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The Journey Back Home Leaving home is an adventure. Coming home, an understanding. In celebration of Singapore’s golden jubilee, Kris Foundation brought five young Singaporean musicians on a journey back home to pay tribute to the nation in a concert that explores what it means to belong. It is often said that home is where the heart is. But the heart is no careless creature, capable of calling anywhere home. It grows slowly, but firmly; and when displaced, holds on tight to its experiences, like roots hold on to nourishing earth. The Journey Back Home features works by local and foreign composers sharing their memories of home. Drawing from childhood ditties and folk tunes, they weave faraway songs into solos, quartets and quintets to tell us stories of love and longing. The evening is also a great opportunity for the audience to take some time and reflect on their own relationship with their home and contemplate the role of classical music in their life. While our stories may differ and our worlds miles apart, they all tell a familiar tale. The tale of a traveller, who sets off bravely into the unknown only to find their own front door at the end of the winding road. Leaving home is an adventure. Coming home, an understanding — the understanding that however far the places you roam, however wide the paths you take, home always awaits your journey back.
Programme Phang Kok Jun
Journey On
Barber, Samuel
String Quartet in B minor, Op. 11 Interval
Tan Dun Dvorák, Antonín
8 Memories in Watercolour, Op. 1 (1979) Piano Quintet No. 2 in A Major, Op. 81 B.155
The Journey Back Home • Foreword — 4
Kris’ Foreword Dear friends and fellow music lovers, A very warm welcome to Kris Foundation’s first concert of this season! Tonight’s programme features five promising young musicians — violinists Alan Choo and Gabriel Lee, violist Jeremy Chiew, cellist Andris Koh and pianist Khoo Hui Ling. The musicians will be debuting a new work specially commissioned for SG50 by Singaporean composer Phang Kok Jun. Kris Foundation actively supports promising local classical musicians by creating opportunities for them to perform with each other and alongside established musicians. These six individuals have individually made great achievements both overseas and locally, and are at different stages of their musical careers. Having pursued classical music abroad, their journeys led them to a common thought — to return and contribute to the Singapore music scene. It is thus apt to hold a homecoming concert this year alongside our nation’s 50th anniversary. The Victoria Concert Hall has been a culturally significant and important landmark in the Singapore music scene since 1979. It has since become the home for the Singapore Symphony Orchestra and an established venue for countless concerts, plays and musicals. It is my honour and privilege to be able to host tonight’s concert at this prestigious venue. Lastly, as we celebrate the nation’s birthday this year, we would also like to take a moment to remember our founding father Mr. Lee Kuan Yew. I wish you an enjoyable evening and hope to meet you again at our upcoming concerts at the end of this year!
Kris Tan
Founder Kris Foundation
5 — The Journey Back Home • Foreword
Annie’s Foreword Dear friends, I recall the early days when Kris would sit down with a few of us and articulate her vision of supporting home-grown talent in the music arena with a platform to perform. Today, we have a series of concerts of consistent high quality, featuring many of our talented young musicians. Kris has seen the musicians in this concert through the years — from their SYO days to their debut concerts in Singapore and overseas. This evening, they’ve come back to celebrate SG50 through this concert together with Kris Foundation. We are most appreciative of Kris’ support. Thanks to her passion and persistence, we are able to enjoy this concert on home ground. Let us share the love of music this evening.
Prof. Annie Koh
Vice-president Office of Business Development (SMU)
Catherine’s Foreword Dear friends, Kris is a long-time supporter and good friend of the Community Foundation of Singapore. Kris Foundation is well-known in our local classical music scene for its recitals and performances showcasing local musicians. This is the first performance of this scale and size, no less in the Victoria Concert Hall, and we are honoured to be part of this endeavour to bring tonight’s concert to you. As Plato said, “music gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything”. We hope tonight’s repertoire will share with you the inspiration and dreams of our young musicians on their journey back home from their learnings, and through music, celebrate Singapore’s jubilee birthday. This concert is possible tonight as a result of the collaborative efforts of many passionate individuals. A big thank you to Annie for gracing this event, and Kris, for your determination and generosity. Finally, our appreciation to the organising committee and volunteers for your dedication and hard work towards making this concert a reality. Have a pleasant evening!
