As We Speak
Sunday, 14 April 2019 @ 3:00pm
Yong Siew Toh Conservatory, Orchestra Hall
Poor Margie by Florent Ghys
The composition is molded around the voice of the video, narrating the story of Margie preparing a chocolate cake for her husband. The video was created in the ’50 for a class of home economics in a US University. Nowadays, we look at it in a different way.
Stop speaking by Andy Akiho
The text of this composition was created using the text to speech function of the MacBook Pro. The percussionist is interacting with it through a variety of snare drum techniques.
Dorian Reeds by Terry Riley
This arrangement of the piece, that was originally improvised by the composer on sax, is an invitation to slow and careful listening to the meanderings and details of sound and melodies.
Red Sheep by Vanissa Law
“Red Sheep” is a piece that distance itself from the rest of the compositional output of composer Vanissa Law; that’s why it refers to the expression ‘black sheep’, as something that doesn’t fit in, with the consideration though that red is quite a more striking color. The piece features a video projection activated in real time by the soundscape”.
Titik-titik by Adeline Wong
About the composer
Singapore-based Malaysian composer Adeline Wong’s music has often been described as bold, with textural energy and kaleidoscopic colours. Her recent music is marked by the use and concentration of as little material as possible and exploring them from every possible perspective. Adeline is a faculty member of the Yong Siew Toh Conservatory of Music, where she teaches music composition and theory.
More information on the composer’s music can be found at www.adelinewong.com
About the work
Tic tac sounds, whirring buzz from a toy fan, short hiccup sounds, annoying and at the same time hilarious oral noises from two children (my 5-year old niece and 7-year old nephew) were the continuous sound patterns during a recent family holiday. I became interested in these sounds that resonate with mischief and simple joy of the chatter of these two energetic kids.
Titik-titik which means dots in Malay refers to predominantly short sounds and gestures that one hears in this work. Written for piano and percussion (vibraphone and cymbals), the work begins with piano solo introducing the basic material of the work, the interval of a fifth. Throughout the work, one hears this interval being passed around in different textures such as short staccato passages, swift tremolo figurations, and muted sounds from the piano and percussion. The two performers communicate in a conversational-like manner characteristic of a dialogue between children. At times in soliloquy, at times soothing and persuasive, at times argumentative, at times in competition and finally fading off when the energy runs low.
Gentle acts by Marta Forsberg
This piece has multiple inspiration sources: the cycle of light in the Nordic European countries, a trip to Japan, poems and writings from Channa Riedel, Juliana Spahr and Donna Haraway. It creates a temporary private space, and invites to reflect on the opposition between “gentle acts” and “acts of war”.