THE

CLASSIQUES! EUROPA
PHILHARMONIC
YOUTH WINDS
PRESENTS

SUNDAY,
12 JAN 2020,
7.30PM
SINGAPORE CONFERENCE HALL
MUSIC
PROGRAMME

Funiculi-Funicula Rhapsody
Luigi Denza, arr. Yo Goto
Conductor: Adrian Chiang

Concerto for Trumpet

and Symphonic Band
Alexander Arutiunian, trans. Guy M. Duker
Solo Trumpet: Lau Wen Rong
Conductor: Adrian Chiang

The Cries of London

Martin Ellerby
Solo Tenor: Baek Jongwoo
Conductor: Adrian Chiang

Dein ist mein ganzes Herz

Franz Lehár, arr. Ralph Emmanuel Lim
Solo Tenor: Baek Jongwoo
Conductor: Adrian Chiang

INTERMISSION

The Inn of Sixth Happiness

Malcolm Arnold arr. Munetoshi Senoo
Conductor: Lau Lifeng

La Lira de Pozuelo
Luis Serrano Alarcón
Conductor: Lau Lifeng

Extreme Make-over
Johan de Meij
Conductor: Adrian Chiang

PHILHARMONIC YOUTH WINDS PRESENTS: CLASSIQUES! EUROPA

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 COMMITTEE
President
Edwin Ang

Vice President
Breyann Lennard
Jocelyn Cheng

Concert Master / Woodwind Leader

Brian Lim

Brass Leader
Erica Goh

Media / Publicity
Zachary Ng
Kimberly Ho

Ticketing / Finance
Priyadarshini

Library
Foo Shi Jian

Collateral Designer
Zachary Ng

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PRESIDENT’S
MESSAGE
Good evening ladies and gentlemen,

It is my pleasure to welcome everyone to Classiques! Europa, the 12th instalment in the Classiques! concert
series. Tonight, we bring to you a selection of music that are either composed by Europeans or European inspired.

Some of you may already know that 2019 was a bumpy ride for Phil Youth, there were many challenges that we
had to face over the last year. Despite the heartache and pain behind these challenges, it is encouraging to
look back and review the musical journey we have had over the last decade.

Throughout the last decade, we have pushed our limits over and over again. We’ve performed classic orchestral
transcriptions (Gustav Mahler’s Symphony No. 1, Maurice Ravel’s Bolero, Ottorino Respighi’s Pini di Roma,
Pyotr Ilyich Tchaikovsky’s 1812 Overture, Leonard Bernstein’s West Side Story) and challenging wind band
literature (Philip Sparke’s Music of the Spheres, Robert W. Smith’s The Divine Comedy, David Maslanka’s
Symphony No. 4, Ferrer Ferran’s La Passió de Crist). These pieces are by no means an easy feat for a youth
wind ensemble such as ours. However, the ensemble has never said no to a challenge and always rises up to
the occasion – and that is perhaps the beauty of a youth ensemble.

As we start the new decade, I can’t help but awe at how much Phil Youth has achieved in the last 10 years. I look
forward to another decade of musical endeavours from Phil Youth as we continue to showcase local musicians
and promote wind band literature. The highlight of tonight’s concert is no doubt our finale piece, Johan de
Meij’s Extreme Make-over, which has been aptly chosen as we continue to change, adapt and adjust to the
ever-changing musical landscape in Singapore.

Managing a volunteer group such as ours is never a single man’s job. I would not have been able to plan and
execute tonight’s concert without my trusty committee members. They are the true heroes for the flawless
flow of events tonight. Do indulge me as I take the opportunity to say a personal thank you to all of them for
supporting me over the last 4 years, and taking ownership of your responsibilities.

The Philharmonic Youth Winds is also grateful for the support of our Board of Directors, and Dr Leonard Tan,
Mr Lionel Lye and Ms Annie Pek, without whom tonight’s concert would not have been possible.

Finally, I would like to thank you, our audience. Without you, there would be no meaning to what we do. On
behalf of everyone on stage, thank you for joining us at Classiques! Europa. I hope you will have an enjoyable
evening of music with the Philharmonic Youth Winds and wishing all a Happy New Year!

Edwin Ang
President
Philharmonic Youth Winds

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ADRIAN CHIANG
Conductor

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A recipient of the National Arts Council and National University of Singapore (NUS) scholarship, Adrian
attained his Master of Music degree at the Yong Siew Toh Conservatory of Music (YSTCM) with a major in
conducting. He is currently a part time faculty at YSTCM (NUS) where he teaches conducting.

