electric bass and double bass, he has served as performer, composer, arranger, musical director, producer and educator with many acts, ensembles and companies locally and overseas since his career began in 2014. He received his formal musical education as a scholar in Double Bass Performance at the Yong Siew Toh Conservatory of Music under the tutelage of Guennadi Mouzyka.

His performance credits include Jazz Association Singapore Orchestra, Metropolitan Festival Orchestra, Re:sound Collective, Singapore Armed Forces Band, Music & Drama Company, Singapore Chinese Orchestra, Flame of The Forest, Open Score Project, SHAK and many others. In his personal artistic endeavors, he leads his band, Litmus Jazz Ensemble, and is also a full-time member of the Lorong Boys.

Govin Tan

Govin Tan is a versatile World Music percussionist/drummer with a burning desire to push boundaries in establishing ethnic drumming in contemporary settings. He was the first non-Indian to win the National Indian Music Competition in 2006 at the age of 14 (Tabla intermediate category) and 2008 at the age of 16 (Tabla open category). The rarity of such an achievement opened doors for appearances on various media coverages such as Channel News Asia, Channel 8, Channel 5, Vasantham, MTV Asia, Zao Bao, The New paper, Straits Times, Tabla magazine, 98.7FM, 933FM, Peak Magazine, Tamil Murasu and many more. His dedication and discipline for the arts has culminated in his involvement in numerous local and international festivals, residencies and performances with like-minded artistes — as a soloist, a sessionist and composer — in Japan, South Korea, I taly, Australia, America, Malaysia, Indonesia, India, China, Hongkong, Taiwan, Brunei. Govin was handpicked by the National Arts Council and Singapore Tourism Board as a performer, representing Singapore on the global stage. To date, Govin is a second generation owner of Flame of the Forest and an associate musician in Open Score Project and SA the collective. Apart from performing, he is also an active educator whom has a vision to groom and encourage more ethnic drumming in contemporary settings.

Sebastian Ho

A versatile and very sought after guitarist, Sebastian is one of the most prominent guitarists in Singapore. He was the principal guitarist for Walt Disney’s The Lion King Musical as well as other international shows like Santa Claus, Evita, The Addams Family, Anna Karenina, Facing Goya, Final Fantasy etc. Apart from playing with many artistes like Stefanie Sun, Qi Yu, Zhou Shen, Eric Moo, Huang Ping Yuan, Wen Zhang, Laura Fygi etc, he has also toured with Kit Chan, Joanna Dong and George Lam. He has performed for various international jazz festivals in Malaysia, Indonesia and Canada. He has arranged and recorded albums for local artistes, most notable being Kit Chan and Aisyah Aziz. Currently he is also one of the composers under Universal Production Music, composing and recording original library music. Apart from performing, Sebastian is also lecturing at LaSalle College Of The Arts and NIE.

Sng Yiang Shan

A visionary artist who continues to push boundaries and break new ground in the world of music, Yiang Shan is a highly accomplished percussionist with a passion for interdisciplinary arts. She earned a Bachelor of Music degree from Nanyang Academy of Fine Arts, conferred by the Royal College of Music, London; and a Master of Music degree from the Melbourne Conservatorium of Music. Yiang Shan’s exceptional talent as a percussionist has led her to perform with several renowned ensembles, including the Singapore Symphony Orchestra, Singapore Chinese Orchestra, Melbourne Symphony Orchestra, Singapore Lyric Opera, Metropolitan Festival Orchestra, Dingyi Music Company, The Philharmonic Orchestra, and The Philharmonic Winds Orchestra. She has also collaborated with esteemed artists such as Maxine Peake in The Nico Project at Melbourne International Arts Festival 2019, Peggy Ferroa, and The Arts Fission Company. She has been fortunate to work with many great teachers, including Mark Suter, Robert Cossom, Guy du Blêt, Robert Clarke, John Arcaro, Angeline Wee, and Trivandrum D. Rajagopal, who have helped shape her into the musician she is today.