Catherine Loh
Chief Executive Officer Community Foundation of Singapore
The Journey Back Home • Artist Profiles — 6
Artist Profiles
Alan Choo
Gabriel Lee
Described by The Straits Times as “an intoxicating brew of poetry and daredevilry,” Alan Choo has appeared as a soloist with orchestras such as the St. Petersburg Symphony, the Singapore Festival and Chinese Orchestras, and the Baltimore Baroque Band. He was honoured with the Goh Soon Tioe Centenary Award in 2014 and won First Prize at the National Piano and Violin Competition 2011, Artist Category. His solo recital organized by the Kris Foundation in 2011 was praised in The Straits Times as “the debut recital of the year.”
Gabriel graduated with a BMus (Hons) from the Yong Siew Toh Conservatory of Music in May 2015. During his time at the conservatory, he had also worked as a music history teaching assistant from 2013–2014.
Alan earned two Masters degrees in Violin Performance and in Early Music at the Peabody Conservatory under the guidance of eminent Russian violinist Victor Danchenko and Baroque specialist Risa Browder, and completed his undergraduate studies at the Yong Siew Toh Conservatory under Alexander Souptel. He plays on a 1850. V. Postiglione on loan from The Rin Collection.
Gabriel won the Gold Award at the 6th Asian Youth Music Competition in 2007, and has appeared in numerous concerts at home and abroad, including a solo appearance with the Braddell Heights Symphony Orchestra in 2011. He has freelanced professionally with the Guiyang Symphony Orchestra and the Metropolitan Festival Orchestra. In 2012–2013, Gabriel served as a violin mentor for the Singapore National Youth Orchestra. Gabriel's teachers include Victor Danchenko, Ng Yu-Ying, Alexander Souptel, Chan Yoong Han and Zhang Zhen Shan. In Fall 2015, he will begin his MMus studies at the Peabody Conservatory with Victor Danchenko, supported by a full scholarship from YSTCM. Gabriel is a member of the Singaporean instrumental band, the Lorong Boys. Gabriel plays on an 1837 Aldric on loan from the Rin Collection.
7 — The Journey Back Home • Artist Profiles
Jeremy Chiew
Andris Koh
Violist Jeremy Chiew graduated with a Masters in Viola Performance from the Longy School of Music of Bard College, under the tutelage of Dimitri Murrath. A recipient of the Patricia Sherman Award, Jeremy has participated in the masterclasses of eminent musicians such as Caroline Coade, Emmanuella Reiter, Yizhak Schotten, Carol Rodland and Michelle LaCourse, and his past teachers include Jiri Heger, Han Oh, Judy Tay and Wee Hsin Tan.
Andris Koh holds a Master of Music degree in Cello Performance and Suzuki Pedagogy, and Bachelor of Music degree (with a Minor in Eurhythmics) from the Cleveland Institute of Music. Her mentors include Mark Kosower, and Melissa Kraut. She also received a Diploma in Cello and Piano Performance from the Associate Board of the Royal Schools of Music in London.
Jeremy’s recent solo appearances include viola concertos with The Chamber Players (Hoffmeister) and ESO (Mozart Sinfornia Concertante), and he has participated in concerts by the Boston Chamber Symphony, New England Repertory Orchestra and Boston Civic Symphony. On home grounds he has led / joined local performing ensembles such as The Philharmonic Orchestra (TPO), Singapore Lyric Opera (SLO), and re:mix. Keen to explore the mind-body connection in music-making and learning, Jeremy applies Alexander and Dalcroze techniques to his playing and teachings, and is currently an Associate Artiste with the Odyssey Dance Theatre. Besides maintaining an active performing and teaching career, Jeremy has recently been appointed General Manager of the Kris Foundation.
Currently Interim Principal of CityMusic Cleveland Chamber Orchestra, Ms. Koh has also participated in the Aspen Music Festival, Sarasota Music Festival, National Orchestral Institute, and the Pacific Music Festival. In 2010, her quartet won 2nd prize at the Alexander & Buono International String Competition. She has also performed Dvorák’s Cello Concerto at Severance Hall, as a result of winning the CIM Concerto Competition in 2012. Since 2011, she has been appointed as a Suzuki Cello Instructor at the Sato Center for Suzuki Studies in Cleveland, Ohio. Andris is using a Vettori “Sleeping Beauty” cello and P. Guillaume bow, on kind loan from the Kris Foundation.
