OMM Goes to the Movies IV Programme Booklet

Concert Information

OMM Goes to the Movies IV

Fri 13 Jan 2023, 7.30pm

Sat 14 Jan 2023, 7.30pm Esplanade Concert Hall

Orchestra of the Music Makers Chan Tze Law, CONDUCTOR

Voices of Singapore Darius Lim, CHORUS MASTER

Concert duration: 2h inclusive of 20min intermission *with Voices of Singapore, featuring tenor Leslie Tay

Photographs and videos will be taken at the event, in which you may appear. These may be published in OMM’s publicity channels and materials. By attending the event, you consent to the use of these photographs and videos for the foregoing purposes.

JERRY GOLDSMITH – End Credits from Star Trek: First Contact HANS ZIMMER – Singapore, I Don’t Think Now Is the Best Time, Drink Up Me Hearties from Pirates of the Caribbean: At World's End

JOHN WILLIAMS, PATRICK DOYLE, NICHOLAS HOOPER, ALEXANDRE DESPLAT – Hedwig’s Theme, Buckbeak’s Flight, Foreign Visitors Arrive, Harry in Winter, Potter Waltz, Hogwarts Hymn, Hogwarts March, Fireworks, Flight of the Order of the Phoenix, Obliviate, Lily’s Theme, Courtyard Apocalypse, Harry’s Wondrous World from the Harry Potter Films — INTERMISSION —

TSUMUGU MISUGI – Suite from Tatsumeeko WORLD PREMIERE MICHAEL GIACCHINO – Suite from Spider-Man: Far from Home ALAN SILVESTRI – Portals from Avengers: Endgame JOHN WILLIAMS – Adventures on Earth from E.T. The Extra Terrestrial

JOHN BARRY – Main Title from Out of Africa

ALAN MENKEN – Overture to Beauty and the Beast

ALAN MENKEN – Choral Suite from The Hunchback of Notre Dame*

Chairman's Message

Welcome to the first concert of OMM's 15th anniversary season!

OMM has certainly come a long way, and it would have been hard to imagine 15 years ago that our programmes, recordings and outreach would grow to the current scale and impact hundreds of thousands of listeners and participants in Singapore and worldwide. OMM could only have achieved all this through the dedicated contributions of our musicians, as well as the support of our partners, donors and audience members like you.

Coming out of two long years of COVID restrictions, OMM has set goals for ourselves to reinvigorate the Singapore arts ecosystem, reconnect with audiences and the community, as well as restore opportunities to nurture music and arts management talent. To get things going, we have restarted important youth development and community programmes like the Orchestra Camp and playwithOMM, and have worked with our partners to present iconic soloists such as Martha Argerich, Yunchan Lim and Anoushka Shankar. Our Singapore premiere of Wagner's iconic Das Rheingold is back on track to be presented this year, and our partnership with Altenburg Arts brings star pianist Yevgeny Sudbin to celebrate Rachmaninov’s 150th birth anniversary with us.

We hope to see you at our upcoming projects and you can keep yourself updated on OMM’s activities by following and engaging us on our various social media platforms. We will be happy to explore new collaboration opportunities on meaningful projects, and your donations will also help tremendously to keep us going.

With your continued support, OMM can continue to dream big and make an impact to you, to Singapore, and to the world.

Lee Guan Wei Chairman, Orchestra of the Music Makers

About Orchestra of the Music Makers

The Orchestra of the Music Makers (OMM) is a Singapore-based symphony orchestra established in 2008, comprising over 140 highly-trained volunteer musicians. Although many have chosen careers outside of music, our musicians are dedicated to the high standards of music-making and community work which OMM stands for. Under the mentorship of Chan Tze Law, a leading Singaporean conductor and Vice-Dean of the Yong Siew Toh Conservatory of Music, OMM has become an integral part of Singapore’s classical music scene and has gained international repute.

Over the years, OMM has continued to challenge expectations by taking on works of epic proportions. Following the successful performances of Humperdinck’s Hansel and Gretel and Bernstein’s Mass in 2017 and 2018 respectively, OMM presented the long overdue Singapore Premiere of Wagner’s Die Walküre in January 2020 to critical acclaim.

