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Southeast Asian Golden Age Symphony

SOUTHEAST ASIAN GOLDEN AGE SYMPHONY PREMIERE Flowing Resonances 2 8 O C T OB E R 2 0 2 3 , 7. 3 0 P M Y S T C ONC E RT H A L L

Southeast Asian Golden Age Symphony

Programme YST ORCHESTRAL INSTITUTE WITH JASON LAI, CONDUCTOR PRE-SYMPHONY CHRISTOPHER JOHANN CLARKE & JONATHAN SHIN FAJAR SOUTHEAST ASIAN GOLDEN AGE SYMPHONY HOÀNG PHÓ TRAIL TO THE HIGHLANDS LEE CHIE TSANG QILIN SYAFIQAH ‘ADHA SALLEHIN AWAKENED GEMA SWARATYAGITA TE-TABU(H) DANNY IMSON BATO BATO PIK THATCHATHAM SILSUPAN MEMORY: AUDIOTAPE–ALUMINUM FOIL–STYROFOAM JONATHAN SHIN THE MAKER’S LAST GONG

We are grateful for the generous funding support by Ms Phalgun Raju and Mr Nicholas A. Nash which has enabled this symphony commission.

QILIN MOIRA LOH, VIDEO ARTIST AWAKENED AZMAN BIN MOHAMAD SHARIF, NARRATOR TE-TABU(H) BUNGA DESSRI NUR GHALIYAH, REBAB TESSA PRIANKA, NARRATOR-SINGER BATO BATO PIK ROLDAN RAMONITO ABANTAO, NARRATOR DELA PENA RODRIGO JR VELBIS, WRITER MEMORY: AUDIOTAPE–ALUMINUM FOIL–STYROFOAM ARNONT NONGYAO, VIDEO ARTIST

Southeast Asian Golden Age Symphony

Creative Collaborators

Message from Peter Tornquist A warm welcome to the premiere of the Southeast Asian Golden Age Symphony! Tonight’s performance marks the closing of our triennial Performers(’) Present international artistic research symposium, as well as the culmination of YST’s 20th anniversary festivities. The Southeast Asian Golden Age Symphony unites seven of Southeast Asia’s brightest young composers to collaboratively create a work reflecting their diverse compositional voices as well as a shared vision for the region’s vibrant growth. We look forward to this evening’s showcase, which promises to be a rich experience musically and beyond. For us at YST, this project wonderfully demonstrates some of the exciting musical futures we seek to create. Equally, we hope that tonight’s colourful artistry will resonate deeply with each and every one of you. We extend our heartfelt gratitude to Mr Nicholas Nash and Ms Phalgun Raju, whose vision and financial support have made this extraordinary project possible. I would also like to acknowledge our students, academic staff and production team who have worked tirelessly to bring this thrilling creation to reality. Thank you for being with us on tonight’s musical journey, and we hope you enjoy the concert. Prof Peter Tornquist Dean, Yong Siew Toh Conservatory of Music

Southeast Asian Golden Age Symphony

MESSAGES

Southeast Asian Golden Age Symphony

ABOUT THE SOUTHEAST ASIAN GOLDEN AGE SYMPHONY Seven young Southeast Asian composers. One Southeast Asian Golden Age Symphony. How will it all unfold? The Southeast Asian Golden Age Symphony is a brand-new commission bringing together seven rising composers: Danny Imson (Philippines), Gema Swaratyagita (Indonesia), Hoàng Phó (Vietnam), Lee Chie Tsang (Malaysia), Thatchatham Silsupan (Thailand), Jonathan Shin and Syafiqah ‘Adha Sallehin (Singapore). A rich melding of the composers’ respective cultures and compositional voices, the symphony reflects the vibrant energy and diversity of a region poised for even more exciting growth ahead. Each composer has composed one movement, with the overall symphony brought together through close collaboration and synergy, facilitated by mentor Adeline Wong and working with curator Topi Lehtipuu. The YST Orchestral Institute is proud to be premiering the symphony as part of the Performers(’) Present international artistic research symposium.

