BENG, Mervin Kian San
Performing Arts in Singapore (Music),
Accession Number 002967
- Oral History Centre
Source
- 18
Total Reels
- Samuel Sng
Interviewer
- 17:30:21
Total Running Time
- English
Language
Copyright Notice
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Reel/Disc 1 of 18
Metadata
- 15 Aug 2005
Recording Date
- 00:58:27
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Born in 1959 into a Peranakan family. Youngest of three brothers and a sister. His father was a compradore in a British trading company while his mother was a housewife. Family members were musical. His eldest brother led the Goh Soon Tioe and University of Singapore orchestras. His sister learned under Victor Doggett. Learned the piano under his sister and violin under his brother. Played euphonium in the school band, later switched to horn. Learning the piano. Started on a quarter-sized violin. Violin lessons under his brother. Why he stopped learning piano. Rudiments of violin playing. Had a good pitch and intonation.
His elder brother was probably the earliest violin teacher to use a quality recorder for playback. His violin lessons on Saturdays. Stopped violin lessons at Grade 6. His first piano teacher. Changing piano teacher. Stayed opposite the Bukit Timah university campus. The piano at home. Changing violins. Listening to records. His record collection. Little classical music on radio. Classical music in cartoons. Music classes in school. His favourite records. Attending concerts sparked his interest in classical music. Exposure through concerts. His musically-talented classmates. Learning under his second piano teacher. Music lessons in Anglo Chinese School.
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Reel/Disc 2 of 18
Metadata
- 22 Aug 2005
Recording Date
- 00:58:35
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
His primary school days in Anglo Chinese School (ACS). The school instilled Christian values. Important school events. The music room. Learning new tunes from song booklets and hymnals. The weekly chapels. Learning two-part songs. His primary one music teacher. Entered the St John’s Ambulance in secondary school. Joined the St John’s band and school orchestra. Musical groups within ACS. The St John’s band configuration. The band’s repertoire. Joined the school military band later. The St John’s band played during weekly parades under drum major Eric Ang. Band practices. The St John’s room.
Learning the euphonium. Finetuning his technique. Why the euphonium was unique. The St John’s band also played during important school events. Moved over to the school military band as a euphonium player. Switching to the french horn. The school military band played repertoire for symphonic bands. Music lessons under Mr Lim Peng Ann. The music room. Mr Lim introduced records on famous composers. Mr Lim’s records. Duration of music lessons. Seow Yit Kin and Barry Tuckwell performed at ACS in the 1970s. Mr Lim nurtured musically-talented boys and was a Straits Times concert reviewer. Joining the school military band.
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Reel/Disc 3 of 18
Metadata
- 29 Aug 2005
Recording Date
- 00:58:26
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Joined the school miliatary band in secondary four. Band practices. The military band’s configuration. Typical band practice. The bandroom. Lim Peng Ann enlisted police instructors and video recording to prepare for competitions. Police instructors. Marching formation. Competition format. Crescent Girls band was good in symphonic music arrangement. Music scores were from TMA and Swee Lee. Venues for band competitions. Schools with good bands. Emerged tops in Yamaha Music School’s brass and woodwind competitions. How Peng Ann led the military band.
The Combined School Orchestra’s 1976 Brunei tour. Patricia Goh coached the school orchestra. Peng Ann used military band players for orchestral works. Recruiting musicians. Pre-university students in the orchestra. Played second violins. Almost half of the 25-strong orchestra learned under Goh Soon Tioe. Boys playing in two orchestras. Saturday morning rehearsals. Repertoire for school functions. The student conductor. The orchestra had no brass or woodwinds. Greater emphasis on bands. Schools with orchestras. Most ACS musicans played in the Singapore Philharmonic Orchestra. His orchestral exposure. Possible background of school orchestra. Repertoire for school functions. Performing in the school hall. Orchestral size for symphonic works. Combined mass military bands during National Day. Military band attire. Patricia’s role in the school orchestra.
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Reel/Disc 4 of 18
Metadata
- 10 Oct 2005
Recording Date
- 00:58:01
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Patricia Goh coached the Anglo Chinese School (ACS) orchestra with En Lai as leader. Prominent string players. The orchestra’s artistic direction. The orchestra mainly supported school events. The orchestra festival at ACS. Schools with orchestras. Most students learned under Goh Soon Tioe and Harry Khoo. Pre-university students played in the orchestra. The Anglo Chinese Junior College started a 12-member string ensemble in 1977. Lynette Seah played in the ACS orchestra. Why there were few school orchestras in the 1970s.