Adrian shares his passion for music through his deep involvement in various associations as well as many
community and professional music groups.

His involvement includes being the -

• President of the Band Directors’ Association (Singapore)
• President of National Instructors and Coaches Association
• Resident Conductor of The Philharmonic Winds and Philharmonic Youth Winds
• Music Director of the Asian Cultural Symphony Orchestra
• General Manager of Resound Collective

The Asian Cultural Symphony Orchestra is a community project that Adrian had spearheaded with Dedric
Wong, General Manager of Ding Yi Company, to focus on Orchestra works written for Asian composers.
This project saw him infusing a variety of Chinese, Malay and Indian instruments into a standard Western
Symphony Orchestra, very much like what the basic structure of what Singapore essentially is.

Adrian participated in the International Conducting Competition (2016) Augsburg, Germany, where he
emerged as one of the top 6 participants out of 43 participants from 22 countries.

Adrian also believes in grooming talented young musicians through directing Wind Ensembles &
Orchestras in the following education institutions:
• Singapore Management University
• Singapore Polytechnic
• Anderson Serangoon Junior College
• Eunoia Junior College
• Victoria Junior College
• Catholic High School
• Convent of the Holy Infant Jesus Secondary (Toa Payoh)
• Maris Stella High School

 
Under his direction, his groups consistently achieve the finest results and highest accolades in music
festivals held locally and overseas. Passionate about developing the Asian Wind and Orchestra scene,
Adrian features Asian works and musicians prominently in his programming with his groups.

Adrian’s passion for conducting was borne through lessons and clinics with respected conducting figures
such as Lan Shui, Yeh Tsung, Jason Lai, Jonas Alber, Luke Dollman, Sean Edwards, Allan McMurray,
Douglas Bostock, Eugene Corporon, Robert Reynolds, Tom Lee, Richard Craig, Richard Floyd and Frank
Ticheli. Other music teachers who have had a great influence in his developmental years included Mary
Ang, Yeong Yoon Ching, Tan Chan Boon, and David Wong.

Prior to full time conducting, Adrian was the Orchestra Manager of the Singapore Symphony Orchestra.

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ASP (2) LAU LIFENG
Deputy Director of Music
Training Command | Singapore Police Force Band
Conductor

Lifeng was born in Singapore and her music journey began with playing the Euphonium at the age of 14.
In pursuit of her passion, she enrolled with the Nanyang Academy of Fine Arts (NAFA, Singapore) after
her secondary school education and graduated with a Diploma in Music (Performance - Euphonium) in
2006. Lifeng is extremely privileged to have had lessons and masterclasses with several renowned brass
artists including Denis Wick, Steve Rosse, Fredi Sonderegger and Steven Mead.

In 2009, Lifeng joined the Singapore Police Force (SPF) as a Senior Officer and served as an Investigation
Officer at Central Police Division and Team Leader at Public Transport Security Command for 5 years.
Her musical abilities were later discovered and she was posted to the SPF Band as a Music Development
Officer. With her strong passion for music and devotion to policing duties, Lifeng was placed on a SPF
scholarship to the UK Royal Marines School of Music (RMSoM) in September 2013.

Since then, Lifeng has completed the Musicianship 1 Course 2013 and the Bandmaster Course 2014.
Under the tutelage of Malcolm Binney, Lifeng attained a pass with distinction in the DipABRSM (Music
Direction) exam, a LRSM (Music Direction) diploma and earned the best conductor award in the
Bandmaster course of 2015. Immediately after her stint with the UK Royal Marines, Lifeng completed her
BMus (Hons) Degree with Plymouth University, UK.

Lifeng returned home to Singapore in August 2019 and formally began her stay with the SPF band. On
top of being a conductor for the band, she became heavily involved in the world of professional show
production. Since then, Lifeng has successfully spearheaded the SPF Band’s involvement in state events
as show producer. These include the 37th ASEANOPOL conference in 2016 and the 70th year Women in
Policing Anniversary in 2019.

With the aim of promoting security, peace and harmony through music, Lifeng has also brought the SPF
band to participate in international military tattoos: most recently the Nova Scotia military tattoo in 2018,
Spaskaya Military International Tattoo in Moscow in 2016 and World Police Band Concert (WPBC) series
in Myanmar 2017 and Thailand 2018.

In February 2019, Lifeng was promoted to Deputy Director of Music of the SPF band. She has a vision
to lead the SPF Band in delivering world-class show and theatrical productions on both local and
international platforms.