OMM was among the most active arts groups in Singapore during the COVID-19 pandemic, organising a wide array of digital productions, live performances, and outreach events between August 2020 to December 2021. Recordings of these digital productions have also been featured at the Expo 2020 Dubai, as well as on the Singapore Airlines Inflight Entertainment System.

Highlights of OMM's 2022-23 season include performances with the legendary pianist Martha Argerich, Yunchan Lim, Yevgeny Sudbin, Anoushka Shankar, Manu Delago, and the upcoming Singapore Premiere of Wagner's Das Rheingold

In recent years, OMM has worked with Singaporean composers to perform their original compositions and arrangements. Today, we are proud to present the World Premiere of the Tatsumeeko Suite by Tsumugu Misugi, one of our very own violinists!

Orchestra of the Music Makers Ltd. is supported by the National Arts Council under the Major Company Scheme for the period from 1 April 2022 to 31 March 2025.

Website: www.orchestra.sg Facebook: @orchmusicmakers Instagram: @omm.sg TikTok: @omm.sg

“We are the music makers, and we are the dreamers of dreams.”

— ARTHUR O’SHAUGHNESSY, “ODE”

About Voices of Singapore

Voices of Singapore (VOS) is the nation’s largest singing organisation, and has a vision to Inspire a Singing Singapore. It houses a group of more than 20 diverse singing groups, and several choirs under the VOS Choral Excellence Programmes have garnered international arts awards.

As an arts charity, VOS aims to make singing accessible to people from all walks of life. Its community impact programmes penetrate deep into society, reaching communities such as special needs, elderly, and children-at-risk. These programmes are supported by organisations such as Temasek Trust, Majurity Trust, the Oscar Fund and the National Arts Council.

VOS has organised singing events reaching over 150,000 people and its projects have garnered more than 3 million online views. The music videos and projects hope to be a source of inspiration for Singaporeans, and have been televised nationwide, including appearances at the National Day Parade, President's Star Charity and more. VOS's Virtual Choir rendition of Home has been displayed at the Singapore National Museum as well as various Singapore embassies around the world.

VOS champions arts advocacy to the community through singing events and choral participation, inspiring and enabling individuals.

Chan Tze Law, conductor

Chan Tze Law is Music Director of Singapore's Metropolitan Festival Orchestra and the awardwinning Orchestra of the Music Makers (OMM). In 2018, he received the Composers and Authors Society of Singapore’s Artistic Excellence Award for his numerous contributions to the Singapore music community.

Chan's performances of Mahler's Symphony No. 8 with OMM and Sing50 concerts with the Metropolitan Festival Orchestra and Lang Lang were named “Best Concerts of 2015” by Singapore's Sunday Times. The West Australian lavished praise on his performance of Stravinsky’s Rite of Spring “Tze-Law (Chan) did wonders from the podium. It was a tour de force.” In 2020, Chan conducted OMM in Singapore's first ever production of a Wagner Ring Cycle opera Die Walküre to international acclaim. Chan’s performance of Elgar’s The Music Makers in 2017 was also described by Classical Voice America as having “breathtaking walls of sound and intimate moments of haunting beauty”.

Chan has appeared with major orchestras in the Asia Pacific region and with soloists including Joshua Bloom, Fiona Campbell, Warwick Fyfe,

Radio 3 and featured on Singapore Airlines’ Krisworld Inflight Classical Music selection.

As a pedagogue, Chan is Vice-Dean and Associate Professor of the Yong Siew Toh Conservatory of Music, National University of Singapore, and is widely credited for his founding role of the conservatory orchestra and New Music Ensemble. Chan was also the founding chief conductor of the Australian International Summer Orchestral Institute. He has given masterclasses in conducting at the Peabody Institute, USA, and the Royal Academy of Music, London as well as lectures on leadership in conducting at the Senior Management Programme of the Lee Kuan Yew School of Public Policy, National University of Singapore. In 2019, he served on the selection committee of the Oxford Conducting Institute International Conducting Studies Conference.

