Contrapunctus VIII, a 3: Triple fugue, with three subjects, having independent expositions Performed by Samuel Phua (sop) Julie Ries (tenor)

Performed by Samuel Phua (sop), Siobhan Plouffe (alto), Julie Ries (tenor), Samuel Dishon (bari)

Music About the Downtown Line by Jonathan Shin Souvenir from singapore Performed by Samuel Phua (sop sax) Juan Carlos Entrambasaguas Fernández (alto sax) Hung-Yu Chen (tenor sax) Joonatan Rautiola (bari sax) Joona Uusitalo (piano)

Souvenir from Singapore by Zechariah Goh Performed by Samuel Phua (sop sax) Juan Carlos Entrambasaguas Fernández (alto sax) Martin Quéméneur (alto sax) Hung-Yu Chen (tenor sax) Joonatan Rautiola (bari sax)

The Grey White Birch by Derek Oh Performed by Samuel Phua (saxophone) Joona Uusitalo (piano)

Morning Memories by Sandra Lim Performed by SAmuel Phua (soprano sax) Juan Carlos Entrambasaguas (alto sax) and Joona Uusitalo (piano)

Performed by Samuel Phua (soprano sax) Michellina Chan (baritone sax) Conducted by Adrian Chiang

Sou­venir from Sin­ga­pore Performed by Samuel Phua and Joona Uusitalo

Rhapsodic Stories at the Esplanade Recital Studio Supported by the National Arts Council Presentation and Participation Grant and National Youth Council Young Changemaker Grant The Grey Birch by Derek Oh (world premiere) Performed by Samuel Phua (sop sax) and Abigail Sin (piano) Recorded by Trinutty Film Studios The Grey Birch (2021) is inspired by the sheer beauty of the leafless birch trees standing on the background of a snowy land on a cloudy winter day in Finland where I live in. The work is specially dedicated to Samuel Phua, the old time friend that brought me to the snowy North. Let this be accompanied by a little poem that I wrote. 白北 灰白桦树 枝独处白 雪地 天落 细白尘外 套白雪霜

Rhapsodic Stories at the Esplanade Recital Studio Supported by the National Arts Council Presentation and Participation Grant and National Youth Council Young Changemaker Grant Suite by Zechariah Goh Performed by Samuel Phua (alto sax) and Abigail Sin (piano) Recorded by Trinutty Film Studios The original two movement suite was written in year 2006, dedicated to Vincent Gnojek, saxophone professor at the University of Kansas (USA). Later, the composer added another movement to the suite and it was premiered in 2010 by Shyen Lee, saxophone professor at the Mahidol University (Thailand). Zechariah Goh Toh Chai studied piano with Ong Lip Tat, harmony with Phoon Yew Tien and counterpoint with Leong Yoon Pin while working on his Diploma of Music from the Nanyang Academy of Fine Arts. In 1999, he received the David and Gunda Hiebert Scholarship award to work on his Master degree of Piano from University of Kansas. Subsequently, he worked on his doctoral degree majoring in Composition under the guidance of Dr. Charles Hoag. At the same time, he studied "Orchestration" and "Arranging for Band" under James Barnes. For his artistic excellence in the field of music, Zechariah was conferred the Young Artist Award (Music) in September 2003 by the National Arts Council, Singapore.

Rhapsodic Stories at the Esplanade Recital Studio Supported by the National Arts Council Presentation and Participation Grant and National Youth Council Young Changemaker Grant Rhapsody in Blue by George Gershwin Arr. Jun Nagao Performed by Samuel Phua (saxophones) and Clarence Lee Recorded by Trinutty Film Studios

