Aboutthe Arrangements PHOON YEW TIENFor manyyears, I have always had the urge to arrange some of my favorite old songs for orchestraand have them recorded. Due to various reasons, it hasn’t happened until now. Havingfinally started arranging, I was elated. Actually,many old songs are almost complete in musical forms, filled with inspiration andlingering charm. What is hardest to replace is the essence of the era. Then whyarrange? Having listened to old songs for a long time, I realised that theyhave emotional sincerity, and a skilfully and carefully written melody. The harmony(which may be written by another person) is often thoughtful and intelligent.Recently, in those early days, these recordings were limited by the uneven standardof the musicians. On careful listening, many hidden qualities of the piececould further be enhanced, for example: the vocals ought to be the mostbeautiful aspect of the song. Anyway, it’s too late - even if the originalsinger can be located - to recreate those years. Still, we may be able to dosomething today. Also, there is another important reason: my personal deep interestin these songs and in arranging them.So, Idecided to have a go at it.Whilearranging, I used different approaches to the different styles of the songs,but the overall basic philosophy is to maintain the spirit of the originalsong, if possible. Yet, it is only a possibility because it is impossible torecreate the effects of the original recordings, especially when I arrangedthese songs for symphony orchestra. In addition, some of the original arrangementswere not very good or even had errors (or had faulty playing. That, of course, can’tbe copied blindly. In any case, I still preserved all the periodic andpersonality details. I got very nostalgic, even though it was unprofessional ofme to do so. Old songs are themselves an embodiment of memories. If you’refamiliar with old songs, when you listen to these arrangements, it’ll be easierto empathise and feel that some of the details are duplicated. This is theambition of my efforts.On theother hand, when I am arranging the music, I didn’t consult the score otherthan for the lyrics. These songs hove long been in my heart. But to be on thesafe side, I listened carefully to the original recordings as carefully aspossible to confirm the harmony and instrumentation, hoping not to missanything important. Overall, I remained faithful to the original songs, andthese songs will not need new inspiration and creativity. If you felt a little "nostalgicfamiliarity", then you make me feel very happy.Since themusic is now symphonic Ifor symphony orchestral, there were considerations oforchestration. Also, I was forced to improvise especially when the originalrecordings could not be found. The resultant work that you hear is a synthesisof my memory with my own ideas.Really, theintentions behind these are for you, the listener - a means of enjoyment. Atthe thought of this, I must thank Yellow River for their understanding and broad-mindedness.WISHESOF A ROSE"Yousay I am like a rose swaying in the soft breeze of spring. If I am the rose youare the breeze - and my swaying is for you!” A popular song in the 50s, thiswas Grace Chang’s signature tune. The arranger has used a quicker tempo and itis now a dance song.ENDLESSLOVE"Ican’t forget your wrongs, 1 can’t forget your goodness ... the walks in therain, the embrace in the cold winds." The theme from the movie,"Endless Love" was sung by Ku Mei. The song tells of the love-haterelationship between lovers. It won the Best Sound track Award in the 1962 AsiaMoive Awards.GIRLS ATEIGHTEEN’Ah! Thebeauty of girls at eighteen, with their big eyes and lovely brows. Bright pink lipsframing two rows of pearly white teeth, the radiant beauty just like theglowing of the setting sun." A lively tune, it depicts joy at the bloom ofyouth.AZALEA"Inthe bleak days of March, the Azalea blooms on the hillside and beside the riverstreams, its beauty reminds one of the pretty village maiden." Anotherpopular song, this had been sung by many singers. However, none could match KuMei’s rendition for her depth of feelings.REUNIONAFTER THREE YEARSThesweetness of re-union after three long years separation is amply portrayedhere. A Chou Hsuan song, the song seems mirror her tragic life.TURBULENTLOVE "Theglow of spring showers on blooming flowers; the brilliant colours of leaves andflowers has given us a new lease of life. Inseparable feelings linger, our lovefor each other, the turbulence of love is a mystery, enhanced by the presenceof spring. The turbulence of love is a mystery, captivated by the presence of Spring"This song was composed by the renowned Yao Min, who is still fondly regarded.LOVEREMINISCENCES"Eternaltenderness that resembles the spring water flowing towards you. Did you sense itspresence? You shadow has penetrated into my heart, your every single word andthought had never failed to linger. I always wished for a night to reveal myfeelings for you, to dampen your mood" This song by Chou Hsuon from a filmis filled with tenderness and sadness.LOVER’STEARS"Whyam I crying for you -don’t you understand. It’ because of