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ABOUT PERFORMERS(’) PRESENT Human experience is filled with flowing resonances: from distant stars, to temple bells, from concert stages, to the creative depths translated into a musical phrase — being a performer present is embodying flowing resonances. As the Yong Siew Toh Conservatory of Music celebrates its 20th year, we reflect upon musical resonances flowing in and out of Southeast Asia and particularly — since hosting its inaugural artistic research symposium in 2009 — towards the global synergistic growth in the field of artistic research. As with our four previous artistic-research symposia, Flowing Resonances seeks to address the kaleidoscopic issues facing musicians as they develop their musical art; creative practices rippling within the repercussions of global socio-political shifts — including the 2020 pandemic, the climate crisis, and the ever-evolving digital landscape — all challenging and inspiring what it means to be a twenty-first century musical artist.

Southeast Asian Golden Age Symphony

CONDUCTOR Jason Lai is the Principal Conductor at the Yong Siew Toh Conservatory, Principal Guest Conductor at the Orchestra of the Swan, and former Associate Conductor of the Singapore Symphony Orchestra and Hong Kong Sinfonietta. He’s been a prominent figure in Singapore’s musical life since his arrival in 2010, but also active internationally giving masterclasses in Europe and China. He has also guest conducted the Adelaide Symphony Orchestra, New Japan Philharmonic, Podlasie Opera Philharmonic in Poland, Macao Orchestra, Hong Kong Sinfonietta, and Hong Kong Philharmonic. Intent on broadening the appeal of classical music to audiences who would not normally think of going into a concert hall, Jason has built a unique reputation as a communicator with mass appeal through his television appearances in both the UK and Asia. He has appeared on the BBC as a judge in both the BBC Young Musician of the Year competition and the classical talent show Classical Star. He was also a conducting mentor in the series Maestro and won the competition with his celebrity protégé. Since settling in Singapore he has continued with his television work and was presenter and conductor for Project Symphony, an eight part series which followed him in his quest to set up a community orchestra. Other shows for BBC World News include Heart of Asia exploring the contemporary arts and culture scene in Thailand, Indonesia, Korea and the Philippines, and Tales from Modern China, a voyage through contemporary China. Most recently in Singing to Remember for Channel News Asia, Jason set out to test the theory that regular group singing in choirs helps slow down the damaging effects of dementia.

Hoàng Phó (Vietnam) is a composer and pianist based in Florida, USA. His music covers a wide range of practices, from instrumental to electronic categories where he seeks to unfold possibilities of sonic colors unique yet receptive to listeners. In addition to exploring timbre as the primary impetus of his compositions, he also draws inspirations from incorporating musical elements of Asia, especially from the Vietnamese culture where he grew up with, further expanding Asian musical richness to a wider audience as well as identifying himself as an intercultural composer.

Lee Chie Tsang Isaiah (Malaysia), born in North Borneo, Sabah, is a composer who is known for compositions that interweave Asian performance aesthetics, Western contemporary classical techniques, and East-Malaysian ritualistic forms. Drawing inspiration from the region’s oral traditions, his compositions cultivate innovative sonic landscapes. He has received commissions from the International Piano Festival and Competition 2020 (UCSI University) and from The Malaysian Composers Collective (MCC). He currently serves as a senior lecturer at the Academy of Arts and Creative Technology (ACT) at Universiti Malaysia Sabah.

Syafiqah ‘Adha Sallehin (Singapore) is a music composer, performer and educator. She graduated from Yong Siew Toh Conservatory of Music with a Bachelor in Music (with Honours) and a Master of Music in Music Composition. Her creative aesthetic is a unique voice that stems from her footing as a classically-trained musician and a traditional Malay music practitioner. She enjoys composing intercultural works which involve the syncretisation of ethnic elements and instruments. Syafiqah’s works have been performed both locally and internationally by esteemed musicians, ensembles and orchestras, including the Singapore Symphony Orchestra.