The Journey Back Home • Artist Profiles — 8
Khoo Hui Ling Praised as “having a rare sensibility and musicianship that is too hard to ignore”, Hui-Ling most recently gave solo recitals at the Alba Music Festival in Italy and at the Esplanade Recital Studio in Singapore. A prize-winner in competitions such as the Queensland Piano Competition and the Singapore National Piano and Violin Competition, her performance of Gershwin’s ‘Concerto in F’ with the Yong Siew Toh Conservatory Orchestra after winning the Conservatory Concerto Competition earned rave reviews in The Straits Times. Having diverse interests, Hui-Ling is an accomplished erhu player. Whilst a teaching intern at the Peabody Preparatory, she presented at the International Singapore Pedagogy Symposium. Graduating from the Yong Siew Toh and Peabody Conservatories of Music, Hui-Ling pursues a Doctorate in Piano Performance at the University of Oregon with a Teaching Fellowship in music theory. She studies with Dean Kramer, and previously with Brian Ganz, Thomas Hecht, and Julie Tan.
Phang Kok Jun A multifaceted composer, Phang Kok Jun has a diverse repertoire than spans across many styles and genres. Having a broad range of influences, his music often reflects a blend between Western and Asian musical ideas. His music has been featured in concerts and festivals around the world, performed by major music ensembles and orchestras such as Singapore Chinese Orchestra, Australian Brass Quintet, T’ang Quartet, I-sis Trio and the Forbidden City Chamber Orchestra. He is currently Composer-in-Residence and huqin musician of Ding Yi Music Company. In 2015, he obtained his Bachelor’s degree from the National University of Singapore — Yong Siew Toh Conservatory of Music. Principle composition teachers include Eric Watson, Ho Chee Kong and Oscar Bettison.
Special Guest Emcee
Dr John Wong (Wang Deyuan) Celebrity corporate and school trainer and consultant, author of several best-selling Chinese books, and music composer.
9 — The Journey Back Home • Programme Notes
Programme Notes Journey On by Phang Kok Jun (1989 – present)
I: Then II: Today III: Tomorrow In three continuous movements, the composer seeks to bring out from the sights and sounds of Singapore’s past, present and future. The first movement “Then”, follows the imagination of how the early immigrants to Singapore must have felt — the sense of uncertainty mixed with a tinge of hopefulness as they travelled in search of new dreams. The music then fast-forwards seamlessly into the second movement, “Today”, which outlines the dizzying pace of today’s world. Themes from before are fragmented and taken on by the different instruments in a vibrant and breathless counterpoint of sounds.
The last movement begins with an empty and uncertain atmosphere that is slightly reminiscent of the beginning of the piece. Gradually, the instruments enter, each speaking its own voices, contributing to an increasing dissonance. But in the height of it all, the theme from the first movement reenters, serving like a reminder of the reason why this “Journey” began in the first place. With that the piece moves towards its finale, ending on a positive note — at the same time symbolising an optimistic “Tomorrow”. Written by Phang Kok Jun
The Journey Back Home • Programme Notes — 10
String Quartet in B Minor, Op. 11 by Samuel Barber (1910 – 1981)
I. Molto allegro e appassionato II. Molto adagio [attacca] III. Molto allegro (come prima) In an era where composers were turning to avant-garde compositional techniques, American composer Samuel Barber’s musical language still possesses this lyrical and coaxing quality, evoking the human voice and the richness of expression that comes with it. This is perhaps due to the influence of his uncle and aunt, a composer of American art songs and a leading contralto at the Metropolitan Opera respectively, both of whom his String Quartet, written when he was only 26, was dedicated. Although seemingly in three movements, the work can be seen as a single long movement, with the famous and towering Adagio rising out of the energetic and exploratory Molto allegro sections. Huge contrasts and imagination characterise the opening Molto allegro e appassionato, which feature a dramatic declamation in unison by all 4 instruments, a chorale-like second theme and a lyrical and yearning melody characterised by large leaps. Here Barber explores the wide spectrum of expression in a more extroverted manner. Out of this comes the famous Adagio, which has come to be an iconic song of reflection and an expression of the deepest, innermost feelings. Here, Barber’s song-like style is