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LAU WEN RONG
Trumpet

Section trumpet player of the Singapore Symphony orchestra and prizewinner of the International
Trumpet Guild (ITG) Solo Competition in 2013, Lau Wen Rong completed his Master’s Degree with
Raymond Mase at The Juilliard School under the Frieda and Harry Aronson Scholarship.

Wen Rong received his Bachelor of Music Degree from the Yong Siew Toh Conservatory of Music of
the National University of Singapore, where he was awarded a full merit scholarship. His competition
successes include 2nd place at the Pan-Asian soloist competition at Brass Explosion 2012, 2nd place in
the prestigious Norman Cooper Chamber Music Competition held in Aberdeen (Brass Polish), and 1st
place at the Singapore International Band Festival (Orchestra Collective).

Wen Rong has appeared with the Metropolitan Festival Orchestra, Singapore Lyric Opera Orchestra,
Juilliard Orchestra and the Yong Siew Toh Conservatory Orchestra. He has also participated in music
festivals such as the Pacific Music Festival (PMF) in Japan and was selected as a Fellow at the Aspen Music
Festival in 2015. As an active chamber musician, he has performed with award-winning brass ensemble,
Brass Polish (Singapore) and various other brass quintets in Singapore, taking part in outreach activities
and bringing the joy of music to the public.

Wen Rong is a recipient of the 2015 RI-Darrell Ang Young Musicians’ Foundation Scholarship, Trailblazer
Foundation Study Grant and National Arts Council Capability Development Grant. Wen Rong has studied
with Jon Dante, Mark Gould, Joe Burgstaller, William Theis and Tay Jiun Ngiap. Wen Rong is currently on
the faculty at the Yong Siew Toh Conservatory of music and he is a Yamaha Artist.

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BAEK JONGWOO
Tenor

Baek Jongwoo is a Korean Lyric Tenor, choral conductor and voice teacher based in Singapore. He
has recently graduated from Yong Siew Toh Conservatory of Music (YSTCM) with Bachelors of Music
Honours (Distinction).

In 2018, at the young age of 23, he had made his debut to choral conducting. He led Victoria Junior
College Choir in renowned Choral Competition, Asia Cantate, and won the Grand Final, along with
two categories: Open mixed category and Senior youth category. His conducting of the performance
of Victoria Junior College choir at YSTCM Concert Hall was described by Dr. Marc Rochester as
“Superlative direction” and “a rare gift of getting a good sound and making true music”.

In his career, he had opportunities to perform with distinguished artists such as Masaaki Suzuki, Roger
Vignoles and Josh Groban. He has had masterclasses with renowned musicians such as Margaret
Schindler, Donald George, Allen Henderson and Bruno Weil.

He has performed in a wide variety of concerts covering different styles of music such as Ferrando
in Cosi Fan Tutte, Pilate in Schütz Johannes Passion, Damon in Acis and Galatea, as Solo tenor in
Pulcinella, the role of Uriel in Haydn’s Creation, as Solo tenor in Haydn’s Mass in Time of War and the
role of Anatol in Vanessa.

His interest for music started as a young chorister in Tanjong Katong Secondary School Choir, where
his talent for voice was found and he was appointed to be the student conductor and the tenor section
leader. He then joined other choirs such as the Music Talent Development Centre Choir, The Vocal
Consort, and Victoria Junior College Choir, VOCE where was appointed to be the tenor section leader
in all respective choirs.

These experiences lead him to perform at all major performance locations in Singapore such as the
Esplanade Concert Hall, Esplanade Recital Studio, Esplanade Concourse, Victoria Concert Hall, the
Istana, Singapore Indoor Stadium, YSTCM Concert Hall and the Star Theatre. He was also recently
featured in Mediacorp as a part of the President’s Star Charity 2019.

His interest in Music goes beyond the scope of singing and conducting. He consistently seeking for
opportunities to give back to the community. He was recently involved in charity concert at Anglican
Care Centre, where he represented the Korean community and shared traditional Korean music. He
is also interested to broaden his skills to be a holistic musician who is proficient in music making,
management and business.

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THE
PHILHARMONIC
YOUTH WINDS
The Philharmonic Youth Winds (Phil Youth) was formed in early 2002 by The Philharmonic Winds (Phil
Winds) to provide an opportunity for young, passionate musicians to further their ensemble experience.
Since its inaugural concert led by Zechariah Goh Toh Chai and Leonard Tan, the ensemble grew under
various other conductors, such as Andy Sim, Yeow Ching Shiong, Alan Lourens, and David Glosz,
performing in joint concerts with Phil Winds as well as its own concerts. In addition, Phil Youth has had the
opportunity to work with foreign clinicians and conductors (Timothy Reynish, Christopher Hughes), and
participate in music exchanges (North Rhine Wind Orchestra, Germany; Petaling Jaya Youth Symphonic
Band, Malaysia).