Deborah Humble, Lee Hyon, Caitlin Hulcup, Lang Lang, Ng Pei-Sian, Melvyn Tan, Albert Tiu, Qin Li-Wei, Virgillio Marino, Daniel Sumegi and Igor Yuzefovich. Concerts and CD recordings conducted by Chan have been broadcast on Australia's ABC Classic FM, UK's BBC

Darius Lim, chorus master

Singaporean Composer-Conductor Darius Lim is the Founder and Artistic Director of the Voices of Singapore Festival & Choral Society. An internationally published composer (Edition Peters, Walton Music, Pana Musica) and established conductor, he is most known for his unique infusion of lyrical, dramatic, instrumental, and theatrical elements in both the choirs he directs as well as his choral music.

His numerous other hats in the music industry include CEO of the The Voice Company, Council Member in the Asia Pacific Choral Council, and Board Chairman of the World Alliance of Children’s Choirs. He has held former posts as President of the Choral Directors Association (Singapore), Associate Choirmaster of the Singapore Symphony Children’s Choir and Music Director of the National University of Singapore Society Choir.

He is most known for his work as founder of the charity arts organisation, Voices of Singaporeone of the country’s leading choral societies with 750 singers in over 20 choral singing groups. Lim also runs the annual Voices of Singapore Festival that brings together more than 10,000 people from all walks of life to sing at the iconic CHIJMES Hall. In 2020, he was invited by TEDx to present “The Voices of Singapore – Strengthening a Nation Through Choral Singing”.

Darius Lim was a double major in piano and composition at the Nanyang Academy of Fine Arts during his undergraduate studies and was the first Asian choral conductor to graduate from the Royal Welsh College of Music & Drama with a Masters in Choral Conducting (with Distinction). He completed his Doctor of Musical Arts from the Queensland Conservatorium of Music.

About the Music

Introduction to Movie Music

Music and Narratives: A Brief History

Music on its own is more than capable of evoking intense emotions, ranging from jubilation to melancholy, but this ability is enhanced when paired with a story. Vocal genres lend themselves to this easily, but composers have also built narratives with purely instrumental music.

In the early 1700s, Antonio Vivaldi wrote The Four Seasons, a set of violin concertos containing numerous depictions of the seasons, from springtime birdsong to winter chills. Later composers continued to write programmatic music, or music with a narrative. Beethoven wrote a symphony depicting countryside scenes, while Berlioz wrote another about obsessive love. Eventually, this practice flourished into a new

genre, the symphonic poem. One example is Nikolai Rimsky-Korsakov’s Scheherazade, which drew inspiration from One Thousand and One Arabian Nights, depicting oceans, brave sailors and adventure.

Crucially, these programmatic pieces are not mere sonic depictions; they add an emotional layer to their stories, from the merriment of the birdsong to the turbulence in the waves. Early filmmakers in the 1900s were eager to harness this emotional power, but with no way to synchronise sounds and images, the only option was to accompany films with live music, sometimes played by an organ or piano, but often by an orchestra. This marked the birth of the film score, or music for a film.

Initially, film music was either improvised or consisted of existing pieces. However, filmmakers’ demands became more and more specific, and they began requesting for original film scores to be written. As technology improved, music, dialogue, and film could all be synchronised. This major breakthrough fueled the demand for film music, which has grown into a genre of its own. But enough dilly-dallying! Let’s warp on to the first piece of the concert:

Follow this timeline along the bottom of each page to find out more about the history of film and music! Our journey begins in the 1700s…

Vivaldi composes The Four Seasons

Beethoven completes his Pastoral Symphony

JERRY GOLDSMITH

Star Trek: First Contact: End Credits

Star Trek: First Contact was the eighth film in the Star Trek film franchise, before a soft “alternate timeline” reboot with Star Trek (2009). First Contact follows the crew of the starship Enterprise travelling back in time to ensure that humanity’s first contact with aliens (in the year 2063) is not disrupted by the time travelling cybernetic Borg.

The End Credits begin with Alexander Courage’s famous television series fanfare, before breaking into the trumpet-led Goldsmith theme, composed for Star Trek: The Motion Picture (1979). A noble and uplifting theme, embodying humanity’s hope of First Contact, is played by the solo horn and echoed by the strings, before Goldsmith’s strident theme returns to bring the piece to a stirring conclusion.