Differentiating the Singapore Youth Symphony Orchestra (SYSO) and Combined Schools Orchestra (CSO). He played in the CSO. Why he did not play in the SYSO. Many SYSO players eventually formed the Singapore Philharmonic Orchestra (SPO). The CSO’s 1976 Brunei tour with Toh Chee Hung as soloist. Chee Hung’s musical credentials. His impressions of Chee Hung. Facilities and rehearsals at the Extra-Curricular Activities Centre. Police Band players coached the CSO wind players. Goh Say Meng conducted the SYSO. Comparing Say Meng, Shalom Ronly-Riklis and Yoshinao Ozawa. Playing in the 1977 first Festival of Arts. ACS players in the CSO. Highlights of the Brunei tour. Why the SPO was started. Lee Pan Hon was soloist at the 1977 Festival of Arts.
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Reel/Disc 5 of 18
Metadata
- 2 Nov 2005
Recording Date
- 00:58:33
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
The 1977 Festival of Arts. Yoshinao Ozawa conducted the opening concert. The Festival Orchestra and its musicians. Ozawa’s musical involvement with the Extra Curricular Activities Centre (ECAC). Works played during opening concert. Rehearsals were probably at ECAC. Impressions of Lee Pan Hon. John Lim, Public Relations Manager of Mobil, spearheaded publicity for Festival of Arts. Ozawa’s personality and conducting style. The final rehearsal was probably at the Victoria Theatre. Pan Hon’s body language while performing. The Festival Orchestra sparked the formation of the Singapore Philharmonic Orchestra (SPO).
His transition to junior college. The Anglo Chinese Junior College (ACJC) string ensemble and its musicians. The string ensemble mostly played for school occassions. Rehearsals at the bandroom. Facilties at ACJC. The canteen strikes. Attire and repertoire for performances. Technical standards of musicians. Lim Peng Ann led the ACJC Band. Participating in band competitions. Piano competitions organised by the ACS Musical Society. He played in the ACJC string ensemble and band. Participating in band competitions. Forming the SPO in 1978. He attended rehearsals in army uniform. Musicians in SPO. Ozawa conducted the SPO. Ozawa’s rapport with musicians. Works played with the SPO. Rehearsals at the Regional English Language Centre (RELC). Size of SPO.
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Reel/Disc 6 of 18
Metadata
- 28 Nov 2005
Recording Date
- 00:58:24
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Robert Iau formed the Singapore Philharmonic Orchestra (SPO). Robert’s vision for SPO. How SPO complemented other amateur orchestras. SPO was essentially the Festival Orchestra with additional wind players. SPO musicians from Goh Soon Tioe String Orchestra. SPO’s infrastructure. Overheads for SPO. Yoshinao Ozawa enlisted Japanese musicians in SPO. Impressions of Japanese musicians. Impact of SPO on local music scene. Police Band players in brass section. Varying standards of SPO musicians. Technical influence from expatriate players. Impressions of New Zealand trombonist and banker Lun Kok Yen. Chan Tze Law and Siow Lee Chin were youngest SPO musicians. Playing with musicians of diverse ages. Ozawa was good with young musicians. Ozawa’s high expectations of Japanese musicians.
Principal players in SPO. There was only one Japanese player in each section during concerts. Interaction among musicians. Supper after rehearsals. Playing with poor quality instruments. Played the horn in SPO. Demographics of SPO musicians. Juggling between work and SPO. Musicians were self-motivated. Weekend rehearsals. Weekday rehearsals starts around 7 pm. Learning ensemble work. Ozawa’s approach towards music. Ozawa favoured a “Russian” sound. SPO concerts. Singapore Conference Hall’s acoustic. Final rehearsals. Singapore Conference Hall’s facilities. Concert attire. Audience demographics for SPO concerts. SPO performed one evening.
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Reel/Disc 7 of 18
Metadata
- 5 Apr 2006
Recording Date
- 00:58:36
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Singapore Philharmonic Orchestra (SPO) was formed by December 1977. SPO’s first concert. Possible corporate sponsors. Publicity for first concert. Possible ticket prices. Robert Iau, John Lim and Sheila Murugesu were running SPO voluntarily. Impressions of Singapore Conference Hall. Rehearsing for SPO’s second concert. Works that SPO performed. Toh Chee Hung played Chopin piano concerto with SPO. Attendance for SPO concerts was good. SPO performed one evening. Concert programme. Profile of musicians. Possible size of orchestra. Leaders of various sections. Impressions of Siow Lee Chin and Lim Shue Churn. Yoshinao Ozawa flew in Japanese musicians as section leaders. Brass section. There were five horn players. Youth orchestra was inactive during SPO’s existence. Flute section.
Non-conservatory musicians played in Singapore Symphony Orchestra (SSO). Impressions of Tan Peng Tow. Players in 1977 Festival Orchestra formed SPO. Amateur orchestras hardly evolve into national orchestras. SPO was major step towards professionalism. Why SPO gave way to SSO. Most national orchestras have professional musicians. SPO musicians destined for music careers. Asian Music Camp was turning point for talented SPO musicians to turn professional. SPO musicians joining SSO. American and expatriate musicians in SPO. Experience of playing in SPO concert. Ozawa’s musicianship.