expressed in its most profound level, with a soaring melody changing reluctantly from note to note over a curtain of sustained chords, sorrowful yet still radiating with glimmers of hope. As the music gradually intensifies in emotion, all 4 instruments climb to their highest registers in this work and cry out with a long sustained chord, before the music crashes down into silence. The opening motif is then heard again, crawling out of unfulfilled yearning, resigned and tired. The final sustained chord is then interrupted by fragments from the very opening of the work. Material from the opening Molto allegro is once again reprised, bringing the work to an energetic close. Barber’s music has become iconic of American classical music, and all of the musicians involved in tonight’s performance have received music education in the United States, including Gabriel and Kok Jun, who have both spent a semester there and are about to embark on their Masters at Peabody. The inclusion of both Barber and Phang in this programme symbolise the nurturing and training of their musical skills on both home and American soil, and celebrates the musicians’ homecoming from the United States. Written by Alan Choo and Gabriel Lee
11 — The Journey Back Home • Programme Notes
Programme Notes 8 Memories in Watercolour, Op. 1 by Tan Dun (1957 – present)
I. Missing Moon II. Staccato Beans III. Herdboy’s Song IV. Blue Nun
The medium of watercolour is vital to an appreciation of this music. It contains none of the extremes of gesture and attack ordinarily associated with virtuoso display. Rather, it is meditation and reverie. Missing Moon is a small statement of regret, and Staccato Beans a childhood game — simple, direct, bouncing with energy. The Herdboy’s Song flies on dissonant ornamentation, and the Blue Nun, although centring on a traditional E minor, carries a folk melody in simplest expression. Red Wilderness opens and closes in stillness, but its centre is a brief maelstrom of danger and uncertainty. Ancient Burial bears a suggestion of anger and loss, modified by the deft and rather French pictorialism of Floating Clouds. The set ends with Sunrain, a vigorous dance that apparently makes no promises as to its outcome.” — Tan Dun More than being a most imaginative set of picturesque character pieces, Tan Dun’s ‘Eight Memories in Watercolour’ holds special meaning for the composer. Originally titled ‘Eight Sketches in Hunan Accent’, Tan
V. Ancient Burial VI Floating Clouds VII. Red Wildemess VIII. Sunrain Dun composed this when he left his native Hunan to study in Beijing. The homesickness that Tan Dun admitted he felt is explicit in the title of the first movement, Missing Moon. In Chinese poetry, especially that of poet Li Bai, the moon is a symbol of longing and nostalgia. In fact Tan Dun himself describes this first piano work that he wrote, his Opus 1, as a diary of longing. This collection is also an intriguing rendezvous of the different facets of Eastern and Western culture. Composed in 1978, ‘Eight Memories in Watercolour’ was born at a time in China when the Cultural Revolution was just ending, Western music was once again permitted, and China had just opened its doors. The meeting of musical cultures is apparent throughout these 8 movements; movements 2, 3, 4 and 8 are based on Tan Dun’s favourite folksongs in Hunan, while movements 5 and 7 are reminiscent of Debussy-like textures and sonorities. Movement 1 imitates the strumming of the Chinese zheng, whereas movement 6 seems to recall Schoenberg’s dissonant 12-tone sounds. While listening to these provocative soundscapes that Tan Dun evokes, let us also consider what home means, and the unique multicultural space we live in. Written by Khoo Hui Ling
The Journey Back Home • Programme Notes — 12
Piano Quintet No. 2 in A Major Op. 81 (1887) by Antonín Dvorák (1841 – 1904)
I. Allegro ma non tanto II. Dumka: Andante con moto III. Scherzo (Furiant). Molto vivace IV. Finale. Allegro Arguably the most notable Czech composer, Antonín Dvorák’s fame spread throughout Europe and the United States, with wellknown works such as his Slavonic Dances Op. 46, String Quartet in F Major Op. 96 ‘The American’, and the Symphony No. 9 in E minor Op. 95 b.178 ‘From the New World’. The Op.81 Piano Quintet has a mixture of Dvorák’s personal form of lyrical expressiveness as well as elements of Czech folk music. This form of writing contributed to the musical Nationalistic movement, as well as shaped the language of 19th-century Romantic music. Premiered in Prague on 6 January 1888, the opening movement in sonata form alternates between the two extremes of energy and lyricism. The cello begins with a soulful, intimate outpouring that is answered, only after a vast expanse of music development, by a kindred violin. The entire exposition flows unbroken in a single sustained gesture into the ensuing development and return home, containing a wealth of thematic material skilfully alternating between drama and calmness.