Berlioz writes Symphonie fantastique

| 12

1830

What's on Stage?

The Orchestra (and More!)

If you weren’t sure where the horns, strings and trumpets were on stage, this diagram shows the layout of the orchestra today:

HORN

DOUBLEBASS

With its huge variety of instruments, the orchestra was the ensemble capable of the widest range of tone colours or timbres. This range was uncontested until 1964, when Robert Moog debuted his voltage controlled synthesiser. Its ability to produce new sounds as well as imitate old ones makes it one of the most powerful tools at a composer’s disposal today. The next few pieces in today’s programme include the synthesiser. See if you can spot it in action!

The Lumiere brothers showcase their “Cinematographe”, kicking of the Silent Film Era

This breakthrough invention was capable of projecting sharp images for large audiences

1888

PERCUSSION + TIMPANI HARP

TRUMPET TROMBONE DRUM

CLARINET BASSOON FLUTE OBOE

GUITAR TUBA

Premiere of Rimsky-Korsakov’s Scheherazade 1895

1908

HANS ZIMMER

Suite from Pirates of the Carribean: At World's End

I. Singapore

V. I Don't Think Now Is the Best Time

VI. Drink Up Me Hearties

Pirates of the Caribbean: At World’s End was the third installment of the Pirates of the Caribbean film franchise, following the swashbuckling and death-defying adventures of Jack Sparrow as he unites the Nine Pirate Lords against Lord Cutler Beckett and the British East India Company. Zimmer’s score featured 8 new motifs (most notably the Love theme), interwoven with existing themes from the previous installments. Critics praised the introduction of a Wagnerian orchestral dynamic; a paradigm shift away from the predominantly synthesised scores of the earlier films.

Singapore is rife with Chinese musical influences such as pentatonic scales and percussion instruments like the nipple gong, evoking a bustling 19th century entrepôt where the powerful Pirate Lord Sao Feng terrorised maritime trade. The music’s frenetic energy mirrors the intensity of the bathhouse fight scene depicted on screen. I Don’t Think Now Is the Best Time underscores the climactic clash between the factions. The characters’ various motifs interconnect masterfully, culminating in a grand, but brief, statement of the soaring Love theme as Elizabeth and Will kiss in the midst of battle. In Drink Up Me Hearties, the brass lead the orchestra in a final, glorious rendition of Jack’s theme as the Black Pearl sets sail into the setting sun. A smooth transition into He’s a Pirate cues the end credits (a tradition established by the first two films), heralding the end of the original trilogy.

Charlie Chaplin debuts his “tramp” character in Kid Auto Races at Venice

Early Film Scores

Erich Wolfgang Korngold

Hans Zimmer isn’t the only person to have written swashbuckling music. In 1935, the score for the pirate film Captain Blood was composed by Austrian composer Erich Wolfgang Korngold.

Korngold’s background was in classical music, having written operas and symphonies, but moved to Hollywood in 1934 to work on film scores, at the behest of director Max Reinhardt. Captain Blood was a hit with audiences, and the excellent reception of the score cemented Korngold’s status as a film composer. His music influenced many film composers today, including John Williams. (Listen to Korngold’s Main Title from King’s Row. Does it remind you of a certain galaxy far far away?)

Notably, Korngold wrote his film scores as continuous musical works, rather than the segmented form more commonly seen today. Thus they can be performed as a concert works of their own, without needing to stitch different cues into a suite.

This was the first feature-length movie to have synchronised sound (so called “talkies”)

1927

The Jazz Singer is released

From Sorcerer’s Stone

I. Hedwig’s Theme

From Prisoner of Azkaban

II. Buckbeak’s Flight

From Goblet of Fire

III. Foreign Visitors Arrive

IV. Harry in Winter

V. Potter Waltz

VI. Hogwarts Hymn

VII. Hogwarts March

From Order of the Phoenix

VIII. Fireworks

IX. Flight of the Order of the Phoenix

From Deathly Hallows: Part 1

X. Obliviate

From Deathly Hallows: Part 2

XI. Lily’s Theme

XII. Courtyard Apocalypse

From Prisoner of Azkaban

XIII. Mischief Managed

From Chamber of Secrets

XIV. Harry’s Wondrous World

JOHN WILLIAMS, PATRICK DOYLE, NICHOLAS HOOPER, ALEXANDRE DESPLAT Suite from Harry Potter Films