Gema Swaratyagita (Indonesia) is a composer, performer and music educator whose work has been extensively explored in the interdisciplinary arts. She has worked on many collaborative projects with various multidisciplinary artists, exploring vocals, electronic soundscapes electronic, ensemble and percussive elements, and theatrical elements. As a composer, her compositions have been performed at the Holland Festival, Pekan Komponis Indonesia, Solo International Gamelan Festival, Djakarta Theater Platform, Musim Seni Salihara and Sound Bridge Festival.

Southeast Asian Golden Age Symphony

COMPOSERS

Southeast Asian Golden Age Symphony

COMPOSERS (Continued) Danny Imson (Philippines) is a Singapore-based Filipino composer. He has presented his works internationally in various music festivals and competitions, scored several film projects in Europe and the Southeast Asian region, and collaborated with visual artists for sound installation projects in Singapore. He studied composition with Dr Peter Ivan Edwards at Yong Siew Toh Conservatory of Music, National University of Singapore. Danny is currently a teaching faculty for Composition and Music Technology at School of the Arts Singapore and is dedicated to mentoring innovative compositional approaches and exploration of new sound worlds using computer programs and hardwares.

Thatchatham Silsupan (Thailand) is a composer and artist-researcher based in Chiang Mai, Thailand. His main research focuses on the application of sounds that are situated outside the conventional sonic paradigm of beauty. He is currently leading a sound and time-based media lab at the Department of Media Arts and Design, Chiang Mai University. He holds a PhD in music from the University of California at Berkeley, and a Bachelor’s degree from Yong Siew Toh Conservatory of Music, National University of Singapore.

Jonathan Shin (Singapore) performs extensively as a pianist, and composes and improvises across multiple genres and styles His music has been described as “supremely confident and comfortable in its own skin.” (The Straits Times). Jonathan has been commissioned by many orchestras in Singapore, such as the Orchestra of the Music Makers. His compositions have also been performed by the Singapore Symphony Orchestra and the Boston Opera Collaborative. Jonathan most recently graduated with his Doctorate of Musical Arts from the Peabody Institute at Johns Hopkins University under the tutelage of Prof. Kevin Puts.

Topi Lehtipuu is the former CEO and Artistic Director of the multidisciplinary Helsinki Festival, where he commissioned and programmed world’s leading artists from Lang Lang and David Hockney to Kyle Abraham, Cate Blanchett and John Malkovich, and from companies of most of the art disciplines and for various media, often with multidisciplinary ethos. His actual projects include developing a new Arts Incubator in the UAE and Singapore, and producing a multi-disciplinary stage work for New Vision Arts Festival in Hong Kong with Chris Yeo and members of the Berlin Philharmonic Orchestra. As a classical tenor, he has performed on the major stages and festivals with e.g. Berlin and Vienna Philharmonic Orchestras, Sir Simon Rattle and Riccardo Muti in productions of such as Trisha Brown and Peter Sellars. He features in numerous audio and video recordings, having been nominated twice for a Grammy. In recent years Topi has been developing his skills as a conductor, and takes up the position of Artistic Partner of the Kymi Sinfonietta from the start of the 23–24 season. He also appears regularly with other orchestras in his native Finland, including the Ostrobothnian Chamber Orchestra and Lahti Symphony Orchestra. Topi has become a popular choice among ensembles for his creative and versatile approach to a wide range of repertoire, and he looks forward to upcoming projects with Kymi Sinfonietta, Finnish Baroque Orchestra and Tapiola Sinfonietta.