In 2008, Phil Youth presented its new annual concert series entitled Classiques! at the Victoria Concert Hall
under the baton of its current Resident Conductor, Adrian Chiang. In every subsequent year since then,
the Classiques! series became an annual instalment and the biggest concert project of its year, commonly
featuring various local musicians as soloists. These concerts are an endeavour to showcase the very best
of wind music in Singapore, performing major wind band repertoire and challenging new compositions.
Apart from presenting classic symphonic literature (e.g., Mahler’s Symphony No. 1; Classiques! At the
Esplanade), these concerts serve also to celebrate the growth of the local performing arts scene by
marrying wind symphonic music with dance (Classiques! Danse 2011), handbells (Classiques! Celebration
2012), solo voice (ClasSIX! in 2013), and a full chorus (Classiques! Chœur 2014). In Classiques! Jazz 2016,
the ensemble presented a series of jazz compositions ranging from the 1930s to 2010s – traversing the
timeline of jazz music from classic jazz giants to contemporary composers. The band also explored the
literary art of comedy (Classiques! Comedy 2017), highlighting a local premiere of Robert Smith’s take
on Dante Alighieri’s The Divine Comedy with a home-made narrative accompanying the symphony. Most
recently, Phil Youth breached old thresholds again with David Maslanka’s Symphony No. 4 (Classiques!
X 2018).

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The ensemble has done well in competitions. Led by Adrian Chiang, Phil Youth took part in the inaugural
Singapore International Band Festival in 2008, winning the only Gold medal and clinching the title of Top
Band in the 1st Division. In both 2010 and 2012, the ensemble emerged as one of the top 3 bands in the
Open Division, ahead of groups from regional music conservatories. In 2018, the ensemble once again
took part in the 6th Singapore International Band Festival and was awarded the Gold award.

 
Throughout the year, Phil Youth embarks upon various other performances and community outreach
projects. Some of these include a string of successful concerts under the Esplanade’s Beautiful Sunday
series, featuring popular movie themes, and even one showcasing only Disney classics. Other public
performances include the band’s participation in Hearts in Harmony, an event for the President’s
Challenge organized by the Singapore Police Force. In 2009, the ensemble performed twice at the
Singapore Botanic Gardens, once as the opening act for a concert marking the Singapore Symphony
Orchestra’s 30th anniversary, and a second time as guest performers in a concert celebrating the Botanic
Gardens’ 150th anniversary.

The ensemble is also a regular performer under Singapore Press Holdings’ Gift of Music series, bringing
music to the heartlands. In 2013, the ensemble was invited to be the first wind band to perform at
Gardens by the Bay, in a Night of Pop Classics, enthralling visitors both local and foreign with popular
tunes. In 2014, Phil Youth staged a pops concert with local singers George Chan and Lindy Chia in
collaboration with Esplanade, reminiscing Songs our Parents Love from the 60s and 70s to the delight of
our older generation. The ensemble was also the first wind symphony to perform at the newly­refurbished
Victoria Concert Hall in July 2014. In 2015, the second instalment of Songs our Parents Love featured
Jay Lim, Khor Ai Ming, returning guest, Lindy Chia and veteran singer, Xie Jin Shi. The Songs our
Parents Love series also saw the successful execution of its third instalment in 2017, featuring local stars
Robert Fernandez and Chriz Tong. The ensemble was also invited to be the accompanying band for the
Singapore Low Brass Festival in June 2015, supporting international soloists such as Adrian Hirst, Brett
Baker, Daniel Perantoni, David Wong, Hiroaki Shiomi.

The Philharmonic Youth Winds aims to establish itself as a youthful and vibrant ensemble through its
attitude and passion towards music making. Tonight’s concert not only aims to challenge the band but
also represents its ongoing, active collaboration with local young artists, and its continuous endeavour
towards musical excellence.