The eight Harry Potter films were helmed by four directors and four main composers, but John Williams’s Hedwig’s Theme can be heard in some form or another in all of them. Initial reactions following the Theme’s premiere were overwhelmingly positive, leading Williams to use it even more extensively in Sorcerer’s Stone. It consists of the fluttery opening for the eponymous owl, a noble theme for Hogwarts castle (which also opens Harry’s Wondrous World), and a woodwind led theme associated with Quidditch.

John Williams wrote several themes for Chamber of Secrets, but due to his work on three other major films that year, was unable to score the full film in his usual style, working collaboratively with William Ross instead. Williams was able to work on Prisoner of Azkaban without such time constraints the following year, and given the requirements of the maturing story, successfully darkened the musical landscape. A key musical standout is Buckbeak’s Flight, a majestic, soaring theme.

When it was time to score Goblet of Fire in 2005, John Williams's commitment to four other films that year meant that he had to drop out of scoring the Harry Potter franchise. British composer Patrick Doyle took

Nearly all feature-length films have synchronised dialogue; the end of the Silent Film Era

1930s

up the reins and brought a thoroughly British sensibility to Goblet of Fire while maintaining the musical enchantment. A short quotation of Hedwig’s Theme is featured in Foreign Visitors Arrive, before Doyle’s own themes come to the fore. Harry in Winter features the first tinge of romantic music in the series as Harry experiences his first crush. Potter Waltz, Hogwarts Hymn, and Hogwarts March are delightful orchestral miniatures, incorporated directly into the film as source music.

While Patrick Doyle picked up the musical baton and made it his own, Nicholas Hooper, who took over for the next two films, jettisoned the leitmotif

Alexandre Desplat took up the mantle for both parts of Deathly Hallows, brought back many memorable musical identities from previous films, and contributed his own set of compelling themes. Obliviate from Part 1 sets the tone for the uneasy, thriller style of the film. Lily’s Theme is the main musical identity of Part 2, prominently featuring in the dragon-facilitated breakout from Gringotts Wizarding Bank, and the climactic battle between Harry and Voldemort, while Courtyard Apocalypse sets the stage for the Battle of Hogwarts. John Williams’s warm friendship theme from the first two movies is nostalgically recalled in the film’s epilogue, and is featured prominently in Harry’s Wondrous World, culminating in a

King Kong, featuring Max Steiner’s score, is released

1933

Korngold completes the score of Captain Blood

1935

Leitmotifs Themes And What They Mean

Hedwig’s theme is a prime example of a leitmotif: a recurring musical theme or phrase that represents a character, idea, setting or feeling. In the case of the Harry Potter series, Hedwig’s theme represents the wizarding world and magic. John William’s usage of leitmotifs in Harry Potter was not an exception: many of his film scores, such as E.T., Star Wars, and Indiana Jones, all make use of this theme-based approach.

One of the first composers to use leitmotifs extensively and effectively was Richard Wagner. His opera Das Rheingold (The Rhine Gold) uses leitmotifs to represent characters (such as the Rhinemaidens), objects (the titular gold) and even concepts (“the rejection of love”). Wagner’s leitmotifs are highly flexible, often being combined

and transformed throughout the opera. Some are even derived from earlier leitmotifs, showing a transformation or parallel between two concepts. Critically, these leitmotifs remain distinctly recognisable. Thus, as the story progresses, they begin to acquire different layers of meaning.

In films, one of the first composers to use this technique was Max Steiner, in King Kong (1933). He used leitmotifs to represent the titular beast, as well as Ann Darrow, the heroine of the film. While his treatment is not as complex as Wagner’s, it still provides important musical representations for the audience. Today, many film composers continue to employ this technique, writing leitmotifs to represent different aspects of the narrative.

