Legacy ~ Windstars Ensemble

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WindstarsEnsemble Classics

Frederick Fennell


(1914 - 2004)

The Purpose of Music? - “To fill the areas that cannot be measured in life. Everything else can be measured in these days of ultimate mathematics, the ultimate prediction. We will land on the moon at a certain touchdown time, the ultimate measurement in the world! Music is not possible to measure! And it has to be created every time.” Frederick Fennell (1987)

Professor Toru Miura

Guest Conductor



WindstarsEnsemble Conductor HO HWEE LONG Conductor LEE TIAN TEE Conductor TAKEHIRO OURA


Esplanade Concert Hall 12 February 2014 | 7.30pm

Programme Puccini / arr. Goto

Turandot: A Selection from the Opera


Shenandoah Hill

St. Anthony Variations


Genroku Interval Schonberg & Boublil / arr. Barker

Miss Saigon, Selections from

Webber / arr. Peeters

Evita Van McCoy

African Symphony

Wilson / arr. Iwai

76 Trombones

Manilow / arr. Iwai




The Windstars Ensemble (WSE) is a Singapore based band specializing in the performance of wind instrumental music. They aim to bring inspirational performances of the highest caliber to the broadest and most diverse audiences in Singapore. In doing so, their objective is to inspire these audiences and enrich the local cultural tapestry.

WSE first premiered in 2012 under the baton of Mr Takehiro Oura, in which its inaugural concert raised funds for the victims of the Japanese tsunami to resounding success. Since then, WSE has worked with Mr Toru Miura (Kunitachi College of Music, Japan), Mr Toru Kitano (Osaka College of Music, Japan) and Mr David Waybright (University of Florida, USA).

All of its members are active performers and educators, a testament to their dedication to their craft and conviction in the benefits of a good music program. In addition, they provide a service to the local music scene by setting standards for wind bands.

In line with their belief of reaching out as well as contributing to the community, WSE has held numerous concerts and donated proceeds raised from ticket sales to charities such as the Mercy Relief for the tsunami and Down Syndrome Association of Singapore.

m Management Advisor ME5 Philip Tng General Manager Steven Phua Secretary (WBAS) Sing Moh Li Marketing Communications Francis Tan Orchestra Manager Lim Sze Ai Musician Representatives Kenneth Lun Terence Teow Librarian Sing Moh Li Stage Manager Ethan Lin


Associate Professor Ho Hwee Long is a widely recognized and respected figure in music circles. He possesses a Masters’ degree in Music Education from Northwestern University, Illinois, USA, and has studied band conducting under the tutelage of Professor John Paynter. Since 1967, he has an impressive record of achievements in the field of Singapore band music. He is currently an Associate Professor of the Division of Visual and Performing Arts in the National Institute of Education, Nanyang Technological University, where he coordinates the Specialist Diploma in Band Directing programme. His responsibilities within the academic group include conducting the symphonic band, research supervision and teaching music education, conducting and instrumental pedagogy. He is also a composer and arranger and has contributed a number of articles related to the symphonic band. He is also the conductor for National University of Singapore Wind Symphony and the National Junior College Symphonic Band. His love for music and beliefs in exacting standards has seen his bands make their mark in the local band scene. In January 2004, A/P Ho was conferred the Meritorious Award by the Composers and Authors Society of Singapore (COMPASS) for his outstanding and commendable achievements and contributions to the development of local music in Singapore and in 2007, he was conferred The Public Service Medal (Pingat Bakti Masyarakat - PBM) from the President of Singapore, His Excellency SR Nathan. In NIE, he was awarded the Excellence in Teaching Commendation in 2004 in recognition of teaching excellence achieved through the years.