Rhapsodic Stories at the Esplanade Recital Studio Supported by the National Arts Council Presentation and Participation Grant and National Youth Council Young Changemaker Grant Music About The Downtown Line by Jonathan Shin and Christopher Clarke Performed by Michellina Chan (soprano sax), Samuel Phua (alto sax) and Abigail Sin (piano) Recorded by Trinutty Film Studios Aria (Botanic Gardens) "Next station: Newton Interchange. Passengers may alight and change to the North-South Line." In Music from the Downtown Line, Christopher Clarke and Jonathan Shin give a epistolary-autobiographical account of five Downtown stations. Running parallel with the driverless wizardry of the 42km-long train line, Clarke's algorithms spin new melodies and harmonic networks from old cloth; Shin's daily interactions with the stations' artworks (paintings, sculptures, poetry, photographs) intersect and commune in a personal music. Through a collaboration akin to letter-writing, the work crystalized into stylized dance forms, in a sonic celebration of personal stories and public art.

Rhapsodic Stories at the Esplanade Recital Studio Supported by the National Arts Council Presentation and Participation Grant and National Youth Council Young Changemaker Grant Morning Memories by Sandra Lim Performed by Samuel Phua (soprano sax), Michellina Chan (alto sax) and Abigail Sin (piano) Recorded by Trinutty Film Studios Morning Memories was inspired by my feelings and thoughts about the beginning of each new day. The music begins quietly with the piano playing arpeggiated octaves, evoking the gentle start of the day – the first rays of the morning sun, the stillness of the morning air... a sense of hope and anticipation for what a new day may bring. The quiet and tranquil opening theme first played by the piano is then echoed by the violin, with a slight sense of urgency that builds up into an animato interlude, leading towards its climax before returning to the opening theme which is now brighter, yet poignant.

Rhapsodic Stories at the Esplanade Recital Studio Supported by the National Arts Council Presentation and Participation Grant and National Youth Council Young Changemaker Grant Eternal Story by Kosuke Yamashita Performed by Michellina Chan (soprano sax), Samuel Phua (tenor sax), Abigail Sin, and Clarence Lee (piano) Recorded by Trinutty Film Studios

Rhapsodic Stories at the Esplanade Recital Studio Supported by the National Arts Council Presentation and Participation Grant and National Youth Council Young Changemaker Grant Epic Poem of Malaya by Joseph Lim Performed by Michellina Chan Recorded by Trinutty Film Studios The painting ‘Epic Poem of Malaya’ is a painting by Singaporean artist Chua Mia Tee. Painted during Singapore’s post-colonial struggle, there are strong nationalistic undertones. This composition for solo Baritone Saxophone aims to musically paint the passion and charisma of the protagonist reciting Malayan nationalistic poetry to an enraptured audience. Yet in the background of the painting, one spots the ominous gathering of storm clouds which exist in counterpoint to the optimism of the gathered crowd. Exploiting the instrumental timbre of the baritone saxophone, I intend to showcase the painting’s emotional and environmental content. In this baritone saxophone recitative, it is supported by rhythmic cells reminiscent of Malay traditional rhythms like the Zapin and Inang which highlights uniquely ‘Malayan’ aspirations of the crowd’s political consciousness in the painting.

Rhapsodic Stories at the Esplanade Recital Studio Supported by the National Arts Council Presentation and Participation Grant and National Youth Council Young Changemaker Grant Dirge and Dance by Elliot Teo Performed by Samuel Phua (sop sax), Michellina Chan (bari sax), and Abigail Sin (piano) Recorded by Trinutty Film Studios Heavy footsteps tread Through desolate graveyard grounds Mournful tears fall A cathartic dance Suddenly breaks through the gloom Burying all grief Dirge and Dance is a work for standard piano trio comprising two continuously played movements, and was inspired in part by Benjamin Britten’s early Sinfonia da Reqiuem for orchestra, Op.20. Like in Britten’s work, the overall structure of Dirge and Dance is informed by a narrative outline that moves from heavy, lugubrious trudging in its first movement, the Dirge, to an outburst of frenzied activity, captured in the Dance. The Dirge begins with baleful, pile-driving chords in the piano, which form the backdrop to a mournful melody presented by the baritone saxophone. A loud, tutti statement of the first mournful subject is soon reached, after which the music recedes into a quieter middle section, where a slithering second subject, introduced on the violin, abounds. The texture gradually thickens, as fragments of the second subject are tossed from one instrument to another in the ensemble, before the first subject is restated on the piano, banged out in fistfuls of chords. Thereafter, the music crescendos towards yet another climax, which this time, propels itself headlong into the second movement, the Dance. Beset with a relentlessly chugging triple meter, the Dance bounds forward with unbridled energy, introducing new material while harkening back to previously stated ideas. Towards the end, the music is ushered into an extended fugato section recalling the slithering second subject of the Dirge. This, in turn, builds to a final climatic reprise of the work’s mournful opening melody, played by the two stringed instruments at the very top of their registers while the piano hammers out earth-shaking chords below. With its structural apex reached, the intensity of the music peters out, as if spent of all its energy, before a sudden, whirlwind coda shatters the quiet, bringing the work to a rip-roaring close.