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MUSICIANS
Piccolo / Flute Bass Clarinet
Principal Tiffany Lee
Foo Shi Jian

Bass / Contrabass Clarinet

Flute Ee Pin Koon
Associate Principal
Hong Ran
Bassoon
Gabriel William Liew Principal
Samuel Yap

Oboe / Cor Anglais Aw Zhan Hao

Allysa Ang
Jasper Goh
Ng Wei Xiang Saxophone
Principal
Breyann Lennard
Eb / Bb Clarinet Ivy Hau
Associate Principal
Jaime Niam
Zachary Ng
Koh Kaijie
Lee Jia Yang
Tommy Kwan
Bb Clarinet
Wang Zihan
Principal
Brian Lim

Bandy Tan
Cheng Yuan Wen
Daniel Yee
Esther Foo
Ethan Lau Si Zheng
Evan Xia Yi Xuan
Gary Goh
Glenden Kua
Jocelyn Cheng
Kaiyu Chong
Kennede Sng
Kimberly Ho
Ng Bi Qi
Tan Yin
Tay Qin Yan
Yan Yixue

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French Horn Tuba
Principal Principal
Lee Yan Liang Kenrick Quek

Edwin Ang Aaron Tng

Harsharon Kaur Benedict Lee
Joey Gao Dylan Leong
Keith Lim Marcus Z. Wong
Michelle Lim Tan Zuen Rian Nelson
Sean Lim
Tay Wei Jie
Double Bass
Principal
Trumpet Tricia Lee
Principal
Kenji Koh
Quek Yu Chern
Pan Jiaying
Alex Su
Jasper Boey
Lee Junyoung Percussion
Lee Yi Terng Associate Principal
Shane Keiser Wells Chin
Tobias Tan Chris Kong
Yap Yi Yang Daniel Heng
Gordon Tan
Reuben Tay
Trombone Tristan Seow
Principal
Yap Ming Yang
Ryan Lim Ming Fu

Lam Bo Xiang
Nicholas Teoh Timpani
Ong Han Yang Irfan Hassan
Phoon Yi Hao

Piano
Bass Trombone Gary Goh
Darric Heng
Mirza Alkhairid
Harp
Ashley Lim
Euphonium
Principal
Dillon Quek

Huang Xinshuo
Nigel Ho

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PROGRAMME
NOTES
FUNICULI-FUNICULA
RHAPSODY
Luigi Denza, arr. Yo Goto

“Some think the world is made if fun and frolic... And so do I! And so do I!”

LUIGI DENZA was an Italian composer, born at Castellammare di Stabia, near Naples. He studied
music under Saverio Mercadante and Paolo Serrao at the Naples Conservatory. he later settled in
London and became a professor of singing at the Royal Academy of Music in 1898. Denza wrote
an Opera, Wallenstein, and hundreds of songs. The most popular of which was a collaboration
with journalist Peppino Turco. Denza set the music to the words of the Neapolitan song Funiculi,
Funicular, about the Vesuvius funicular.

Although the song was composed only in a few hours, it had remained popular for over a century.
Richard Strauss later included the tune in the fourth movement of his orchestra tone poem, Aus
Italien, believing it to be a popular Neapolitan folk tune.

Neapolitan Lyrics
Aissera, Nanniné, me ne sagliette,
tu saje addó, tu saje addó
Addó ‘stu core ‘ngrato cchiù dispietto
farme nun pò! Farme nun pò!
Addó lu fuoco coce, ma se fuje
te lassa sta! Te lassa sta!
E nun te corre appriesso, nun te struje
sulo a guardà, sulo a guardà.
Refrain
Jamme, jamme ‘ncoppa, jamme jà,
Jamme, jamme ‘ncoppa, jamme jà,
funiculì, funiculà, funiculì, funiculà,
‘ncoppa, jamme jà, funiculì, funiculà!

Translation
I climbed up high this evening, oh, Nanetta,
Do you know where? Do you know where?
Where this ungrateful heart
No longer pains me! No longer pains me!
Where fire burns, but if you run away,
It lets you be, it lets you be!
It doesn’t follow after or torment you
Just with a look, just with a look.
Refrain
Let’s go, let’s go! To the top we’ll go!
Let’s go, let’s go! To the top we’ll go!
Funiculi, funicula, funiculi, funicula!
To the top we’ll go, funiculi, funicula!

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CONCERTO FOR TRUMPET
AND SYMPHONIC BAND
Alexander Arutiunian, trans. Guy M. Duker

ALEXANDER ARUTIUNIAN, a Soviet and Armenian composer and pianist, was born in Yerevan in
1920. He graduated from the Yerevan Conservatory, then went to Moscow to perfect his talent
from 1946 to 1948. In 1954 he was appointed Artistic Director of the Armenian Philharmonic
Orchestra and also served as a Professor at the Yerevan State Conservatory. Being one of the
well-known 20th-century Armenian composer, he was awarded a huge array of Soviet Union
prizes that included the Stalin Prize, State Prize of Armenian, and People’s Artist of USSR. He is
also known for an impressive number of wind instruments concertos, including for all four main
principal brass instruments – horn, trumpet, trombone and tuba. Today, these concertos have
secured a place in the international repertory.