1958

John Williams writes his first composition Daddy-O

Beyond Movies

Music in Video Games

While we’re going to the movies, it wouldn’t do any harm to look at some video games! In the 70s, video game music was greatly limited by technical capabilities. With music storage relying on unwieldy cassettes and phonograph records, the solution was to synthesise the music directly with a computer chip. The resulting “chiptunes” became the classic sound of early video games. These soundtracks fulfilled important functions, acting as audio cues for players. For instance, the music in Space Invaders speeds up as enemies approach.

Today, video games have music on par with cinematic scores, enabling the sweeping orchestral scores in Elden Ring, the blood-pumping tech-metal soundtrack of Doom, and the range of cultures heard in the Civilisation series. Our next piece is taken from a new role-playing game, Tatsumeeko, with music composed by Tsumugu Misugi.

Tsumugu Misugi started composing in his teens while studying violin at School of the Arts, Singapore. He currently serves as Music Lead at Tatsu Works, and continues to compose for film, pop and video games. He has been a violinist at OMM for the past 8 years and continues to perform in both classical and contemporary contexts. He is passionate about blending and exploring new orchestration and instrumentation as well as sharing music across cultural and linguistic worlds. He is currently in his final semester at Berklee College of Music, pursuing a Bachelor’s Degree in Contemporary Writing and Production.

The first Moog synthesiser is made

1964

Stanley Kubrick’s 2001: A Space Odyssey is released

1968

Its soundtrack consists mostly of classical music pieces

MICHAEL GIACCHINO Suite from Spider-Man: Far from Home

Sam Raimi’s Spider-Man trilogy laid many of the foundations for today’s superhero movies, upon which the immensely successful Marvel Cinematic Universe (MCU) was built. When Sony and Marvel reached an agreement that would allow Spider-Man to appear in the MCU for three films and three solo films, Michael Giacchino was engaged to compose the scores for the three solo films. His score for Far from Home was perhaps the most successful of the three.

The End Credits Suite is a comprehensive representation of the music in the movie, opening with a web-inspired fanfare – a little homage to Danny Elfman’s theme for Raimi’s Spider-Man. Spider-Man’s heroic anthem and Peter Parker’s theme come to the fore, before a rendition of the love theme for Peter and MJ provide a tender moment. Giacchino’s variation of Alan Silvestri’s Avengers theme represents Nick Fury and S.H.I.E.L.D.’s presence in the movie, and synthesised electronics introduce Mysterio’s octave-hopping two-faced theme in both its heroic and villainous incarnations, as well as a theme for his holographic elementals. After Mysterio’s deceitful front is stripped away, the web-motif leads us back to Spider-Man and Peter Parker’s themes to bring the Suite to a rousing close.

DID Y OUKNOW?

Michael Giacchino, Hans Zimmer, and Danny Elfman are the only composers to have each scored a Spider-Man film, a Batman film and a Mission Impossible film!

1978

Space Invaders is released 1982 E.T. the Extra-Terrestrial

A little nugget for classical music lovers: Alan Silvestri uses snippets of Schubert's String Quartet No. 13 as an action cue while Loki steals iridium from Stuttgart in The Avengers.

ALAN SILVESTRI Portals from Avengers: Endgame

The Marvel Cinematic Universe brought the serialised storytelling style of comic books and television series to the big screen, with an unprecedented level of detailed planning and coordination across many blockbusters. Unfortunately, less care was given to the musical identities. Alan Silvestri was one of the few bright musical lights, creating distinct musical identities in the Avengers and Captain America films, thus enabling major emotional payoffs in Avengers: Endgame – the epic culmination of an 11 year, 22film build-up.

Silvestri wrote a new family theme for the film, and in Portals, infused it with orchestral bravado, to lead into the well-established Avengers Theme, creating what has been described as “the best victorious climax to the franchise imaginable”, as the Avengers Assembled to face down the alien warlord Thanos and his intergalactic army at the climax of the film.

Out of Africa 1991

The original Beauty and the Beast

1985

JOHN WILLIAMS E.T. The Extra Terrestrial: Adventures on Earth

John Williams’s score for E.T. (The Extra-Terrestrial) won the 1983 academy award for Best Original Score, and is widely regarded as one of the most magical in his prodigious output.

