Astonishingly, he actually commented that the accordian was good. Ok, maybe I'm really prejudiced about the instrument sound and the interpretation done by the player. But, nah, the pieces were just acceptable and not all that astounding. I think the writer is a "full sound" freak(like myself perhaps), hence anything that produces tones which sustain goes well into his tummy. Probably why he imagines us to be strumming on stage. How annoying.
I really liked the part about the tugging of heart strings on "Io Che". Hahhaha... wonder if the tug is a ferocious one.
Mentioning about Mr A being "ahead of his time" sounded a little unpleasant to me. I can't help but feel that there's something cynical about that statement.
I guess it's a matter of taste. We'd be lucky if we get reviewed by someone who actually plays the instrument or has sufficient experience and knowledge to appreciate and assess the quality of the performance.
Thursday, March 29, 2007
Wednesday, March 28, 2007
欢乐少年
Read the review article on Straits Times "Life" yesterday. The writer seemed a bit inclined towards classical/orchestral repertoire, hence the guitar-rendered versions were not very welcomed by him. And excuse him and me for saying mentioning it here, what the hell his mind or ears were doing when he wrote us to be "strumming" on stage?
It's quite apparent we are talking about a newbie who claims that guitar ensemble/orchestra is a new thing in town. In that case, Sandy Lam is probably the new thing in town too.
I didn't quite like the remark "joyous youth" in the headlines. Really gives a fuzzy and nonchalant feel to the quality of the music. Or maybe it's just my take.
*Bell just rang.... continue this later....*
It's quite apparent we are talking about a newbie who claims that guitar ensemble/orchestra is a new thing in town. In that case, Sandy Lam is probably the new thing in town too.
I didn't quite like the remark "joyous youth" in the headlines. Really gives a fuzzy and nonchalant feel to the quality of the music. Or maybe it's just my take.
*Bell just rang.... continue this later....*
Monday, March 26, 2007
难得!!!
http://www.sistic.com.sg/opencms/opencms/events/index.html?content=821
Check out the concert!!!!
Video Game Symphony!!! I'm getting tickets early! Anyone interested?
Check out the concert!!!!
Video Game Symphony!!! I'm getting tickets early! Anyone interested?
Sunday, March 25, 2007
班长蜥蜴
Caught sight of this monitor lizard after some aunties screamed while passing by. Hey, the little fella is just basking!
GENUS 25 years
I must say it's this concert is one of those that "went by faster than the wind". Why? It seem like we had plenty of time to prepare, but somehow the concert dates approached rather quickly and before you know it, we're performing and the concert is over!
Let's talk about rehearsals. I was rather surprised by the ease of pace Robert took most of the practices. Playing under him was pleasant and comfortable. Maybe too comfortable in a certain sense? He seemed exceeding patient with many things, not that it's a bad thing, or that he has simply given up most of hopes. Ha ha ha =) I mean, it's quite logical, looking at his previous and current music groups, an amateur guitar ensemble is nowhere fitting in his range of qualifications and trophies. Nonetheless, I still feel I've learnt things from him and I'm glad he's directing the group.
On the whole, I thought the concert repertoire and quality was not too bad. Backstage judgement that is.
Banderas was the opening and it went by without much problems.
E major was mainly plagued with some multiple tempi differences, one which I discussed with Jin that our section should try our best to stand by the soloist at all costs admist the strong surging currents from the Basses. This concerto is not an easy one, given it's length and technique requirements. Wai has done a pretty good job with the speed we're going at. The tempi problems were already present during rehearsals and it's no surprise they escalated during performance. Something which I felt could have been resolved by Robert or Wai, by insisting on a slightly lower tempo for more metrical reference. Hey we're talking about 20 over year ones and twos, and it's unlikely that they are experienced enough to detect and remedy tempi problems accurately on stage.
I always thought Vanakam is a soloists thing. The Erhu and Sitar parts are far much more colourful than the orchestra's, which is a pity actually. I always felt like a ripieno part(Alto 1), repeating the tunes which the soloists' have carried, with no obvious enhancement nor textural difference or harmonic thickening. So if you listen into the orchestral part, it's not very interesting, hence rehearsals without the soloists' is not very fulfilling aurally. Anyway, this is a cross-cultural thing which will probably win some political favour.
Pictures went by quite well. I forgot to tell Wai not to start Tuileries too fast. As expected, tempo surged and many of my runs became ornamental. Alto 1's sub-division of semiquavers at Bar 2 is horrendous, usually the main culprit in instigating a tempo riot. Luckily the last run was still managed well! Promenade was more stately, Bydlo as well, with the perennial rushing from entering guitar parts. Generally, I think the orchestra has accomplished a lot by putting up this piece. No offence, but years back, the ensemble couldn't even play "Gran Solo" or "Royal fireworks" properly.