Ho Hwee Long


Lee Tian Tee conductor Dr. Lee Tian Tee graduated from Eastern Michigan University in 1986 with a Bachelor of Music (Trumpet Performance) degree under a four-year Public Service Commission-- Singapore Symphony Orchestra scholarship. Upon his return, Dr Lee served as a trumpeter in the Singapore Symphonic Orchestra for nine years and became the resident conductor of several bands. In 1996, Dr. Lee left Singapore for further studies in the University of Pacific in California under the Lee Foundation scholarship. While he was there, he was also awarded the Graduate Assistant Scholarship of the Music Education Department. He also guest-conducted the University Orchestra and the concert Band and served as a trumpeter of the San Francisco Wind Orchestra. In the summer of 1997, he served as the senior faculty of the “Cazadero� Performing Arts Camp. Dr. Lee graduated as a Doctoral Graduate Research Scholar from the National Institute of Education/Nanyang Technological University in 2004, where he had focused his research on Singapore wind band education. Being such a distinguished conductor has earned him a seat among the panel of adjudicators during the SYF Central Judging of Concert Bands (Secondary Schools) in 1999 and (Primary Schools) in 2000, 2002 and the 10th Australian International Music Festival in Sydney. Conductor of the World Wind Band at the 11th Australian International Music Festival in Sydney, guest conductor for the 2007 Hong Kong & Macau Band Fair and Music Director for the World Youth Band Camp at WMC. More recently, Dr Lee was a jury for the competition at the World Music Contest in Kerkrade, The Netherlands in 2013. In 2001, Dr. Lee founded the Singapore chapter of the World Association of Symphonic Bands and Ensembles (WASBE, now known as the Wind Bands Association of Singapore) In July 2005, he and his team successfully organized the prestigious 12th WASBE International Conference in Singapore. Besides being president of the Wind Bands Association of Singapore, Dr. Lee also holds memberships to the Music Educators National Conference (MENC) and Conductors Guild. Presently Dr Lee is a visiting professor in the Music Education department of Sichuan Conservatory of Music, China and also a Yamaha (China) Artist.


A well-known and respected conductor in the music circle in Singapore, Mr Oura conducted the Raffles Institute and Raffles Girls’ School Symphonic Band. Currently he conducts the Meridian Junior College, Riverside Secondary School, Peirce Secondary School as well as Nanyang Technological University Symphonic Band. Mr Oura graduated from the Tenri High School in Nara. He went on to the Sakuyo College of Music in Okayama where he studied percussion with Mr Imamura Mitsuaki and conducting techniques with Mr Watanabe Akeo, who was a former conductor of the Nippon Philharmonic Orchestra. After which he travelled to Paris to enroll in the Ecole Normale de Musique a Paris (French Conservatory of Music, Paris) in a further quest for musical knowledge and exposure. Mr Oura graduated with certificates in percussion and orchestra studies. During his 2 years there, Mr Oura was a member of the New National Symphonic Orchestra. On his return to Japan, Mr Oura became the instructor of the Tenri High School Symphonic Band and Marching Band, both highly respected top school bands in Japan. His foray into the Singapore music scene has benefitted the students who have come under his tutelage, and with his vast experience and enthusiasm for teaching, Mr Takehiro Oura can only further enrich the musical life of the Bands under his tutelage.


Takehiro Oura


On Stage musicians


Alto Saxophone


Andy Koh

Jefferson Yap Samuel Cheah

Chiu Boon Hwee Mark Glover

Tenor Saxophone


Kenneth de Souza

Julian Low Teng Siang Hong

Flute Andy Koh Lim Chun Heng Clement Terence Teow Oboe Leow Rui Qing Seow Yibin Bassoon Lim Sze Ai Sim Kang Rong Eb Clarinet Hao Rongbin Charis Bb Clarinet Tan Yi Liang Colin Hao Rongbin Charis Lim Wei Cheah Ralph Lim Satsuki Goh Sharizan Isnain Stanley Sim

Baritone Saxophone Jonathan Lim Trumpet Christopher Yong Lin Goh Soon Peng Benny Lim An Chun Lim Hui Min Tan Han Yong