Bertrand Lee

Bertrand Lee studied with Albert Tiu at the Yong Siew Toh Conservatory of Music on a full scholarship. He has since performed with some of Singapore’s best musicians, and has been featured in events with President S R Nathan, Tony Tan and Halimah Yacob as guests of honour. As an accompanist, Bertrand has played in New York at Carnegie Hall with the top prize-winners of the American Protégé International Vocal Competition. He has worked with the Singapore Lyric Opera on various productions, and was also an accompanist at the School of the Arts, Singapore. He has performed with the students of Yong Siew Toh and the Nanyang Academy of Fine Arts in competitions where they emerged as top prize-winners. Bertrand was featured with the Asian Contemporary Ensemble in an acclaimed performance of Schoenberg’s Pierrot Lunaire at the Esplanade. He is currently the rehearsal pianist of Vocal Associates and the Joy Chorale. With them he has worked with several distinguished conductors on orchestral works with chorus, including Mahler’s Symphony No. 8, Beethoven’s Symphony No. 9, Faure’s Requiem, Rutter’s Mass of the Children, and Karl Jenkins’s The Armed Man.

愛心三六五合唱團

「愛心三六五合唱團」團長楊麒麟先生，於2011年由任職的桃園機場 航警局副局長退休。服務警界三十餘年，在職其間創辦資訊融入警政 資訊全國管控系統，又於桃園機場任職時，全球240個大機場Skytrax 評比，2011年安檢服務榮獲第一名的殊榮！因此獲頒警界多項優質獎 章，也曾兼任警大專校講師，作育英才，培育許多優秀的警察後輩。 楊團長自幼承訓父教，只要行有餘力就要及時行善、關懷他人。因此

自年少時即參與公益的服務奉獻，即長與夫人及好友共組「中華行 善功德會」，帶領兒孫親族、同事、朋友濟弱扶貧、行善助人，足 跡遍及原住民部落、弱勢家庭、學校、醫院、育幼院、教養院、老 人院等。這些善行使其獲頒「新北市模範父親」、「全國好人好事八 德獎」！2003年痛失長子經上人與慈濟師姐鼓勵後化殤慟為大愛，抱持「逆增上緣」之心成

立「慈警合唱團」，演唱慈濟歌曲，鼓舞失親的朋友；並為愛子設立「楊勝安藝術獎學金」

，持續十餘年鼓勵弱勢青少年水墨藝術創作，受益學生超過千人，耗資數百萬元！而後與次 子佳樺於2016至2017將歷年得獎學生作品與勝安生前畫作，協同合唱團辦理全球巡迴展演， 讓世界看見台灣青年的藝術創作，也因此殊勝因緣，獲頒教育部「社教貢獻獎」。2011年因

公務繁忙，鐵人般的團長中風病倒，不得不退離公職，但他以堅毅的精神克服麻痺的半身肢 體，從爬行到挺拔的站起來，重新練習使用左手 做事、寫字，持續帶領大家唱歌、行善，成為

大家效仿的典範。2014年成立「台灣愛心三六五 藝文關懷協會」，啟動日日行善的理念與行動， 「慈警合唱團」亦更名為「愛心三六五合唱團」

，團長帶領大家走訪台灣各角落、走向世界，演 唱台灣各族群歌曲，散播歡樂散播愛，傳播台灣 最美的大愛形象。楊團長以身教、言教引導許多

頹喪、無助的朋友，發現另一扇光明的窗，鼓舞 後輩延續樂善好施的品格，以增進社會的良善風 氣，他是我們敬愛的長者。

Taipei Musicians Alliance

The Taipei Musicians Alliance was established in 1993, and the orchestra was founded and led by director Chou Kung-Ping until now. From classical music to popular crossover genres, dance, modern drama, traditional opera and other performing arts, Taipei Musicians Alliance has actively promoted the integration of meticulous performing arts into social fashion trends. Pragmatically integrating the performing arts with the corporate and shopping world, the stage of the performing arts has been continuously extended, from the traditional cultural center stage, performance planning and execution, to the provision of major domestic performing arts performances. Music director Chou Kung-Ping once served as the Taipei Municipal He is a member of the Symphony Orchestra and the Taipei Philharmonic Chamber Orchestra, and has been invited to perform in Japan, the United States, Canada, France, Austria, Belgium, the Netherlands, Singapore, Hong Kong and other countries many times. Currently serving as the director of art exhibition planning, he also demonstrates innovation and activity in cross-disciplinary art!