Rhapsodic Stories at the Esplanade Recital Studio Supported by the National Arts Council Presentation and Participation Grant and National Youth Council Young Changemaker Grant But I Am The Lallang by Tan Yuting for solo soprano saxophone Performed by Samuel Phua (soprano) Recorded by Trinutty Film Studios This piece is based on the poem “Lallang” (1951-1953) by Lim Thean Soo (1924-1991, as presented below. Lallang I dread no destruction, possess no emotion; I only exist on land. For I am the lallang Burns to be born Born to be burnt No lesson need I learn. IIs I have breathed since times the granite cooled its temper; The primal sun scorched me. I have traced the last oceanic invasion; The ancient rains soaked me. Monster herds, human tribes: Chinese fleets, Malay drums; European cannons, Samurai swords! –– Did not they appear only yesterday? And I grew used to war, man’s endless game. But I am the lallang Do not ever suffer No wrong is done to me I know no misery. III I see the world change, I change not at all, I wear the evergreen. For I am the lallang That spreads across the ladang That outlives civilization That cares not for Time

Rhapsodic Stories at the Esplanade Recital Studio Supported by the National Arts Council Presentation and Participation Grant and National Youth Council Young Changemaker Grant ‘Out do’ You do? by Terrence Wong Performed by Michellina Chan (alto) and Samuel Phua (tenor) Recorded by Trinutty Film Studios Written in collaboration with the Head On Photo Festival’s Portrait Award, ‘Out-do’ You Do? was written in response to an untitled photograph by Jon Frank of a man who has placed a used fried chicken bucket over his head (picture below). Inspired by the photograph to create a fun-spirited piece, the composer has the alto and tenor saxophone duet participate in a mock competition with each other, vying to ‘out-do’ each other in various ways, such as playing louder/softer than the other player.

Performed by Samuel Phua (saxophone) Jonathan Shin (piano) Natasha Boon (dancer) Brandon Lum (dancer) lunarabesque is a portmanteau of ‘lunar’ and ‘arabesque’. In this piece, I imagine two lovers dancing (but never touching) by the sea beneath the ever-changing luminescence of the moon: sometimes the light is pellucid; sometimes it dances like electric silver fishes on the waves; on nights when the breeze is warm, the light is unbearably gentle. A huge motivation behind this piece is my helpless inability to dance respectably in real life — through lunarabesque, I can dance to my heart’s abandon.

Performed by Ng Pei-Sian (cello) and Samuel Phua (saxophone) Stories from Singapore comprises 14 new works for the saxophone by composers Phoon Yew Tien 潘耀田, Nathanael Koh, Phoon Yu, Yuting Tan, Joseph Lim, Ng Yuhng, Jonathan Shin Christopher Johann Clarke, Avik Chari, Raghavendran Rajasekaran, Nawaz Mirajkar, Syafiqah 'Adha Sallehin and Cheng Jin Koh. Thank you National Arts Council Singapore for the support through the Presentation and Participation Grant and Arts Fund.