While recording music for the movie’s finale, Williams and the orchestra had trouble matching the key musical cues to sync points on the film, due to its heady emotional content. Director Steven Spielberg took the rare step of asking the musicians to record the cues in a way which breathed musically, and then recut the film ending to match the music. Adventures on Earth incorporates themes from this finale, with its thrilling bicycle chase, reaching “escape velocity” and soaring over the moon, a tearful farewell, and the childlike wonder of seeing the spaceship ascending into the starry sky.

The composer wrote of the finale, “Of the countless scenes I've scored in films, I think this is perhaps my favourite of all. It continues to hold a very firm, fond and permanent place in my memory.”

1996

Star Trek: First Contact 1996

The Hunchback of Notre Dame 2001

Harry Potter and the Sorcerer’s Stone

Spotting

When, Where and Why: How To Know What Music To Write

The anecdote about Spielberg re-cutting E.T. is a prime example of how tight the relationship between film and music must be. A film composer cannot simply write a bunch of music; they must be aware of where and how it will be deployed. This is where the painstaking process of spotting comes in.

Together, the composer and director comb through the entire rough cut of the movie, identifying what kind of music they want and where it should be heard. This includes the beginning and end of the music, known as cue starts and stops, as well as hits: moments where onscreen action should line up with the music. These are incredibly precise, down to the millisecond.

JOHN BARRY Out of Africa: Main Title

John Barry was one of the most influential film music composers of the 20th century, writing around 100 film scores, of which he became most well-known for his fifteen James Bond scores, Born Free, Dances with Wolves, and Out of Africa.

The majestic Main Title undulates at a leisurely pace, conveying the vast Kenyan plains, adding a touch of nostalgic allure to the protagonist’s recollections of her years in Africa.

Harry

Potter and the Deathly Hallows Part

Spotting helps to answer a whole slew of questions the composer might have. What speed (tempo) should the music be, to allow the cues to line up? What kind of instruments or sound effects should be used? Should there be some leitmotifs to signify certain characters? All these can finally be answered with a good understanding of the film. 2007

2

Musical Movies

Disney's

Animated

Musicals

So states the golden rule of musical theatre. A combination of acting, dialogue, dance and song, it crossed over easily into the animated medium, which granted great flexibility to backdrops, scene changes and choreography. Today the animated musical is intimately connected to Disney.

In 1937, Disney released their first animated musical, Snow White. Its success laid the foundation for more musical films such as Cinderella, The Jungle Book, and notably Fantasia, a feature filled with animations inspired by classical music pieces.

Unfortunately, Disney hit a creative (and financial) lull in the 70s to 80s. Finally in 1989, songwriter-lyricist duo Alan Menken and Howard Ashman broke the spell with The Little Mermaid, launching the “Disney Renaissance”. This new wave of movies explored more three-dimensional characters, and made use of Broadway-style songs to not only show emotions, but also drive the plot forward.

Today, Disney continues to make immensely successful animated musicals, including Tangled, Frozen, and Encanto, just to name a few. The magic of musicals continues to entertain a new generation of audiences.

2019

Spiderman: Far From Home 2019 Avengers: Endgame

Overture to

The 2017 remake of Beauty and the Beast set out to be a “straight-forward, live-action, large-budget movie musical”, with Alan Menken adding a few new musical numbers to his original 1991 Oscar-winning score. Despite some criticism directed at shaky musical performances and overall unoriginality, the film was still a box office hit.

The Overture threads through all the familiar favourites: a trumpet fanfare from the title song

Despite significantly lightening the tone of the original Gothic novel by Victor Hugo, The Hunchback of Notre Dame still stands as one of Disney’s darkest animated films. Dealing with subjects as difficult as lust, genocide, and eternal damnation, it was a miracle that it was released with a “G” rating.

The Choral Suite begins with the heavy tolling of the Bells of Notre Dame and the full might of the chorus. Expository stanzas are interrupted by anxious refrains of Dies irae (Day of Wrath), a Latin sequence appearing in requiem masses. Of

ALAN MENKEN

Beauty and the Beast

Beauty and the Beast, a whirlwind of modulations from Belle, the galumphing waltz Gaston, and the threatening Mob Song, before bursting triumphantly into How Does A Moment Last Forever, one of the new songs.