Piano/ Keyboard Wilson Chu

Charmaine Teo

Trombone Chong Shoo Mei Ronnie Quek Wilson Ong

David Wong

Yap Wai Hoong

Sanche Jagatheesan


Lim Wei Cheah

Contrabass Clarinet

Electric Bass

Alexander Ian Oon Bryan Benedict Chong Ng Zhong Qing Ong Hwee Ling

Bass Trombone

David Zechariah Kwek

Kee Hong Wai Damien

French Horn

Alto Clarinet

Bass Clarinet

Double Bass

Percussion Daniel Ho Weng Siong Jasen How Ramu Thiruyanam Sng Yiang Shan Tan Loke Chuah Toh Kai Siang Eugene


by Terence Teow

Giacomo Puccini / arr. Yo Goto

Perhaps Puccini’s finest opera, Turandot was also his last and left unfinished at his death. He first became interested in the story of Turandot after a reading of Schiller’s adaptation, though the eventual plot of the opera derives more from an earlier commedia dell’arte play by Carlo Gozzi. The libretto was crafted by Giuseppe Adami and Renato Simoni and Puccini began working on the opera in March 1920. By March 1924, he had completed Turandot up through the final duet yet was delayed in proceeding any further due to his dissatisfaction with the text. However, a mere two days after he began work on the final duet in October, Puccini was diagnosed with throat cancer. At the end of November, he travelled to Brussels, Belgium for an experimental radiation treatment but the composer ultimately succumbed to a heart attack on November 29. Likely aware of the seriousness of his illness, Puccini left directions that Riccardo Zandonai was to complete Turandot. Despite the composer’s wishes, Franco Alfano, a former pupil of Puccini’s, was chosen instead by Puccini’s editor Giulio Ricordi. Nearly a year and a half after the composer’s death, Turandot premiered at La Scala on April 25, 1926 but without Alfano’s ending. Two measures after the words “Liù, poesia!,” the orchestra stopped playing and Toscanini, who conducted the premiered, turned to the audience and said, “Qui finisce l’opera, perché a questo punto il maestro è morto” (“Here the opera ends, because at this point the maestro died”). The following performances included the ending provided by Alfano. Turandot quickly spread to other venues throughout Europe and the Americas, and has remained a staple of the repertoire.


Set in Imperial China, the Princess Turandot is bound by imperial decree that she will only marry a man of royal blood who can correctly answer three riddles. The punishment for answering incorrectly, however, is death. Calàf, known as The Unknown Prince, answers the riddles correctly to Turandot’s great surprise. Despite the conditions being met, Turandot remains unwilling to marry and pleads with her father to be released from the decree. She is refused and Calàf offers her a way out: he will sacrifice his own life if she can guess his name. At the opening of the final Act, Turandot issues a command that the Prince’s name must be learned and anyone caught sleeping that night shall face death. Yet, she is unable to learn his name and is forced to face him the next morning. Even in her defeat, she resists him but Calàf, confident that she truly loves him, tells Turandot his name, placing his life in her hands. The two appear before the Emperor and Turandot proclaims the Prince’s name: Love.

Wind Bands Association of Singapore would like to thank the following who has made this concert possible... Conductors, A/P Ho Hwee Long, Dr. Lee Tian Tee & Mr. Takehiro Oura Institute of Technical Education, Centre for Music & The Arts National University of Singapore, Centre For the Arts National Junior College Singapore Armed Forces Band West Winds, Band of the Bukit Batok Community Club


Programme Notes



William H. Hill

The composer of the Saint Anthony Chorale has been widely debated for many years. When it was first used in Brahms’ variations, he attributed the wind ensemble chorale piece to Haydn but subsequent researches have found that this is highly unlikely as it was not in the style of Haydn and in that period it was not uncommon for lesser composers to use the names of the more famous composers in the title of their pieces. Therefore today, this chorale has not been attributed to anyone. While this is not as extensively composed as the Brahms’ Variations on a theme by Haydn, Hill successfully composes a set of variations with much variety and vigour. William H. Hill was born on December 27, 1930 in Paris, Texas and died in 2000. He began studying music with his mother at age four and as a young child began studying saxophone. He graduated from the University of Northern Colorado with a Bachelor of Arts Degree in 1952 and received Masters of Arts degree in 1955. After graduating, he worked as a woodwind instructor and director of bands at East Texas State University. From 1972-1982 he taught and built the music program at California State University. While teaching, he also conducted and led band clinics through the world. In 1977 he received the Ostwald Composition Award for his composition Dances Sacred and Profane after being selected as a runner-up in 1976.


