A Timeless Love
Tabitha Boon: Ronningesjon (Solo)
Robert Schumann: Kinderszenen Op. 15
Federico Mompou: Song and Dance No. 9
Edvard Grieg: Wedding Day At Troldhaugen Op. 65 No. 6
Enrique Granados: Goyesca, H. 64 No. 1: Los Requiebros (Solo)
Duration: Approximately one hour
Tabitha Boon went to Ronningesjon, a lake in Lottingelund, Stockholm and it was described to be a very mysterious lake. The composer had never seen a lake where the bottom wasn’t visible and the surrounding forest was dark yet pleasant. Tabitha Boon felt mixed feelings of wonder and hesitation as she describes the scenic view much like a fairytale land where she was spirited away.
KINDERSZENEN, OP. 15
“An echo of the words you once wrote me to the effect that ‘you considered me at times almost like a child.’ In short, I really felt like a youth again, and I jotted down about 30 of these charming little things, from which I selected 12 [later 13] and called them Scenes from Childhood. I’m sure you will enjoy them, but of course they will not satisfy you as a virtuoso.”
Kinderszenen or as it is usually translated, Scenes from Childhood is a set of miniatures with titles that evoke memories of childhood. Don’t’ be fooled by its title and assume that it’s a children’s song. Scenes from Childhood contain13 captivating miniatures that illustrates through sound, the emotional world of children, with maturity and sophistication. The piece was intended to portray a feeling of nostalgia and put the audience into the head and shoes of a child. The music presented is warm and reminiscent.
Song and Dance No. 9
“My only desire is to write works in which nothing is missing and nothing is superfluous”
Mompou’s Canciones y Danzas were composed between the years of 1921 and 1963. The piece literally comprises of two characters, the ‘Song’ being slower like a cantabile while the ‘Dance’ is lively and inspired by Catalan folklore.
This Song and Dance No. 9 empowers the audience with a sense of freedom within the opening section. The melody is always returning in a different voicing. The second waltz section is a polar opposite in terms of rhythm and style while the third section is bold. The challenge I find in this piece is the singing voice and how to successfully release the color of the sound and replicate the composer’s intention. Accurately capturing the transitional shifts in mood between sections was another challenge.
Wedding Day at Troldhaugen, Op. 65, No. 6
Troldhaugen meaning a Troll’s home is the name Grieg gave to the house he had build for himself at Bergen. He had written The Wedding Day at Troldhaugen specifically for his 25th wedding anniversary, where the festive took place within a historic hotel located on top of the Voringsfoss Waterfall. This song is built into three sections as per a wedding, including the welcoming of the guest, reflections, and farewells.
GOYESCAS, H.64 NO. 1: LOS REQUIEBROS
Goyesca is a musical piece inspired by the jota, a dance from northern Spain. The song opens with Los Requiebros, (The Compliments), and was directly inspired by Goya’s Tal Para Cual meaning made for each other.
The composer intended to illustrate how he fell in love with Goya’s psychology and his quarrels, his models, loves, and flatteries within music. The first piece Los Requiebros, titled The Flattery in English is the first movement of the set. On hearing the music, it was intended for the audience to envision a girl singing and dancing on the church square with a man playing flattery with her. The music is full of ornamental sounds and embellished with colorful melodies that it follows on tradition of Baroque’s taste.
Singapore Airlines Theatre
Singapore Airlines Theatre
1 McNally St, Singapore 187940
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