Introduction to performance of large-scale events

2002 Executive Yuan Cultural Construction Committee (Ministry of Culture of the Republic of China) performing arts team campus tour and 100 art lectures From 2002 to 2012, he was invited to perform at the music program of Taichung City Xiaoyao Music Town for ten consecutive years.

2003-2006 Taipei Water Festival Music Program Performance

2010-2024 Taipei City Dadaocheng Series of Performances

2014-2017 Taipei Nishi Honganji Square Event Concert Series

2021 Taipei City Guandu Flower Festival Concert Program

2020-2022 Taoyuan City Longtan District Memorial Deng Yuxian Campus Tour Music Lecture

2023 Taipei City New Year’s Eve Event-Classical Cross-border Stage Performance

台北演奏家聯盟

台北演奏家聯盟成立於一九九三年，樂團由周恭平總監創立帶領至今。從古典音樂到流行跨

界曲風、舞蹈、現代戲劇、傳統戲曲等各類表演藝術，台北演奏家一直積極地扮演著將細緻 表演藝術融入社會時尚潮流的推手角色。務實地將表演藝術與企業商場界結合，讓表演藝術 的舞台不斷地延伸擴展，從傳統的文化中心舞台、演出規劃執行，到國內各大型展演藝術表

演節目提供，音樂總監周恭平曾擔任台北市立交響樂團團員、台北愛樂室內樂團團員，並多 次應邀赴日本、美國、加拿大、法國、奧地利、比利時、荷蘭、新加坡、香港等國演出。現 擔任藝術展演企劃總監，同時在跨領域藝術中展現創新與活躍！

大型活動實績介紹

2002行政院文化建設委員會(中華民國文化部)表演藝術團隊校園巡迴演出暨藝術專題講座100 場

2002-2012連續十年受邀台中市逍遙音樂町音樂節目表演 2003-2006台北親水節音樂節目表演 2010-2024台北市大稻埕系列展演活動 2014-2017台北西本願寺廣場系列活動音樂會 2021台北市關渡花海節音樂會節目

2020-2022桃園市龍潭區紀念鄧雨賢校園巡迴音樂講座 2023台北市跨年活動-古典跨界舞台表演節目

Perpetual Arts Strings Ensemble

Perpetual Arts, established in 2024, symbolises eternal art and is devoted to fostering cultural and artisticChronoporter> on the 30th and 31st of August, 2024, at Permaisuri Zarith Sofiahsciplines to showcase their works. “Music Chronoporter” transports audiences on a nostalgic journey through the world of classical composers. Unlike traditional classical music concerts, we seamlessly integrate different art forms, such as martial arts, contemporary dance, and light art, to offer a captivating glimpse into the everyday lives of composers across different eras. “Music Chronoporter” marks Perpetual Arts’ debut in Malaysia.

We extend a warm invitation to all art enthusiasts to join us on a journey through time <Classical Composers’ Chronoporter> on the 30th and 31st of August, 2024, at Permaisuri Zarith Sofiah Opera House, as we delve into the rich history of music.

Perpetual Arts 成⽴于2024年，寓意永恒的艺术，是热衷于发展⽂艺活动的组织。作为⽂ 艺发展组织，我们致⼒于提供本⼟民众参与艺术活动的机会并提升鉴赏艺术的能⼒。

《作曲家时光机》是⼀部回顾古典时期作曲家的作品。不同于传统古典⾳乐会，此次我们结 合了武术，舞蹈及灯光等艺术形式将不同时期作曲家的⾳乐以戏剧⼿法串联成⼀部“⾳乐故 事剧”，带领观众和我们⼀同“穿越”到18世纪，窥探每个作曲家的⼈⽣。《作曲家时光 机》为Perpetual Arts 举办的⾸场活动，届时欢迎所有热爱艺术的同好们于8月30或31日前 来新山苏丹后查丽苏菲亚歌剧院，⼀同乘上“时光机”在⾳乐史的长河中遨游。