The second movement ‘Dumka’, features an ancient form of Slavonic (originally Ukrainian) folk ballad; in this case, the somewhat gloomy melody alternates with sunnier sections to form a musical palindrome: A–B–A–C–A–B–A. The ‘Furiant’, which traditionally follows the ‘Dumka’, is an athletic and joyous 3rd movement, where the cello and viola alternates a rhythmic pizzicato underneath the melody played by the first violin. Dvorák treats the listener to a wealth of themes developed, sometimes even woven into a fugue, in the short Finale movement. The music shifts between the major and minor keys, and enters a tranquil choralelike Coda before growing in intensity to the finish. This brilliant work occupies a lofty place in the chamber music world shared perhaps only by two other works for the same ensemble from Schumann and Brahms. Written by Andris Koh and Jeremy Chiew
Acknowledgements Sincere thanks to: Prof. Annie Koh Kris Tan, and her family Catherine Loh
Donors Singora Pte Ltd Glitzy Trading Jewel Box Pte Ltd kimrobinson
Production Candice Kang Denise Quek I-Sis Trio Jeremy Chiew Jun An Chew Zee Yeo Guest emcee
Dr John Wong (王德远博士)
Photography by Audio recording by
Chrisppics Plus
Dayn Ng Chee Yao and Shaun Soh
Videography by
Mediashock Productions
Musicians’ hair styled by Creative Director Flowers by
Hector Zhuo from kimrobinson
Hiew Florist
Volunteers Benjamin Lim Cheryl Sng Debbie Ng Esther Heng Hazel Tan Hui Xian Low Mervin Wong Xiao Qi Lim Yvonne Yu
About Kris Foundation Kris Foundation is a charitable fund founded by Kris Tan and administered by the Community Foundation of Singapore. Kris Foundation actively supports promising local classical musicians by creating opportunities for them to perform with each other and alongside established musicians. Through these concerts and recitals, Kris hopes to increase awareness and appreciation of local classical music, and share her love for classical music with others. www.kris-foundation.org Past performers featured by the Kris Foundation from 2009 to 2014 include: Abigail Sin • Alan Choo • Albert Tiu • Aya Sugimoto • Emily Wong • Evangeline Koh • Jed Huang • Jeong Ae Ree • Khoo Hui Ling • Lim Soon Lee • Loh Jun Hong • Metropolitan Festival Orchestra • Miyuki Washimiya • See Ian Ike • Thomas Ang