Adeline Wong is a Singapore-based Malaysian composer whose music has often been described as bold, with textural energy and kaleidoscopic colours, having written for a myriad of performances including orchestras, chamber ensembles, musical theatre and film music over the years. Her works have been performed by the Singapore Symphony Orchestra, Malaysian Philharmonic Orchestra, Belgian National Orchestra, New Zealand Symphony Orchestra, Tasmanian Symphony Orchestra, Orkest de ereprijs, (the Netherlands), Bang on A Can (USA), Le Page Ensemble (UK), Quatuor Bozzini (Canada), amongst others. Graduating from the Eastman School of Music, USA and the Royal College of Music, London, Adeline is a Senior Lecturer in Composition at the Yong Siew Toh Conservatory of Music, National University of Singapore and the President of the Malaysian Composers Collective since 2018; a non-profit organization that promotes original compositions in the Southeast Asia region. Her recent engagements include invitations to the Francophonie Festival 2021 and being on the Jury panel for the 2021 AMAT International Competition for Women Composers in Italy, 2022 Asian Composers League Festival in New Zealand. Adeline was the recipient of the 2023 International Double Reed Society Commissioning Grant and has been recently commissioned by the Tonhalle Düsseldorf and Düsseldorfer Symphoniker for the orchestra’s Green Monday Series in 2024.

Southeast Asian Golden Age Symphony

MENTORS

Southeast Asian Golden Age Symphony

PROGRAMME NOTES PRE-SYMPHONY CHRISTOPHER JOHANN CLARKE & JONATHAN SHIN: FAJAR The pre-symphony sonic work “Fajar” is the latest collaboration between composers Christopher Johann Clarke and Jonathan Shin. Using soundscape compositions based on field recordings from Malaysia by Ainolnaim Azizol and samples gathered and generated by artificial intelligence, “Fajar” is a 30-minute soundscape that limns the sonic transformation of Southeast Asia over the centuries. The sharp-eared may hear strains of orchestral music: these are derived from recordings of the Golden Age Symphony, making “Fajar” a sonic object that pre-echoes its origin music, the Golden Age Symphony.

SOUTHEAST ASIAN GOLDEN AGE SYMPHONY HOÀNG PHÓ: TRAIL TO THE HIGHLANDS This orchestral movement represents sounds of Vietnam, specifically the Vietnamese Space of Gong culture. Recognised as an Intangible Culture Heritage of Humanity by UNESCO, it signifies the gongs as objects for communication between men, divinities, and the supernatural worlds. They also symbolise wealth, authority, prestige, and protection. Their music, which is cultivated through playing the gongs, takes place in a variety of community services. Each ensemble consists of several individuals, each of whom plays a gong of a specific type that varies depending on tribes and location. Trail to the Highlands incorporates multiple elements, including Gong instruments, the sound of the Gongs, melodic scale/pitch collection, sound envelop and rhythmic syncopation. The final attempt is to simulate the operation and social experience of the Space of Gong culture through the expression of the symphonic orchestra.

LEE CHIE TSANG: QILIN In the interstitial space between the fall of twilight and the ensuing nocturnal embrace, evening prayers begin their haunting serenade, invoking the unseen and the eternal. The ensemble, much like a shaman invoking spirits of the beyond, sculpts a soundscape that bridges the tangible with the ethereal, marking the qilin’s journey from the known to the ineffable. As the aural narrative unfolds, it dives deep into the sonic wilderness of Borneo, echoing its raw, untamed essence. Within the piece’s musical realm, patterns reiterate with an almost ritualistic fervor. Each sonic element, continually reimagined, finds its voice through uncharted instrumentation. This cyclical reinvention not only broadens the ‘gong lexicon’ but resonates deeply with the cultural tapestry of the qilin dance. It conjures images of the qilin, not just as a mythical entity but as a cultural bridge, resonating and intertwining with the very soul of the community.

SYAFIQAH ‘ADHA SALLEHIN: AWAKENED “I am but a relic born anew In my voice I carry your story Echoing into a new age A song I sing for eternity” Awakened reflects the Southeast Asian story through the eyes of the gong. The gong, in its many forms, embodies the spirit of Southeast Asia. The nations of Southeast Asia have been through bleak times with histories tainted with wars, colonial rule, oppression and more. Each nation’s struggle for independence is Southeast Asia’s collective triumph. Now, even as some are manoeuvring through the repercussions of their bitter past, Southeast Asia is thriving into a golden era. Embracing the future in an awakened state, the gong carries forward the Southeast Asian spirit and its story. The musical materials incorporated into this composition are inspired from several musical cultures of Southeast Asia. They are chosen based on aesthetic preferences, to represent a sonic embodiment of Southeast Asia. These musical cultures are such as the suling music of Indonesia, Cambodian harp of classical Khmer music, talempong of Minangkabau, Indonesia/ gulintangan of Brunei/caklempong of Negeri Sembilan, Malaysia and Balinese gamelan, to name a few. Featuring Azman Shariff as the voice of the gong.