Music About The Downtown Line by Jonathan Shin and Christopher Johann Clarke Performed by the Xin Saxophone Quartet Michellina Chan (soprano sax) Samuel Phua (alto sax) Jay Ong (Tenor sax) Ang Yi Xiang (Baritone sax) Jonathan Shin (piano) Stories from Singapore comprises 14 new works for the saxophone by composers Phoon Yew Tien 潘耀田, Nathanael Koh, Phoon Yu, Yuting Tan, Joseph Lim, Ng Yuhng, Jonathan Shin Christopher Johann Clarke, Avik Chari, Raghavendran Rajasekaran, Nawaz Mirajkar, Syafiqah 'Adha Sallehin and Cheng Jin Koh. Thank you National Arts Council Singapore for the support through the Presentation and Participation Grant and Arts Fund.

But I am the Lallang by Yuting Tan Inspired by the poem Lallang by Lim Thean Soo Performed by Alexis Seah Hee Cheng Recorded by Alexis Seah and Parker Fritz! I'm incredibly excited to announce the launch of a project that I've been working on for the last 13 months. Stories from Singapore comprises 14 new works for the saxophone by composers Phoon Yew Tien 潘耀田, Nathanael Koh, Phoon Yu, Yuting Tan, Joseph Lim, Ng Yuhng, Jonathan Shin Christopher Johann Clarke, Avik Chari, Raghavendran Rajasekaran, Nawaz Mirajkar, Syafiqah 'Adha Sallehin and Cheng Jin Koh. Thank you National Arts Council Singapore for the support through the Presentation and Participation Grant and Arts Fund.

Under the Casuarina Tree by Cheng Jin Koh Performed by Samuel Phua (sax) and Tan Jie Qing (yang qin) Recorded at MusoSpace by Kenneth lun and Qiuzi Hu Situated against Singapore's tranquil Upper Seletar Reservoir, the iconic Casuarina tree has become a local landmark thanks to its cameo in many pre-wedding/ elopement photos. This nature's gift is not only a witness and testimony of durable love, but also a faithful company to moments of solitude and reflection. The music serves to portray both peace and subtleties of passion through the intimate, melodious interaction between the Saxophone and Yangqin. The timeless quality of this beloved tree is also reflected in the ongoing, continuous resonance of both instruments as they undergo a soul-searching journey within, together. -Cheng Jin Koh Stories from Singapore comprises 14 new works for the saxophone by composers Phoon Yew Tien 潘耀田, Nathanael Koh, Phoon Yu, Yuting Tan, Joseph Lim, Ng Yuhng, Jonathan Shin Christopher Johann Clarke, Avik Chari, Raghavendran Rajasekaran, Nawaz Mirajkar, Syafiqah 'Adha Sallehin and Cheng Jin Koh. Thank you National Arts Council Singapore for the support through the Presentation and Participation Grant and Arts Fund.