About Community Foundation of Singapore Community Foundation of Singapore (CFS) is an independent, philanthropic organisation that seeks to inspire giving in Singapore through bridging donors to meet community needs. In cultivating a pool of active and committed donors, we provide donor-centric services, make grants, and work with the people, public and private sectors to address a wide variety of social concerns. Our vision is to grow a sustainable culture of giving and a more connected community. CFS is a registered charity with Institution of Public Character status. www.cf.org.sg
回家之旅 • 节目说明 — 10
Piano Quintet No. 2 in A Major Op. 81 (1887) 作曲家：Antonín Dvorák (1841–1904)
I. Allegro ma non tanto II. Dumka: Andante con moto III. Scherzo (Furiant). Molto vivace IV. Finale. Allegro 堪称为最出名的捷克作曲家，Antonín Dvorák的名气远播欧洲及美国，其著名的 作品包括《斯拉夫舞曲》第46号作品、F大 调第96号作品《美国》四重奏及E小调九部 交响曲第95号作品b.178《来自新大陆》。 这首第81号作品的《钢琴五重奏》，混合 着Dvorák的个人风格及捷克民谣的元素。 这种作曲方式推动了音乐上的民族主义运 动，也塑造了十九世纪浪漫音乐的语调。 这首乐曲与1888年1月6日在布拉格首度登 场。以奏鸣曲开场的乐章，不断徘徊于戏剧 性变化与冷静沈着之间。大提琴一开始充满 情感的告白，在经历了漫长的音乐发展，才 由志同道合的小提琴给予回覆。
第二乐章《Dumka》，带来了（前乌 克兰的）斯拉夫古老民谣。一般跟随在 《Dumka》之后的《Furiant》，是一段活 泼欢乐的第三乐章，并在第一小提琴手演奏 的旋律下，由大提琴及中提琴在节奏性的拨 奏曲之间进行转换。 这首惊为天人的乐曲在室内音乐世界当中占 据了重要的地位，与其拥有同等重要性的大 概只有Schumann及Brahms另外为其所写的 两首作品。
许爱颖及周煜扬撰写
11 — 回家之旅 • 节目说明
节目说明 8 Memories in Watercolour, Op. 1 作曲家：Tan Dun (1957–至今)
I. Missing Moon II. Staccato Beans III. Herdboy’s Song IV. Blue Nun
此曲没有大师级作品一贯激烈 的手段攻势，取而代之的反倒是一段深 刻的沈思。《Missing Moon》简短宣 示着懊悔之意，而《Staccato Beans》 则诉说出一段简单，直接而且活力洋 溢的儿时游戏。《Herdboy’s Song》 点缀着不和谐的音调，而虽然《Blue Nun》的主体为传统的E小调歌曲，但 它也带出一段最为简洁的民歌旋律。 《Red Wilderness》以寂静之声作为开 头及结尾，但其中间段落则响起短暂的 危险与不安之情。《Ancient Burial》暗 示出愤怒与失落感，却转由《Floating Clouds》巧妙修饰出法式的绘画主义。 整段乐曲由《Sunrain》以显然不承诺 结果的跳跃舞蹈做结束。” — Tan Dun 《Eight Memories in Watercolour》对 Tan Dun的意义非凡。其曲名原为《Eight Sketches in Hunan Accent》，是他在离开湖 南家乡前往北京深造时所写。本乐曲第一
V. Ancient Burial VI Floating Clouds VII. Red Wildemess VIII. Sunrain 乐章的标题《Missing Moon》，就毫不掩 饰的表现出了他的思乡之情。在中国诗篇 当中，尤其是诗人李白的作品，月亮象徵 了思念及乡愁的意味。Tan Dun本身实际上 就将他所写的第一篇钢琴作品称作是一段思 念的日志。 这些组曲选集以引人入胜的方式，汇集了东 西方文化的不同面向。《Eight Memories in Watercolour》诞生于1978年，正是中国文 化大革命才刚落幕，西方音乐重新被接受， 而且中国再度对外开放的年代。音乐文化的 交流明显贯穿所有八大乐章；第二、三、四 及第八乐章则是受到Tan Dun最爱的湖南民 谣所启发，而第五及七乐章则让人联想起与 作曲家Debussy曲风相似的宏亮特质。此作 品的第一乐章模仿着中国古筝弹奏的旋律， 而第六乐章似乎回想起Schoenberg的十二个 不和谐音调。 聆听着Tan Dun挑拨人心的旋律，我们不禁 思考着家乡的意义，还有我们所居住的这一 个独特的多文化环境。