GEMA SWARATYAGITA: TE-TABU(H) Te-tabu(h) reflects on past social taboos for women in daily life as well as in performing arts. In Indonesia, it is historically taboo for the Rebab and the Dalang in wayang performance, to played by women. While it is still a rare occurrence nowadays, such actions are no longer strongly perceived as taboo. The vibrations and circularity of the Gong gives strength to women, empowering them to be brave in their path of life and pursuit of equality. The piece is composed using female participative voices in electronic playback, as well as text narration for voice in Dalang style. Noise and anger, as well as the reflective, contemplative and repetitive elements in the music, are used to symbolise women’s struggles in relation to different social taboos, particularly as we reflect on how women have become more empowered in their lives in the modern era.

Southeast Asian Golden Age Symphony

PROGRAMME NOTES (Continued)

Southeast Asian Golden Age Symphony

PROGRAMME NOTES (Continued) DANNY IMSON: BATO BATO PIK Bato Bato Pik, originating from the Philippine Tagalog language, translates to “Rock, Rock, Pick.” It represents a children’s variation of the classic game, rock-paper-scissors. This orchestral composition captures the intricate metaphors of anticipation, conveyed through subdued elements and excitement, vividly expressed through dynamic and rhythmically charged segments. Through delicate nuances and robust crescendos this work attempts to encapsulate the emotional spectrum of suspense and exuberance, ultimately painting an evocative auditory landscape that resonates with the essence of the original game while adding novel dimensions through its symphonic interpretation. The piece draws inspiration from Rodrigo dela Peña Jr.’s Palaruan, interweaving its textual essence into the fabric of the composition. This integration aims to establish a captivating interplay between spoken words and sonic components, resulting in a dichotomy of experiences.

THATCHATHAM SILSUPAN: MEMORY: AUDIOTAPE–ALUMINUM FOIL–STYROFOAM Influenced by Luciano Berio’s notion of music as both a remembrance of the past and a vision of the future, this piece revisits and transforms elements from the past—whether they be experiences, memories, or knowledge—using sound-reproduction technology as a tool that could enable one to revisit the concrete memories of audible past. A rare recording archive of Gerald P. Dyck—an ethnomusicologist from the 60s—was used as an opening and a springboard from which the music for this composition was created. By combining the music with the recording, a sonic arena was imagined, in which the audible memory intertwines with the creativity and the past and future are intimately connected in the act of creation. The piece also embraces the notion of Gong as a socio-cultural instrument that inclusively bonds people and places in the region, revealing the multi-layered connectivity of human being within culture and society. This notion was conceived and translated to a multifaceted spectrum (harmonicity, inharmonicity, and noise) from which the sound-structure was derived. Together with media artist Arnont Nongyao, the complexity of abstraction—which played a crucial role in narration—was visualised.

JONATHAN SHIN: THE MAKER’S LAST GONG Out of a swirling clangor of bells and sweet incense, a plaintive hymn emerges. From this hymn the gong-maker bursts into spritely dance: gongs—the pride and product of his profession— cover every surface of his workshop, where he meets each hour with an unequaled devotion to his craft. The gongs’ burnished veneers reflect light into his eyes; whose eyes are these? They burn and flash and strike at molten metal, which sing a theme of tradition fading in the face of hypermodernity. The maker knows just as much—whose hands are these? With every strike of his hammer, he shapes eternity, infusing his spirit—and whose spirit?—into his last gong.