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Reel/Disc 8 of 18
Metadata
- 26 Apr 2006
Recording Date
- 00:58:40
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Singapore Philharmonic Orchestra (SPO) conductor Yoshinao Ozawa focused on emotional aspects. Technical standards of brass section. Standards varied among sections. Double bass players. Storing large instruments. Logistics for rehearsals. Brought scores home to practice. Ozawa adopted moderate tempo for most works. Ozawa’s conducting style. Comparing Ozawa and Choo Huey. SPO management committee was not particular about rehearsal attendance. Japanese expatriate musicians only played one concert. Interacting with Japanese musicians. Profile of Japanese musicians. Final rehearsals were extended sessions. Toh Chee Hung rehearsed with SPO at the Regional English Language Centre (RELC). Chee Hung’s engagement was the only concerto SPO played.
Ozawa’s conducting and stage personality. Audience reception. Ushers and starting time for SPO concerts. Musicians arrived early. Concert attire. Winds played on raised platform. Coping with acoustics in the Singapore Conference Hall. Audience expectations for SPO concerts. Japanese musicians improved technical standards. Ozawa was reasonably experienced when conducting SPO. Overseas and local groups that Ozawa conducted. Rehearsal room at RELC. Chee Hung was already based in England prior to SPO engagement. Impressions of Chee Hung. Alternatives for SPO conductors. Why Ozawa was main choice to conduct SPO. Robert Iau help to start SPO. His surprise at SPO’s sudden closure.
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Reel/Disc 9 of 18
Metadata
- 22 May 2006
Recording Date
- 00:58:19
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Meeting to announce closure of Singapore Philharmonic Orchestra (SPO). Starting a full-time professional orchestra. SPO musicians played in other amateur groups. Last saw Ozawa in final concert. Ozawa improved local interest in orchestral music. Some SPO management committee members continued to nurture local arts scene. Participated in Asian Youth Music Camp in December 1978. Singaporeans attended. Extra Curricular Activities Centre (ECAC) was main coordinator. Auditions for camp at ECAC. Particpating countries. Singaporeans in various sections. Took unrecorded leave during National Service to attend. Camp objective. Camp orchestra. No camp fees. Works featured. Camp held at National Community Leadership Institute.
Prominent foreign players. Played chamber music. Comparing local and foreign players. Selecting principal players. Horn section. Choo Huey conducted camp orchestra. Impressed with Choo Huey. Stayed in dorms. Alex Abisheganaden performed with Indian musicians during camp. Site trips to tourist spots. Alex was overall in charge. Typical programme. Rehearsals and sectionals. Ad-hoc chamber music. Interaction among musicians. Worked under flute tutor and principal horn. Orchestra rehearsals. Comparing Yoshinao Ozawa and Choo Huey. Many good Australian musicians. Struggled with horn parts. Hall for orchestra rehearsals. First time playing Beethoven’s Symphony No. 7 and its challenging horn parts. Individual practice and free time.
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Reel/Disc 10 of 18
Metadata
- 10 Jul 2006
Recording Date
- 00:58:30
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Orchestral rehearsals during 1978 Asian Youth Music Camp (AYMC). Concert at Singapore Conference Hall was ticketed and well-attended. Choo Huey conducted orchestra. Media coverage for concert. Musicians autographed programmes after performance. Concert featured Schubert’s Rosamunde Overture and Beethoven’s 7th Symphony. Audience reception. Performance attire. Reception at Istana and possibly US Embassy. Casual dressing. Interacting with Choo Huey’s wife at reception. Sight visits to Jurong Bird Park and Centrepoint. Forging new acquaintances. Benefits of attending AYMC. Around half of people at 1978 AYMC later become Singapore Symphony Orchestra musicians. Attended the 1979 AYMC in Hong Kong. Auditions before camp.
Singaporeans who attended Hong Kong camp. Music Office in Hong Kong coordinated AYMC. Recommended Robert Johnson as AYMC horn tutor. Hardly interacted with younger Singaporean players. Worked with Sir Yehudi Menuhin and Gary Karr. Works performed. Camp was at youth hostel in Wu Kwai Sha. Daily routine. Performed at Hong Kong Concert Hall and outdoor venue. Impressions of Menuhin and Karr. Learning to communicate with audience through music. Karr gave recital. Played chamber music. Robert Johnson tutored horn section. Alex Abisheganaden was coordinator for Singaporeans during camp. Mixed feeling about playing under conductor David Stone. Rehearsals with Menuhin and Karr.
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