邱慧玲撰写
回家之旅 • 节目说明 — 9
String Quartet in B Minor, Op. 11 作曲家：Samuel Barber (1910–1981)
I. Molto allegro e appassionato II. Molto adagio [attacca] III. Molto allegro (come prima) 在一个作曲技巧趋向前卫的年代，美国作曲 家Samuel Barber的音乐具有抒情、劝诱的 特质，并能够唤起随之而来的话语及丰富情 感。身为美国艺术歌曲作曲家的叔叔以及在 大都会歌剧院担任首席女低音的阿姨，也 许是影响他的因素之一。Barber在自己26岁 时，完成这首弦乐四重奏并献给两人。
在这之中，耳熟能详的柔板开始出现，这段 音乐已经演变成反思的表徵，并展露出内心 最深刻的情感。Barber曲调式的风格在此显 现出了最深刻的层次，哀伤之于仍散发着希 望的光芒。随着音乐情感逐渐强烈，四种乐 器全都飙至最高音域，并持续呐喊出一段长 和弦，一直到音乐的愕然终止。
虽然这首乐曲似乎可以分为三个乐章，但 然后，开场的主题曲又再度响起。乐章最初 整首作品其实也可以视作一个单独的长篇章 的快板段落又再一次奏起，将乐曲推向一个 节，在充满活力及试探性的快板段落，耳熟 轻快的结尾。 能详的美妙柔板也随之涌现。 乐曲开场时《Molto allegro e appassionato》展现着巨大的对比与想像 力，四种乐器全体一致的进行激烈抗辩，并 弹奏出大跃进式的怀念抒情曲调。
Barber的音乐是美国古典音乐的象徵，今晚 演出的所有音乐家也都曾赴美深造音乐。本 节目同时收录了Barber及冯先生的作品，代 表了音乐家们在本土及美国所培育训练出的 音乐技艺，并庆祝他们从美国的归来。
朱舒訸及李格标撰写
8 — 回家之旅 • 节目说明
节目说明 Journey On 作曲家：冯国峻 (1989–至今)
I: Then II: Today III: Tomorrow 在三首连续演奏的乐章中，作曲家寻求带出 最后乐章弥漫着一股空灵无常，似乎缅怀着 新加坡的过去、现代及未来的声音与景象。 乐曲最初开始的气氛。慢慢的，其他乐器开 始加入，各自述说着自己的故事，加大了 第一乐章《Then》，想像着早期新加坡移 彼此之间的不和谐。但在紧凑气氛的巅峰之 民的感受—在寻找新梦想的旅途上，命运未 际，第一乐章的主题重新浮现，提醒着踏上 卜之中交织着一丝丝的希望。 这趟“旅程”的初衷。随着音乐进入尾声， 这首乐曲留下了一个积极的论调，并同时象 音乐节奏接下来自然的快转到第二乐章 徵着一个乐观积极的“《Tomorrow》”。 《Today》，娓娓道来今日世界令人眼花缭 乱的步调。这里，不同的乐器以响亮及扣人 冯国峻撰写 心弦的方式进行演奏。
邱慧玲 邱慧玲毕业于杨秀桃音乐学院及美国皮 博迪音乐学院。她在奥勒冈大学攻读钢 琴表演博士学位，并获得音乐理论学的 研究生奖学金，同时进行兼任教学。她 的指导老师为Dean Kramer，并曾受Brian Ganz、Thomas Hecht及Julie Tan的教学 指导。 慧玲也是一位杰出的二胡演奏家。她在 Peabody Preparatory担任实习老师时， 曾受邀出席国际新加坡教学研讨会进行 演讲。 慧玲被誉为“拥有难得的感悟性及难以忽 视的音乐才能”。她最近一次在意大利的 阿尔巴音乐节及新加坡滨海艺术中心音乐 室举办了独奏会。 慧玲也在昆士兰钢琴 比赛及新加坡国家钢琴及小提琴比赛等竞 赛中拿下奖项。在赢得音乐学院协奏曲比 赛之后，她与杨秀桃音乐学院一起表演了 Gershwin的《Concerto in F》，因此获得 《海峡时报》极度赞扬。
回家之旅 • 音乐家介绍 — 7
冯国峻 冯国峻是一位多才多艺的作曲家，他能够 演奏不同乐曲风格及各式各样曲目。在多 种艺术元素的熏陶下，他的的多数作品融 合东西方元素。有些作品多次被新加坡华 乐团，澳洲铜管五重奏、唐五重奏、I-sis Trio三人组及紫禁城室内管弦乐团等各大 音乐乐团在世界各地的音乐会及音乐节上 表演。 国峻目前在鼎艺团担任驻团作曲家及 胡琴音乐家。他在2015年于杨秀桃音乐学 院取得了学士学位。其主要的作曲老师 包括了Eric Watson、Ho Chee Kong及 Oscar Bettison。
特别嘉宾主持
王德远博士 著名企业与校园讲师 与顾问、同时是音乐 创作人以及多本中文 畅销书作家
6 — 回家之旅 • 音乐家介绍
许爱颖毕业于克利夫兰音乐学院硕士与学 士学位. 她的指导老师包括Mark Kosower 及Melissa Kraut也获得英国皇家音乐学院 的大提琴及钢琴表演的专业文凭。
中提琴家周煜扬在Dimitri Murrath的 指点下，从巴德大学朗伊音乐学院毕 业。他是Patricia Sherman奖的得主， 也曾参加Caroline Coade、Emmanuella Reiter、Yizhak Schotten、Carol Rodland及 Michelle LaCourse等著名音乐大师开授的 大师班。他之前的老师包括Jiri Heger、Han Oh、Judy Tay及Wee Hsin Tan。
许爱颖
周煜扬