love. Only lover’stears are the most precious, each drop is filled with love." This song byPan Siew Chiong generates lots of nostalgic memory. You will be touched by thelyrical cello’s deep warm tone.SHEPHERDESSThis is asentimental song which encompasses the beauty of the pasture, and the warm feelingsof a girl. This song shows the shepherd girl on a hill top with sheep facingthe pasture, looking at the beautiful scenery, dreaming of her faraway lover.This familiar song will remind you of another song "At That FarawayPlace".BLESSING"Ourfamily is harmonious, peaceful like paradise. You are a lucky flower, bloomingin the breeze of spring. Bless you little child, bless you that you grow uphappily. "This song is sung by Kong Chiu Xia. The melody is soothing anbeautiful. Towards the end of the song, the piano plays the melody of the"birthday song".PEACHFLOWERS"Peaceflowers blooming everywhere, seen from far and near. With a stalk in front, itsraritybecomes obvious, Everybody loves peach flowers, its fragrance is loved by all,with a wreath of peach flowers on your head, your love for it is eternal"This is one of the theme songs from a movie, and the singer is Yao Li. Thislively song has a relaxed feel, praising the beauty of the peach flowers.LITTLESCHOOLBOY"Thelittle schoolboy heads for school with his bag on his back, braving thescorching sun and the thunderstorm, only fearing his teacher scolding him forbeing lazy, feeling ashamed of facing his parents without acquiring anyknowledge. "The singer of this familiar song is Liang Ping, lyrics by SongYang in early 1945.WHEREARE YOU, MOTHER?"Theflock of swallows come and go, covering millions of miles, have you everobserved them cleary? My swallow, have you news of my mother? The vagueness ofmy childhood is just like a dream, but the tenderness of my mother is very clear"One of the theme songs of a movie, it is an emotional song in triple time, sungby Ku Mei. This song shows the longing for the far away mother.MOONLITNIGHT"Theclear moon in the sky, I use it as my mirror. Every quiet night that arrives,reflects my beauty and youth. Brother, you think I am too young, but love youmore than your wife. Whenever one listens to this melody that expresses thebitterness of a woman unlucky in love, one will think of the singer Wu Ying Yin’sbright but nasal voice. The accompaniment of this song has a strict pattern.The woodwinds play the fast second theme, making the song sound playful.TAIWAN’SLITTLE TUNE This songwas named "Night in Nandu" by Xu Shi in the 40s. It later became oneof the theme songs from the movie "Air Stewardess". I love awonderful place called Taiwan, sing a song of Taiwan, with its long windingcoastline, mountainous inland, with the forest by the hillside which is atreasure. With good roads and rail lines, the beautiful scenery of the PacificOcean, Taiwan is indeed an island of treasures." This fast-paced song islike travelling in a car admiring the beautiful scenery of Taiwan.PhoonYew TienPresentlythe Head of Music at the Nanyang Academy of Fine Arts, Phoon began his compositionstudies in the seventies with Leong Yoon Pin. In 1980, he was offered ascholar-ship by the Singapore Symphony Orchestra to pursue his musical trainingin the Queensland Conservatorium in Australia. Within four years, Phoongraduated with a degree in Music Composition and a degree in Music Instrumental(Flute) simultaneously. While in Australia, he had studied composition underElaine Dobson, Alen Lane and Karl Vine and the flute under David Cabbin,Geoffrey Collins and Louise Dellit.Phoon’s diversifiedand imaginative composition skills may be testified by the string of awardsreceived, including the distinguished awards in "Our Songs" WritingCompetition (1977), Nanyang University Song Writing Competition (1978) and"Song for Workers" Writing Competition (1978). In Australia, he wasthrice awarded the prestigious Dulcie Robertson Prize for composition in theyears 1980, 1981 and 1983. In 1984, his composition, "Autumn" won himthe Yoshiro Irino Memorial Prize by the Asian Composer’s Society.In additionto receiving commissions from the Singapore Symphony Orchestra, the SingaporeYouth Orchestra and the People’s Association Chinese Orchestra, Phoon has beenapproached annually by the Hwa Chong Junior College Chinese Orchestra from 1981to 1991 to write for the college’s yearly public concert. His works are alsoregularly featured in the "New Music Forum" - the platform forcontemporary music.Phoon hadcollaborated with various dance and drama groups and Singaporean artists suchas Tan Swie Hian, Kuo Pao Kun, Goh Lay Kuan and Lim Fei Shen. Many of theseworks were performed in the Singapore Festival of Arts, Festival of Dance andthe ASEAN Arts Festival. Outside home, Phoon’s work have been performed byvarious orchestras in Hong Kong, Taiwan, England, New Zealand, Japan,Australia, France and Italy.Phoon hasestablished himself as possibly the most promising and imaginative composer ofhis generation. His music successfully combines a basically Chinese idiom withcontemporary techniques and styles. It is often transparent and spare intexture, making effective and use of tone colour.