The Trumpet Concerto, written in 1950, is the composer’s sixth major composition that has
established Arutiunian’s name as a durable figure. Being one of the standard trumpet player’s
repertory, it is arguably the best-known trumpet concerto after the Haydn and the Hummel.
Being influenced by aspects of Armenian folk music, there is no doubt that Arutiunian’s Trumpet
Concerto have elements and qualities of Armenian folk music. It also has characteristics of Gypsy,
Russian music with soulful melodies and several challenging rapid-tonguing passages.

The concerto consists of five distinct sections that are performed without pause – a single sonata-
form movement. The first section is to be performed with a great deal of rubato to introduce the
primary theme which happens in the next section. A slow middle section played by the muted
trumpet, is an expressive cantabile interlude which is inserted between the development and
recapitulation sections. The frisky main theme then returns with a cadenza and the last section
with a final flourish that concludes the concerto brilliantly.

The premiere was performed by soloist Haykaz Mesiayan and the USSR State Orchestra in 1950,
conducted by Karl Eliasberg.

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THE CRIES
OF LONDON
Martin Ellerby

THE CRIES OF LONDON was commissioned by, and is dedicated to, the Regimental Band of
Her Majesty’s Coldstream Guards and their Director of Music, Major Graham O Jones MBE.
The work was completed in early 2005 to a given brief that the piece should celebrate the City
of London. As the band is based at Wellington Barracks in Westminster and I had myself both
studied and lived in London for many years I have endeavoured to capture both historic aspects
and the contemporary spirit of Londinium into the final product. Although the work is cast in six
movements, two of them form introductions to movements proper, therefore it could be argued
that the piece is effectively in four movements. The reasoning behind the two ‘preludes’ is to
personalise the work for the commissioning band. All British Army Regiments have their own
bugle calls and I wanted to incorporate the Coldstream Guards’ signal into the composition.

I. DAWN WATCH
Opens enigmatically with an atmospheric texture that leads into four trumpets echoing the 1st
Battalion Regimental call. A chorale in the lower brass plays against this building towards the
celebratory second movement which is played without a break.

II. WESTMINSTER CHIMES

The famous bell motif is subjected to much majestical manipulation before a bright and
unexpected cadence concludes its overture status.

III. A DREAM OR TWO (A SONG FOR LONDON)

Makes use of the band’s male vocalist and is cast in the manner of a popular song celebrating
London Town. The traditional text of ‘London Bridge is falling down, my fair lady’ provides the
impetus for the song’s structure. The words themselves describe the movement, the ‘fair lady’
being the City itself:

London Bridge is falling down, falling down, falling down.

London Bridge is falling down, my fair lady.
London Bridge is broken down, broken down, broken down.
London Bridge is broken down, my fair lady.

I could dream a dream or two,

One for me and one for you.
Then I’d make them both come true,
My fair lady.
Mirrored in her face,
Magical with grace,
Everywhere around her story.
Through her misty eyes,
To the distant skies,
Nothing can destroy her glory
As the sun comes shining down,
On the life of London Town:
Let the sunshine shine on you,
My fair lady.

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IV. CATCH THAT CATCH CAN
A scherzo based on a series of rounds written in the 17th and 18th centuries by composers
living and working in London. The opening catch forms a ritornello (returning motif) and the
words are appropriate: ‘Row the boat, Whittington, thou worthy citizen, Lord Mayor of London’.
Various ensembles from within the band are then featured playing other rounds the order being
‘The Watchman’s Catch’ (anon.) for clarinets, flutes and a bassoon with a jazz influenced string
bass; the Ritornello; a repeat of ‘The Watchman’s Catch’ for saxophones and flutes with Gaelic
percussion; the Ritornello; a Henry Purcell round (1701) for the percussion section; the Ritornello;
a second Purcell round (1701) for euphoniums and tubas; a third Purcell (1686) for flutes and
clarinets with jazz string bass; a catch by William Lawes (1667) which curiously alludes itself to
the Westminster chimes motif and has some humorous additions! The Ritornello makes a final
appearance to close the movement in robust fashion.

V. EVENING WATCH
A minor key working of the initial Dawn Watch movement with an air of sadness to it. This leads
into the final movement without a break.

VI. HYMN
A creative arrangement and composition on the British National Anthem. At first the melody is not
present but gradually enters the process as the movement builds to an epic and glorious conclusion.