A series of delicate solos direct us to a more complete rendition of Beauty and the Beast, growing into a grand climax. The music then sweeps into one final new song, Evermore, bringing the Overture to its dramatic end.

all the music in the film, this opening number best reflects the original tragic nature of the novel.

An orchestral interlude leads us to the pleading prayer God Help the Outcasts, followed by the carnival song Topsy Turvy. A menacing interlude swings into the encouraging A Guy Like You, before a solo tenor gently describes the beauty of love in Heaven’s Light. At its end, we hear the tolling bells again, now hopeful and joyous, cascading into a lush rendition of Out There, ending the suite on a brighter note.

Content written by Christopher Cheong, Joel Hoe and Isaac Tah

ALAN MENKEN Choral Suite from The Hunchback of Notre Dame

2022

Tatsumeeko

OMM Goes to the Movies IV

In collaboration with Programme subject to change

The Music Makers

Voices of Singapore

Female Voices (Sopranos & Altos)

Hannah

Male Voices (Tenors & Basses)

Children's Voices

VOS Board of Directors VOS Team

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Kwan Im Thong Hood Cho Temple

Lee Guan Wei Daniel

Lee Jee Soo

Lena Ching

Loy Suan Mao Alwyn msm-productions

Narioka Kosaku Ong Su Pin

Pang Peter Yu Hin

Raveen Joseph Mathew

Robert Tomlin

The Group of Companies Pte Ltd Tian Zhao

Ya Kun International Pte Ltd Yeo Wei Ping Patricia

UP TO $1,000

Anonymous (11)

Ai Ee Ling

Aik Keong Neo

Alvin Wang Hanxiong

Ang Xueqi

Angel Phuay Li Ting

Angela Koh

Arend Amandus Schumacher

Au Wee Ling Aw Yong Tian

Chester Tan

Diana Silva

Fabien Nicolas Deriaux

Francoise Mei

Goh Chay Hiang

Goh Hou Ern Nathanael

Goh Nianzhe Nigel Heng Boey Hong

Ho Yin Shan

Huey Lin Teo

Ian Sheng Tan

Isa bin Amir Hamzah

Janice Leong Yoke Leng

Jaslyn Lee

Jessie Ong

John Lillard

Jordan Yoong Jia En

Kelvyn Chin Chong Keat

Kenrick Lam

Khee Zi Ling

Kiat Kee Ng

Koh Wei Ying Ann

Kok Soke Wai (Guo Shu Hui)

Kwan Wei Meng William

Lai Kum Chow

Lee Guo

Lee Yu Hong

Lewis Jennifer Theresa

Liak Yuan Ying

Lim Choon Huat

Lim Huey Yuee

Lim Swee Boey

Lionel Choi

Loh Shih Ying

Low Chien Chong, Peter Melissa Mei Wan Kwee

Michael Huang Wei Cheng

Michelle Tan Shimin

Ng Ruenn Sheng

Nicholas Cheng Chee Keen

With the support of:

Olivier Masson Ong Yong Lock

Pan Yunxin Edna

Pauline Markey

Peggy Tan

Peh Xiang Hong

Perumal Balamurugan

Putu Sanjaya Setiawan

Rachael Chan Sue Hui

Rayner Tan Renyi

Sam Chee Chong Shan Shao

Sharon Teo Woon Ching

Shen Xichen

Siddharth Biswas Sien Fong Khoo

Siew Kee Lau

Suwandi Leo

Tan Chunrui

Tan Phuay Miang

Tan Tiong Gie Bernard

Tan Wei Tong

Tan You Wei

Teo Yi En Shawn Toh Xue Qian

Valarie Koh

Villangca Anna Lynn Jacinto

Vincent Wang Wang Chen Chung Wong Man Di Amanda Wong Mee Fong

Xia Hongwei Xu Zhong Yu Yan Jia Yin

Yap Yuling Eunice Yu Mei Zhang Jiajia Mandy

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