身为一名活跃的演奏家，煜扬最近分别和 The Chamber Players与ESO演奏了霍夫迈 斯特和莫扎特的中提琴协奏曲。在交响乐 团界当中，他与波士顿室内交响乐团、新 英格兰音乐管弦乐团及波士顿城市交响 乐团担纲演出。他也曾参于本土表演乐 团，像是新加坡爱乐乐团、Singapore Lyric Opera(SLO)及re:mix。 煜扬注重对音乐专研的身、心教学法：身 为奥德赛舞蹈剧院特约音乐家的他发挥所 长，将Alexander和Dalcroze术提倡在他的 个人演奏，教学中。不仅于此，煜扬也是 现任Kris Foundation的总经理。
爱颖目前担任CityMusic Cleveland Chamber Orchestra的临时负责人，她也曾参加白 杨音乐节、萨拉索塔音乐节、国家交响学 院及太平洋音乐节。她所参与的四重奏乐 团在Alexander & Buono国际弦乐比赛荣获 了第二名。因为在2012年的CIM协奏曲比 赛受赏，让她能够在塞弗伦斯音乐厅表演 Dvorák的大提琴协奏曲。自2011年起，她 受委托担任俄亥俄州克里夫兰Sato Center for Suzuki Studies的铃木大提琴指导老师。 为此演出，爱颖将用于Kris Foundation 的一把Vettori“睡美人”大提琴，和P. Guillaume弓子。
回家之旅 • 音乐家介绍 — 5
音乐家介绍
李格标于2015年5月从杨秀桃音乐学院以 优异成绩毕业。从2013到2014他也是音乐 学院音乐史学助教。
被《海峡时报》誉为“诗意及大胆奔放 使人心醉”的朱舒訸曾与圣彼得堡交 响乐团、Singapore Festival and Chinese Orchestras及Baltimore Baroque Band一起 进行独奏演出。他于2011年国家钢琴及 小提琴比赛艺术家项目拿下第一，并于 2014年荣获吴顺筹百年诞纪念奖。他也 在2011年由Kris Foundation举办的个人独 奏会被《海峡时报》誉为“年度最佳的首 场独奏会”。
李格标
朱舒訸
舒訸在美国皮博迪音乐学院取得小提琴演 奏及早期音乐学双硕士学位，受教自知名 俄国小提琴家Victor Danchenko和与巴洛克 专家Risa Browder。朱舒訸也在Alexander Souptel的带领下，于杨秀桃音乐学院完成 就了他的大学学业。今天他演奏时所使用 的1850年波斯蒂里奧內琴是出借自The Rin Collection。
格标于2007年曾经在第六届亚洲青年音乐 比赛拿下金牌奖，而且也在国内外无数音 乐会参与演出，包括2011年一场与布莱德 岭交响乐团合作的独奏演出。他也是贵阳 交响乐团及大都会管弦乐团旗下的受邀团 手之一。他也曾在2012到2013担任新加坡 国家青年交响乐团的小提琴师。 格标的老师包括了Victor Danchenko、Ng Yu-Ying、Alexander Souptel、Chan Yoong Han及Zhang Zhen Shan。他将会在杨秀桃 音乐学院提供的全额奖学金下，在2015的 下半年远赴美国皮博迪音乐学院，攻读硕 士学位。 格标也是新加坡Lorong Boys团体的一员。
4 — 回家之旅 • 序
许茵妮序 亲爱的朋友们， 我回想起早期Kris与我们几位朋友坐下来谈她的意愿，表示希望能有一个支持本地音 乐家的表演平台。多年后的今天，我们已成功举办了多场由本地富有才华的音乐家 所呈现的具实力音乐会。 从这新加坡青年节表演，一直到他们在本地与海外的首度登台演出，Kris都一一目睹 了这些音乐家的成长。今晚，他们将通过这次的音乐会，一起与Kris Foundation欢 庆建国五十周年。 我们对Kris的支持满怀感激。因为她的热忱及坚持不懈，我们才能够在自己的家园体 验这场音乐会。当下，让我们一起共享对美好音乐的渴望和热爱。
新加坡管理大学 商业发展办公室 副院长
许茵妮教授
罗佩仪序 亲爱的朋友们， 新加坡欢庆五十岁生日的同时，Community Foundation of Singapore很荣幸能与Kris Foundation联手呈现“回家之旅”。 今晚的音乐会之所以能够实现，是因为许多热忱人士一起耕耘的结果。我想要感谢 我们的贵宾许茵妮教授，谢谢您的支持与今晚的莅临，我还要感谢Kris的坚持不懈及 无私的付出，也要感谢筹备委员会为音乐会所做的辛勤贡献。 祝各位有个愉快的夜晚!
Community Foundation of Singapore 首席执行官
罗佩仪
回家之旅 • 序 — 3
回家之旅 欢庆新加坡建国五十周年Kris Foundation荣誉呈现“回家之旅”。 五位新加坡音乐家将在这一晚向国家致敬，演奏本地作曲家冯国峻为SG50 谱成的新曲，以及Samuel Barber、Tan Dun及Antonín Dvorák的一系列精选 作品。音乐家希望藉由这一系列深入民心的乐曲作品，探究自己与家园的关 系，并探讨究对于于归属感的意义。 这场音乐会不仅让音乐爱好者有机会思考古典音乐对新加坡的意义以及未来 之路，它也将带领观众感受思念家园的种种，例如渴望、欢乐，还有最重要 的自豪感。
节目表
String Quartet in B minor, Op. 11
Barber, Samuel
Journey On
Phang Kok Jun
Interval Tan Dun Dvorák, Antonín
8 Memories in Watercolour, Op. 1 (1979) Piano Quintet No. 2 in A Major, Op. 81 B.155