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THE INN OF THE
SIXTH HAPPINESS
Malcolm Arnold, arr. Munetoshi Senoo

THE INN OF THE SIXTH HAPPINESS is a 1958 film, of which the musical score was composed
and originally conducted by British composer Malcolm Arnold, and was written for Symphony
Orchestra. The three movements in this arrangement are:
1. London Prelude
2. Romantic Interlude
3. Happy Ending

The film is based on the true story of Gladys Aylward, a tenacious British woman, who became
a missionary in China during the tumultuous years leading up to the Second World War. Aylward
initially secures a post as an assistant to a veteran missionary, who is also the owner of an inn
for travelling merchants, and Aylward eventually takes charge of the inn when the owner dies in
an accident.

Later on in the film, as China is being invaded by Japan, and as her county comes under attack,
Aylward finds that she has a hundred orphans in her care, and she must lead them on a trek across
the countryside to be evacuated to a safer area. The third movement (“Happy Ending”) of this
arrangement makes use of the English folk song “This Old Man”, which is the song Aylward and
the children sing as they march into the country to keep up their spirits.

Sir Malcolm Arnold has composed music in many genres, including a cycle of nine symphonies,
numerous concertos, concert works, chamber music, choral music, brass and wind band, theatre,
opera, a musical, and more than a hundred films. Other popular compositions and arrangements
of his in the wind band literature include “Four Scottish Dances”, “Prelude, Siciliano and Rondo”,
and “The River Kwai March”.

LA LIRA
DE POZUELO
Luis Serrano Alarcón

LA LIRA DE POZUELO is a symphonic pasodoble commissioned by the Asociación Músico-

Cultural La Lira of Pozuelo, in Madrid, for celebrating the XX anniversary of the establishment
of this society. Although the piece has a very common structure (a first theme in F minor and
a Trio in F major connected by a long transition) La Lira de Pozuelo is a very particular and
personal pasodoble: The composer explores armonic and tonal ways very unusual in the classical
pasodobles but without distorting the genuine flavor that impregnates all the piece.

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EXTREME
MAKE-OVER
Johan de Meij

EXTREME MAKE-OVER consists of a number of musical metamorphoses on a theme from Peter

Ilyich Tchaikovsky’s well-known Andante cantabile (the second movement of his String Quartet
no. 1 in D, Op. 11, written in 1871). “Never in my life have I felt so flattered, never have I been
so proud of my creative powers as when Lev Tolstoy sat in the chair next to mine listening to
my Andante, and the tears ran down his cheeks,” wrote the composer in the winter of 1876 on
the occasion of a special concert organised for Tolstoy at the Moscow Conservatory. In 1888,
Tchaikovsky arranged this movement for cello and orchestra.

The main theme of the Andante cantabile is based on a Russian folksong. In Extreme Make-
over, this theme is introduced in its original form by a saxophone quartet. At the theme’s
reprise, oboes and bassoons join the quartet, while clarinets and vibraphone sneak, almost
inaudibly, alongside the soloists and elongate each note of the melody, as though the
sustaining pedal on a piano has been depressed.

The first metamorphosis emanates from a single tone, to which the two successive tones
from the theme are added in bell-like chords. The addition of the lower second results in a
completely new sound world, completing the first metamorphosis. Anticipating the canonic
theme from the finale, a timpani solo form the transition to the alla Marcia. This movement is
composed in a robust neo-classical style and is peppered with quotes, including fragments from
Tchaikovsky’s Fourth and Sixth Symphonies and the Fantasy-Overture Romeo and Juliet.

The following movement features a rather unconventional instrumental group: ten tuned
bottles, played by members of the woodwind section. This group eventually provides the
accompaniment for an extensive marimba solo, gradually producing a sort of gamelan effect. In
composing for the tuned bottles, I have applied the ‘hoketus’ technique: each player produces
a single note of the melody or the chord.

This fragile movement is joined seamlessly to the finale, a canonic treatment of the theme.
Hurtling through each instrumental group, it leads us to a festive conclusion.

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THE
PHILHARMONIC
WINDS
The word “Philharmonic” translates to a fondness or devotion to music, and The Philharmonic Winds truly
embraces that. The members of the wind orchestra came together because of a common love for music, and
ever since have endeavoured to present the finest music for wind orchestra to the Singaporean audience.

Formed in 2000, The Philharmonic Winds has grown to more than 80 dedicated members. A congregation
of skilled musicians from all walks of life – tertiary students to working professionals, music students to
wind band instructors – The Philharmonic Winds is proud to be home to a thriving musical community.