Among the small groups, I only caught "Io Che" and "Somewhere in time", both I thought were nicely presented. Backstage opinion of course.
Originally wanted to change to a dark blue shirt for Expose's performance, but alas, tuning Huifen's dizi took longer than usual, and I ran short of time to perform my costume change. At the green room, I wanted to tune her F major dizi 20 cents sharp, but she told me 10 cents is enough. Unconvinced, I brought the tuner on stage to tune her F before we started, and yes, my estimation is correct! Anyway, Leroy sounded good from where I was standing, most of the parts were presented as per rehearsal, only the prime 1 people fly my pigeon on the pedal A just before Syncopated Clock, which I specifically reminded them not to!!! Alex wasn't confident on the Gu Zheng for 菊花台 and therefore under-playing in many places, even making the part look more subsidiary than ever. Frankly, I was upset over this. Ya know, a main highlight of the piece gone under the drain. But after that, I thought it's mostly my fault for giving him the complete score late, hence inadequate time for preparation I suppose. Despite this, I still think he could have done a better job lah. (Read my next post!)
Turkish March was ok, just didn't like the oink-ing 2nd part. Pigs and toads combined.
Czardas was like a main event. A flurrying tempo, messy guitar parts, panting percussions, on-beat tambourine, we ended the piece with a resounding applause. I really didn't like the rendition of the slow section. The accordian player played it like a lament for a dead princess, completely ignoring the gypsy, flambouyant flavour embedded. I think it's a little overly-romantised for me. Well, personal choice I suppose.
I don't like the low sounding Brazilian Street Dance. The tune is good, but the arrangement is a little low for me. The piece sounded most relaxed, upbeat and catchy.
Some of the workings on the day itself were really undesirable. I'm contemplating whether to send a mail to mention about some of those issues.
Let's talk about rehearsals. I was rather surprised by the ease of pace Robert took most of the practices. Playing under him was pleasant and comfortable. Maybe too comfortable in a certain sense? He seemed exceeding patient with many things, not that it's a bad thing, or that he has simply given up most of hopes. Ha ha ha =) I mean, it's quite logical, looking at his previous and current music groups, an amateur guitar ensemble is nowhere fitting in his range of qualifications and trophies. Nonetheless, I still feel I've learnt things from him and I'm glad he's directing the group.
On the whole, I thought the concert repertoire and quality was not too bad. Backstage judgement that is.
Banderas was the opening and it went by without much problems.
E major was mainly plagued with some multiple tempi differences, one which I discussed with Jin that our section should try our best to stand by the soloist at all costs admist the strong surging currents from the Basses. This concerto is not an easy one, given it's length and technique requirements. Wai has done a pretty good job with the speed we're going at. The tempi problems were already present during rehearsals and it's no surprise they escalated during performance. Something which I felt could have been resolved by Robert or Wai, by insisting on a slightly lower tempo for more metrical reference. Hey we're talking about 20 over year ones and twos, and it's unlikely that they are experienced enough to detect and remedy tempi problems accurately on stage.
I always thought Vanakam is a soloists thing. The Erhu and Sitar parts are far much more colourful than the orchestra's, which is a pity actually. I always felt like a ripieno part(Alto 1), repeating the tunes which the soloists' have carried, with no obvious enhancement nor textural difference or harmonic thickening. So if you listen into the orchestral part, it's not very interesting, hence rehearsals without the soloists' is not very fulfilling aurally. Anyway, this is a cross-cultural thing which will probably win some political favour.
Pictures went by quite well. I forgot to tell Wai not to start Tuileries too fast. As expected, tempo surged and many of my runs became ornamental. Alto 1's sub-division of semiquavers at Bar 2 is horrendous, usually the main culprit in instigating a tempo riot. Luckily the last run was still managed well! Promenade was more stately, Bydlo as well, with the perennial rushing from entering guitar parts. Generally, I think the orchestra has accomplished a lot by putting up this piece. No offence, but years back, the ensemble couldn't even play "Gran Solo" or "Royal fireworks" properly.
Among the small groups, I only caught "Io Che" and "Somewhere in time", both I thought were nicely presented. Backstage opinion of course.
Originally wanted to change to a dark blue shirt for Expose's performance, but alas, tuning Huifen's dizi took longer than usual, and I ran short of time to perform my costume change. At the green room, I wanted to tune her F major dizi 20 cents sharp, but she told me 10 cents is enough. Unconvinced, I brought the tuner on stage to tune her F before we started, and yes, my estimation is correct! Anyway, Leroy sounded good from where I was standing, most of the parts were presented as per rehearsal, only the prime 1 people fly my pigeon on the pedal A just before Syncopated Clock, which I specifically reminded them not to!!! Alex wasn't confident on the Gu Zheng for 菊花台 and therefore under-playing in many places, even making the part look more subsidiary than ever. Frankly, I was upset over this. Ya know, a main highlight of the piece gone under the drain. But after that, I thought it's mostly my fault for giving him the complete score late, hence inadequate time for preparation I suppose. Despite this, I still think he could have done a better job lah. (Read my next post!)