曲目：贝多芬病毒 BanYa Perpetual Arts弦乐团将呈现由韩国作曲家以贝多芬《悲怆奏鸣 曲》第三乐章为基础的编曲——《贝多芬病毒》。贝多芬是古典 ⾳ 乐界的杰出 ⼈ 物。他开创 了充满个 ⼈ 情感和戏剧性的浪漫主义时期，与专注于为皇室写作的古典主义时期不同。他在 风格在维也纳产 ⽣ 了巨大的影响，推动了时代的转变。然而，贝多芬中年逐渐失去听 ⼒ 。但 他拒绝向命运屈服，克服恐惧，勇敢地征服了 ⾳ 乐。

Yap Pheck Chuan | Conductor

Conductor, Yap Pheck Chuan, started learning the violin at 9. He won Foon Yew High School instrument championship and was selected to play Beethoven’s Ninth Symphony with the Penang Symphony Orchestra at the age of 18. A distinction holder of LTCL Violin Diploma certificate, he held his solo recital in Johor Bahru at the age of 24. During his Bachalor studies in Nanyang Academy of Arts (NAFA) Singapore, he was appointed as second violin principal in the school orchestra and attended an exchange programme to Germany in 2008. He was a freelance violinist of Metropolitan Festival Orchestra (MFO), where he performed with world-class musicians including Chinese composer Tan Dun, pianist Lang Lang & Japanese composer Kitaro. Being passionate to share his talents, he had worked as a full time violin instructor at Forte Musicademy, and a vice-conductor for strings ensemble at Nanyang Primary School, Singapore. He founded Huzza Music Johor Bahru in 2015, a platform to serve both education and event, nurturing talents and organising events for local and international artists.

指挥：叶碧泉

9岁开始学习小提琴，18岁获宽柔中学乐器比赛冠军，并获选与槟城交响乐团演奏贝多芬第九交响 曲。他以优异成绩获得LTCL小提琴⽂凭，24岁在柔佛州新山举办独奏⾳乐会。

在新加坡南洋艺术学院（NAFA）攻读学士学位期间，他被委任为学校乐团的第二小提琴⾸席，于 2008年前往德国参加交流项目。

他是新加坡节日乐团（MFO）的兼职小提琴⼿，与中国作曲家谭盾、钢琴家郎朗、日本作曲家喜多 郎等世界级⾳乐家合作演出，积累了丰富的经验。

他热衷于分享自己的⾳乐知识，曾在新加坡Forte Musicademy全职任教小提琴，并担任新加坡南洋 小学弦乐团副指挥。他于 2015 年创⽴了 Huzza Music 新山古典⾳乐舞台，⼀个服务于教育和活动的 平台，除了培养⾳乐⼈才，也为本地和国际艺术家主办活动。

Our Sponsor Rumble Music

Rumble Music is a premium service provider of a full suite of music services from equipment rentals to live musicians and custom music solutions. We leverage our network of music professionals from the local pop, classical, and jazz scenes to bring you the best service we can offer. Rumble boasts an extensive network of musicians with diverse experience levels and musical styles.

Our mission is to offer a unique and premium one-stop service for clients seeking to enhance their events and spaces with exceptional music and quality technical production. Rumble has established itself as a preferred service provider for events hosted by local arts companies like the Metropolitan Festival Orchestra, luxury brands such as BMW, broadcast institutions like Mediacorp, and has also been a trusted supplier for esteemed hotels including RC Hotels and the Ritz-Carlton.