Tetsunosuke Kushida

Genroku is the Japanese era name after Jokyo and before Hoei. This period spanned the years from ninth month, 1688 through third month, 1704. The years of Genroku were considered to be the golden age of the Edo Period where economic stability was established and arts and architecture flourished. Kushida composed this piece in a quintessential traditional Japanese manner and mimics many famous and well-known Japanese tunes. He introduces the theme with the saxophone and throughout the piece; Kushida manipulates the theme to create languid luscious melodies and fragmented rhythms to express the Romanticism of the arts and the bustling industries of that period. Tetsunosuke Kushida was born in Kyoto in 1935. While majoring in mathematics at Kyoto University of Education, he studied composition with Tadashi Fukumoto. After graduation, he continued studies under Nagomi Nakaseko and film-music composer Nakaba Takahashi. He also participated in the group “Tsu-ku-ru, Composers’ Group in Kyoto” and began his wide compositional activities. Kushida was born in a family of Japanese musicians and grew up surrounded by Japanese instruments so his compositional style is generally based on traditional Japanese music. After he won the Ongaku-no-Tomo-sha Corporation Prize for Composition in 1969 for Stone Garden he studied composition and arranging for wind music under Paul Yoder, ABA first president, and Ichitaro Tsujii, the premiere conductor for Asuka. Tsujii has been a major influence on Kushida’s works for winds.


Frank Ticheli

In my setting of Shenandoah I was inspired by the freedom and beauty of the folk melody and by the natural images evoked by the words, especially the image of a river. I was less concerned with the sound of a rolling river than with its life-affirming energy -- its timelessness. Sometimes the accompaniment flows quietly under the melody; other times it breathes alongside it. The work’s mood ranges from quiet reflection, through growing optimism, to profound exaltation. The Shenandoah Valley and the Shenandoah River are located in Virginia. There is disagreement among historians concerning the origins of their names. Some claim that the river and valley were named in the 1750’s by the Cherokee as a friendly tribute to a visiting Iroquois Chief named Skenandoah. Others suggest that the region was named not by the Cherokee, but by the Senedo Indians of Virginia Valley. In the Senedo tradition, Shenandoah means “Daughter of the Moon,” and bears no relation to the Iroquois Chief Skenandoah. The origins of the folksong are equally obscure, but all date to the 19th century. It has been attributed variously to a coal miner in Pennsylvania, to a young protégé of Stephen Foster, and to a housewife in Lexington, Kentucky. Many variants on the melody and text have been handed down through the years, the most popular telling the story of an early settler’s love for a Native American woman. (Composer’s notes)


Andrew Llyod Webber / arr. Marcel Peeters

The musical comedy “Evita” dates from 1976 and was the third time composer Andrew Lloyd Webber wrote in collaboration with lyricist Tim Rice. It ran for eight consecutive years in the London West-End and was already acclaimed on Broadway in 1979. “Evita” tells the lifestory of the passionate second wife of the Argentinian dictator Juan Peron. Eva Duarte was born in Los Todos in 1919. Her life was similar to that of Cinderella. Though from modest origins, she became the most powerful woman in her country as spouse of Juan Domingo Peron who was president of Argentina from 1946 to 1955. She died of cancer on 26 July 1952, only aged thirty-three and was buried as a national heroin. Even after her dead, she was the object of a lay cult with the poorer Argentinian population. Only the army and the aristocracy had always opposed her position next to the president. The story is told by a cynical young man called “Chew. He envies Evita’s success while he cannot sell his invention, a new kind of insecticide. The selections included are the “Overture”, “On this Night of a Thousand Stars”, “Eva beware of the City”, “Buenos-Aires”, “Goodnight and thank You”, “I’d be surprisingly Good for You”, “Another Suitcase in another Hall”, “Waltz for Eva and Che”, and the evergreen “Don’t cry for me Argentina”.


Programme Notes