A Fleeting Perennity by Cheng Jin Koh Inspired by the poem 'A Fleeting Perennity' by Sun Ping Yu Performed by Samuel Phua (sax) and Tan jie Tan Jie Qing (yang qin) Recorded at MusoSpace by Kenneth Lun and Qiuzi Hu. 《剎那的永恒》 --望财富之泉有感 每天晨早坐在你脚下 仰望 从青铜弧柱倾泻的激流 咆哮着 击撞着 直坠泉底 一头刚醒的上古神兽 怒吼声响彻空荡的地下室 那是连镜头都无法完整捕捉的景象 财神早在二十多年前 派你来镇守这片城域 福庇后世昌荣繁盛 你也一直恪尽职守 白天汲取八方川流聚于掌心 精心组建的祝福浸润行人 夜间亦披着霓虹彩裳 无声照亮加班人的归程 你那波澜不惊的目光 早被皱折的眼皮遮藏 却不忘瞅着楼窗背后 成立又迁出的公司 开张又停业的店铺 还有无数波波碌碌身影的去离 途中，有零星水珠提先递交辞呈 它们一跃而上 化成被阳光挥散的雾气 有的选择守约前行 推搡着在泉底相聚 可惜那儿并非终点 只是目送的转站 还没等好好挥别 就被后抵的水流催散 或许在你看来 我们都是稍纵即逝的过客 为自己的生活而焦虑而奔波 从不曾为你回头驻足 而身处历史浪潮必然的淘濯下 你是否也曾疑惑 自己只是他人眼中漂泊无依的沙粒？ 也罢！此时的我们 在转瞬的拐角得以暂息 端着早点和咖啡 相视而无言 却在哑笑中做伴 做彼此刹那间的永恒 A fleeting perennity - thoughts at the foot of the Suntec fountain of wealth At your foot every morning I look up at cascading streams from curved bronze pillars bellowing and clashing, a steep plummet to the bottom. a beast awakened from its ancient slumber whose sleepy mumbles echo in the empty basement. Such is a scene that camera lenses fail to capture in its entirety. More than twenty years ago, the god of fortune had dispatched you to watch over this place – ensuring prosperity and flourishment - which you have dutifully done so. Flows of all directions gather, at the heart of your palm in the daytime Transforming into well wishes to bestow upon onlookers As night falls, you drape on neon-coloured gowns Lighting up the homeward journey of exhausted over-timers. Those all-knowing eyes hidden behind those folded, laden lids Yet never stopping watch over surrounding towers At offices moving in and out At shops opening and closing And countless workers join and leave. A few droplets tendered in an early resignation en route leaping from the gushing waters evaporating into vapour under sunlight. Others stayed behind Gathering at the bottom of that fateful fall, only to realise that the end is but an entrepôt as they are pushed away by ensuing streamlets before a chance to bid farewell. Perhaps we are all in your eyes fleeting passer-by in transit all too worried over our own lives to pause, to remain Yet as you stand in the inevitable tide of history Do you ever wonder if you are, in the eyes of others A transient fleck of sand? But at least for now we can take solace by the twinkling of time with breakfast and coffee in hand locked eyes and unuttered words to keep company with a knowing smile, In a fleeting moment of perennity. Sun Pingyu's imaginative mandarin poetry on the Fountain of Wealth in Singapore's Suntec City provides a refreshing, moving outlook of the magnificent structure. Paying homage to its origin and function as a symbol of prosperity and life, she especially illuminates the fountain's unwavering duty as a quiet defender of the city's busy inhabitants. Despite it being a manmade construct (unlike the Casuarina tree), its microstructures, in fact, are an honest reflection of a modern city uprooting itself again and again. Every drop of its waters, ephmeral and swiftly vanishing, are akin to transient sights and sounds that once passed it by. But through them all, it remains a lasting source of light and comfort, especially to those caught in the daily repetition of exhaustion and anxiety. As momentous as these waters are, they are also very much eternal. The music is permeated with pulsating ostinati to accentuate their seamless continuity. Navigating between meditative and passionate states, one traverses both the subconscious and conscious realms led soley by the music. The beginning theme gradually blooms without obligation to develop, only to return near the end after periods of transformation. At the forefront is various shifting harmonies, which seek to constantly evoke the gentle, hypnotic imagery of reconfiguring lights dancing through each specatcular ray of gushing energy. The Alto Saxophone's warm timbre is frequently cast against the Yangqin's soft, shimmering arrpegiations, producing a pleasant, sonic reverbance that could seem to ring forever. Stories from Singapore comprises 14 new works for the saxophone by composers Phoon Yew Tien 潘耀田, Nathanael Koh, Phoon Yu, Yuting Tan, Joseph Lim, Ng Yuhng, Jonathan Shin Christopher Johann Clarke, Avik Chari, Raghavendran Rajasekaran, Nawaz Mirajkar, Syafiqah 'Adha Sallehin and Cheng Jin Koh. Thank you National Arts Council Singapore for the support through the Presentation and Participation Grant and Arts Fund. Thank you Cheng Jin, Ping Yu and Jie Qing for sharing your artistry!