VA Through The Years

VA Through The Years

SG50 NDP Pre-Parade @ Floating Platform (with East Coast Choir)

2015-2016

An Enchanted Evening with Silver Gems (2 September 2015)

VA Through The Years

Vocal Associates in the Stern Auditorium Perelman Stage of Carnegie Hall (June 2016)

2016-2017

VA Through The Years

2017-2018

VA Through The Years

Night of the Silver Stars Art Society (Singapore), 14 Sep 2018

2018-2019

Opening Ceremony of Federation of World Cultural and Art Society (Singapore) 26 Aug 2018

Associates performing at the Walt Disney Concert Hall, Angeles (June 2018)

VA Through The Years

Vocal Associates Concert Tour to Okinawa, Japan (December 2019)

VA Through The Years

VA Through The Years

VA Through The Years

THE SINGERS

Soprano

Amelia Tang

Anna Toh

April Tan

Fran Ho

Jean Ghulam

Jen Ong

Leong Moh Yin

Lilian Lee

Lim-Tan Soo Kim

Lum Sau Ying

Madeleine Tan

May Sandar

Megan Tan

Naomi Heng

Pauline Lo

Shanisse Tsai

Stephanie Leong

Stephanie Lim

Alto

Elizabeth Clark Martinez

Lily Wong

Nelly Voon-Arriola

Ong Jean Wei

Rieru Okada

Wendy Chan

Yeoh Jeok Eng

Tenor

Allan Lim

Fan Mun Hoi

Gustav Back

Jamie Thom

Kan Jitpakdi

Pierre Tremblay

Bass

Ang Chin Guan

Edward Lee

Fong Poh Him

Han King Juan

Jeremy Chia

John Dahlberg

Michael Kelly

Children

Aimee Fang

Anaiah Carvalho

April de Raho

Archie Thom

Charlotte Sheum

Ethan Fang

Fleur Loh

Kaelyn Tan

Liu Shengyi

Manami Thom

Mia Du

Natalie Teoh

Olivia Ho

Song Shuyan

Sun Mengqi

Tan Xuan Ru

Let There Be Peace on Earth

(audience sing-along)

Let there be peace on earth And let it begin with me

Let there be peace on earth

The peace that was meant to be

With God as our Father Brothers all are we

Let me walk with my brother

In perfect harmony

Let peace begin with me

Let this be the moment now With every step I take

Let this be my solemn vow To take each moment And live each moment

In peace eternally

Let there be peace on earth And let it begin with me

Upcoming Performances

The Little Prince

21 July 2024

Alliance Française de Singapour

Vocal Associates Solo Artistes in Concert

24 July 2024

Songbirds Series IX 16-17 August 2024

The Little Prince 18 August 2024

Vocal Associates Christmas Concert 2024 10-12 December 2024

Acknowledgements

ARTISTIC DIRECTOR/CONDUCTOR

DIRECTOR

SOPRANO

MUEZZIN SINGER

TAMAGOH WORLD MUSIC BAND

KHOR AI MING

TAMAGOH

ESTHER MAUREEN KELLY

RUDY DJOE

TAMAGOH

BERTRAND LEE

CHEONG KAH YIONG

EUGENE CHEW

GOVIN TAN

ROLA LUO

SEBASTIAN HO

SNG YIANG SHAN

CHORUS MANAGER

CHORUS ADMINISTRATORS

PRODUCTION MANAGER SOUND ENGINEERS

CHRIS JOSLIN-KELLY

AMELIA TANG

STEPHANIE LEONG

STEPHANIE LIM

ONG JEAN WEI

EDWIN CHEE

SUNIL KUMAR RAGHUPATHY

KELLY TAN

JANE FANSHAWE

PRODUCTION ASSISTANTS

PHOTOGRAPHER

VIDEOGRAPHER

GRAPHIC DESIGNERS SPONSORS

BELINDA CHOI

MICHELLE TENG

ALFRED NG

IDIGITAL PRODUCTION PLAZA

JIRAWAT ROD-IM

ONG JEAN WEI

SAMUEL YUEN

FAN MUN HOI

MINISTRY OF BELLZ LIMITED

RUMBLE MUSIC

Special thanks to our friends: Peitong Primary School Choir, Perpetual Arts Strings Ensemble (Malaysia),

Taipei Musicians Alliance & 愛心三六五合唱團

Extra special thanks to Mrs. Jane Fanshawe, who travelled from the United Kingdom to celebrate and share with us the musical legacy of Mr. David Fanshawe