Turkish March was ok, just didn't like the oink-ing 2nd part. Pigs and toads combined.
Czardas was like a main event. A flurrying tempo, messy guitar parts, panting percussions, on-beat tambourine, we ended the piece with a resounding applause. I really didn't like the rendition of the slow section. The accordian player played it like a lament for a dead princess, completely ignoring the gypsy, flambouyant flavour embedded. I think it's a little overly-romantised for me. Well, personal choice I suppose.
I don't like the low sounding Brazilian Street Dance. The tune is good, but the arrangement is a little low for me. The piece sounded most relaxed, upbeat and catchy.
Some of the workings on the day itself were really undesirable. I'm contemplating whether to send a mail to mention about some of those issues.
Sunday, March 18, 2007
什么地狱?
I spent nights arranging pieces, only to be met with cold hard statements like, "finally there's more to play, must be because we complained last week." or "My part is redundant." Hey yah, I'm not as musically talented as the general population of Singapore, so I'm damn slow when it comes to arranging by sight and even slower by ear but I get up at 6 plus to work, reach home at 10 plus, not to rest, but to begin staring at the computer screen which sometimes I fall asleep in front of.
What the hell!?!?
What the hell!?!?
Friday, March 16, 2007
Fabuloso
The bunch looking ready with Daren announcing their entrance
Where's Wee lian? 
Quintet at work!!!
Seeing some of the members performing at McCafe brings back some good memories for me. I remember myself doing these gigs as well, with very much enthusiasm and zest. It's nice to see juniors doing the same things, playing for audience, preparing small group items for small performances etc, all in the joy of enjoying some music making time together. It's valuable experience for every individual and brings guitar music closer to the public as well.
景变
在等学生时,四处游走拍下的照.觉得电话所拍的照, 好象比我的相机还要好!
心里还没拿定主意要不要去德国. 感觉上有些顾虑牵制着我. EXPOSE 去的成员不齐, 相信会掺些幼齿. 六月又得替学生复习, 带学生去爬山, 再加上理发课程. 觉得自己的思维好象老了很多, 却又带有几丝固执,任性.
Thursday, March 15, 2007
XP Highlights
1. A Leroy Anderson Portrait
Leroy Anderson (June 29, 1908 ¨C May 18, 1975) was best known as an American composer of short, light concert music pieces; John Williams described him as "one of the great American masters of light orchestral music." Anderson's musical style, heavily influenced by George Gershwin and folk music of various lands, employs creative instrumental effects and occasionally items not traditionally used as musical instruments, such as typewriters and sandpaper. This medley includes some of his best works: Serenata, a latin number with delightful jazz elements; The Syncopated Clock, one of his most well-known pieces, instantly recognizable to millions; Blue Tango, his first hit(1951) which earned him a Golden Disc and No. 11 on the Billboard charts; and Bugler's Holiday, a high school band favourite.
2. 菊花台
菊花台Chrysanthemum Flower Bed (Ju Hua Tai), is a ending theme from the recent blockbuster, 滿城盡帶黃金甲(Curse of the Golden Flower). Composed by Jay Chou, the Taiwanese R&B and Rap artist and composer mega star, the lyrics sing a lamentation set in the imperial court of the Tang Dynasty.
菊花殘 滿地傷 妳的笑容已泛黃
花落人斷腸 我心事靜靜躺
北風亂 夜未央 妳的影子剪不斷
徒留我孤單 在湖面 成雙
Leroy Anderson (June 29, 1908 ¨C May 18, 1975) was best known as an American composer of short, light concert music pieces; John Williams described him as "one of the great American masters of light orchestral music." Anderson's musical style, heavily influenced by George Gershwin and folk music of various lands, employs creative instrumental effects and occasionally items not traditionally used as musical instruments, such as typewriters and sandpaper. This medley includes some of his best works: Serenata, a latin number with delightful jazz elements; The Syncopated Clock, one of his most well-known pieces, instantly recognizable to millions; Blue Tango, his first hit(1951) which earned him a Golden Disc and No. 11 on the Billboard charts; and Bugler's Holiday, a high school band favourite.
2. 菊花台
菊花台Chrysanthemum Flower Bed (Ju Hua Tai), is a ending theme from the recent blockbuster, 滿城盡帶黃金甲(Curse of the Golden Flower). Composed by Jay Chou, the Taiwanese R&B and Rap artist and composer mega star, the lyrics sing a lamentation set in the imperial court of the Tang Dynasty.
菊花殘 滿地傷 妳的笑容已泛黃
花落人斷腸 我心事靜靜躺
北風亂 夜未央 妳的影子剪不斷
徒留我孤單 在湖面 成雙
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