Amongst a myriad of notable performances, The Philharmonic Winds has performed a collection of
landmark works from the wind band repertoire, ranging from the symphonies of Paul Hindemith and
James Barnes to well-known favourites of Alfred Reed and Adam Gorb. The wind orchestra is also well-
versed in a variety of musical styles, having explored the lush and humorous music of Percy Grainger, the
genius of Mozart and Varèse, and jazz standards.

The Philharmonic Winds is privileged to have collaborated with renowned musicians and soloists from
all over the world, and performed under the baton of distinguished conductors such as Principal Guest
Conductor Timothy Reynish (GBR), Felix Hauswirth (SWE), Douglas Bostock (GBR), Johan de Meij (NL),
Luis Serrano Alarcón (ESP), Yasuhide Ito (JPN), Surapol Thanyawibool (THA), John Boyd (USA), Zechariah
Goh Toh Chai (SG), Luk Hoi Yui (SG), founding Artistic Director Robert Casteels (BEL/SG) and Music
Director Leonard Tan.

As one of Singapore’s premier arts flag-bearers, The Philharmonic Winds is proud to have received much
recognition on the world stage, from being the first wind orchestra from Singapore to be awarded a Gold
medal with Distinction in the First Division (Harmony Band) in the World Music Contest in Kerkrade, the
Netherlands in July 2005, to invitations to perform at the prestigious Japan Band Clinic (2009) and the
World Association for Symphonic Bands and Ensembles (WASBE) Conference in Chiayi, Taiwan (2011).

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More recently, The Philharmonic Winds clinched Second Prize at the 127th Certamen Internacional de
Bandas de Musica – Ciudad de Valencia (the International Wind Band Contest “City of Valencia”) in 2013,
and performed at the closing gala concert of the Hong Kong International Band Fair in 2014.

An avid supporter of local music, The Philharmonic Winds has staged four concerts dedicated to works
by Singaporeans and Singapore-based composers. The Philharmonic Winds has collaborated with many
local talents from other musical and arts genres, such as stage actors Sebastian Tan and Gani Karim,
singers Benjamin Kheng, Charlie Lim, Nathan Hartono, Tay Kewei, Tay Kexin, George Chan and Lindy
Chia. The wind orchestra has also collaborated with Dingyi Music Company, Ministry of Bellz, Vocal
Associates, sand artist Lawrence Koh, young soprano Corey Koh, storyteller Kamini Ramachandran and
narrator/actor William Ledbetter.

Besides its regular concert seasons at the Esplanade Concert Hall and overseas performances, The
Philharmonic Winds also regularly participates in arts outreach performances and presents free community
outreach concerts in the heartlands including Tampines and Ang Mo Kio, as well as in malls, to reach out
to the masses, build new audiences and bring music to more Singaporeans. As The Philharmonic Winds
develops into a mature music institution, it believes in playing a part to better society in more ways other
than bringing music and the arts into the lives of Singaporeans. In December 2014, The Philharmonic
Winds held a concert entitled “Circle of Life – A Night of Musicals” and helped to raise $35,000 for
children cared for by the six member charities under The Children’s Charities Association of Singapore.
In 2015, The Philharmonic Winds performed at the Yellow Ribbon Prison Run which raised more than
$85,000 for the Yellow Ribbon Fund. At the Run, The Philharmonic Winds performed with two inmates,
including a special arrangement of a song written by one of them.

The Philharmonic Winds is constantly striving to present fresh and exciting quality music to its audiences
and aspires to achieve professionalism in all aspects of music-making, with the aim of becoming one of
the finest wind orchestras in the region.

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JOIN US
Calling all music lovers!

We hope you have enjoyed this evening’s concert. The Philharmonic Youth Winds is always welcoming
young and aspiring musicians to join in our passion for music-making! If you are indeed such a
musician, do consider becoming a part of our group of eclectic young musicians! Simply download
the application form available at philharmonicyouthwinds.weebly.com/join.html and email to us at
philharmonicyouthwinds@gmail.com.

Please do not hesitate to contact us should you have further queries! We look forward to having you!

ACKNOWLEDGEMENTS
Presented by Organised by

The Philharmonic Youth Winds would like to express our deepest gratitude to the following, without
whom this concert would not have been possible:

The Philharmonic Winds’ Board of Directors, for their unstinting support towards our artistic
endeavours.

The Philharmonic Winds for their guidance and advice.

All past conductors and soloists for sharing their musical experience with us.

All individuals and organisations who have, in one way or another, contributed to the development
of the Philharmonic Youth Winds.

Our families, friends and loved ones, for their support and understanding.

And you, our audience, for your presence here with us tonight.

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