First Violin Alyssa Goh Hui Yi, Concertmaster Leonid Datsiuk Foo Yue Ning Chang Chang-Yen Tan Xin Jie Xu Zhuorui Zou Meng Renee Toh Li Jiaqi Bakhodir Rakhimov Megan Low Shuen Wei Sun Zhenyao Second Violin Komila Izatulloyeva, Principal Wu Tsai-Jou Chan Wai Mun Joanne Zhang Hanzhi Zou Zhang Jiang Hao Feng Jiale Qiu Zhengyi Gum Seng Aung Du Tsao Wei-Chun

Guest musician/Alumni

Viola Huang Yi, Principal Chan Shee Ann Shannon Lee Wei-Fan May Loh Qiao Qian Liu Wei-Jia Caitlin Chin Kai Li Liu Le Yu Yang Cello Liu Chien-Wei, Principal Ho Chien-Yu Cao Huiying Guo Mingai Zhu Zeyu Sherzod Bakhtiyorov Chen Pei-Yi Double Bass Khee Yu Hang, Principal Hibiki Otomo Ng Lai Ting Wang Luyao Yeo Zeng Ying

Southeast Asian Golden Age Symphony

ORCHESTRA

Southeast Asian Golden Age Symphony

ORCHESTRA (Continued) Flute Lee Minjin, Principal Quek Jun Hao Julien Wen Tzu-Ling

Trumpet Loi Chiang Kang, Principal Aw Ping Hui Chanan Mallanoo

Piccolo Wen Tzu-Ling Lee Minjin

Trombone Huang Shao-Wei, Principal Toh Chang Hui

Oboe Quek Jun Rui, Principal Reynard Ardian Simanjuntak

Bass Trombone Ng Jun Jie

English Horn Ng Wei Xiang Clarinet Ma Yi-Ting, Principal Chen Yan-Rung

Tuba Liu Jun-Jia, Principal Timpani K.Gun Mongkolprapa, Principal

Bassoon Shi Jiaao, Principal Rachel Ng Wei Ting

Percussion Adam Sharawi Bin Amin Hussaini, Principal Jeremy Ng Chuan Kai Chayatorn Suwanpichaisi Kuo Yan-Shin Lai Jo-Wei Evelyn Kuo Chan Isabel Chin Chun En

Contrabassoon Xu Zixuan

Harp Vanessa Jazzy Wahyudy Irwanto, Principal

French Horn Kalia Diane Craig, Principal Thanachock Udomphat Chai Mei Qin Yen Shih-Hsin

Piano & Celesta Edenia Maureen, Principal

Bass Clarient Zheng Shanxi

Guest musician/Alumni

SOUTHEAST ASIAN SYMPHONY Artistic Director Topi Lehtipuu Mentors Topi Lehtipuu Adeline Wong ORCHESTRAL INSTITUTE Vice Dean of Ensembles Brett Stemple Orchestra Manager Yap Zi Qi Student Assistants Foo Yue Ning Hoi Khai-Weing Quek Jun Rui Julien Quek Jun Hao Sho Yong Shuen Edgar Javier Lucena Rodriguez Xiao Lei PROGRAMMING & PRODUCTIONS Tang I Shyan Alison Wong Benny Lim Nurzarifah Azli Mike Tan Abdul Hakiim Bin Muhamad Hamim, Intern DEAN’S OFFICE Ong Shu Chen Faezah Zulkifli Kenny Ooi

PERFORMERS(’) PRESENT Symposium Committee Abigail Sin Adeline Wong Lin Xiangning Joan Tan Karst De Jong Li Churen Brett Stemple Tang I Shyan Symposium Producer Shridar Mani Symposium Technical Director Wan Zhong Hao Symposium Technical Coordinator Howard Ng Symposium Coordinator Joan Tan Lighting Designer Alberta Wileo Building Manager Adrian Toh Video Recording Dancing Legs Productions Audio Recording YST Audio Arts and Sciences MSM-Productions

Southeast Asian Golden Age Symphony

PRODUCTION

Southeast Asian Golden Age Symphony

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Southeast Asian Golden Age Symphony

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Southeast Asian Golden Age Symphony

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Southeast Asian Golden Age Symphony

Dean’s Circle (Continued)

Southeast Asian Golden Age Symphony

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