The Official RU-vid Channel for Singapore Polytechnic String Ensemble where we share our music with the world:) Established for 20 years and continuing on... We present videos of our annual concerts Classical Renaissance and some other small performances we performed for the community. Each year, we strive to play harder and more accurate pieces to constantly challenge ourselves to higher grounds in playing music with greater emotion and precision. We're still not a professional ensemble and are learning and improving day by day so please pardon us when we make minor mistakes during our performances. However we can promise to produce better music and more spectacular pieces each year:)
Conductor: Yang Shi Li Concert Master of Year 2015: Denzel Lim Ye Han
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With this song, I'll defend earth from any invader that dare to even took an inch, there is no way for me to not root for humanity. Long live mankind! We shall never perish! Long live our species! Long live homo sapiens! Long live Humanity!
2:25 The Tune to the songs Looking through your eyes [movie version] and The Prayer [credits version] (starting with I see a night I wish could last forever/Sognamo un mondo senza piu violenza) is to what Don Bluth intended in Somewhere Out There from An American Tail.
Narnia soundtrack is the most unique top soundtrack like '' how to train your dragon '' , John Powell and Harry Gregson - Williams are very classed composers !
Not too bad...as a lover of all things John Williams, I would definitely work on three things: 1) Phrasing. Most players seem to be either playing as individuals trying to outplay others where they are better players, or hiding and trying to blend in as best as possible where they are poorer players. This is causing great incontinuity. They need to play with much better group feeling -- and the conductor needs to lead them and make them bring out a smoother melody, play more quietly or louder to emphasize the different moving parts where Williams indicates. Shout out to the first chair violinist and the flautist -- I wish we had your virtuosity in every instrument! 2) Not at all in tune. I seriously fault your conductor on this and also the most advanced players in each section as each chair and your leader should have a clear plan that is executed precisely each and every time you gather for practice or performance. This is the "no-brainer" and an easy win for all. Each section should be ensuring all of their members are in tune with the one who provides the original A...or whatever. Take the the time to put this into practice every time you meet until you do it without thinking. And 3) Technique. I'm not sure what your maestro needs to do to solve your individual skillset issues, but most of your violinist players are playing very choppy, your violas and cellos are too subdued (Williams especially loves to produce a very warm and fluid sound from cellos and viols!), and your base viols did pretty well...just don't over-do it. Considering your limitations in percussion, I loved the technique of your symbol the best. True to form from everything I've heard from Williams' music. I know you ask yourself, "the symbol, he singles out the symbol clashes???" You can't get enough good symbol crescendos in your life, but I jest. No really, he was good. I had little qualms with your woodwind section. I'd like to hear some of the voices stand out where John indicates, but all in all, not bad. Again, you have a prize flautist there! Last, we need to work on your brass section a little. Ok, ALOT. John Williams is world reknowned for his use of the leading trumpets and trumpet fanfares, French Horn piercing through and interchangeably taking lead roles (my personal favorite), and even his use of powerful trombone, baritone, euphonium (if called for), etc. and your entire brass section is just not living up to the power and precision that you need to pull off the majestic music of Jurrasic Park. All I can say is more group and breakout sections practice, Practice, PRACTICE. Work on those embouchures and clean it up. As a virtuoso, myself, and ensemble leader, my approach would be to institute the tuning method right from the beginning and never have this problem again. Have team leads, first and second chairs work with the more challenging players when you are not rehearsing in full group. Require a minimum amount of practice if you don't see improvement week over week. But ultimatey, the group needs to be connected to the arms, eyes, motions, instructions right down to the slightest and most subtle movements from him...so that he can demonstrate full volume, speed, contrast, and emotion where needed. They should move when he moves...and he can test how well they watch his movements in rehearsal by suddenly slowing down, speeding up, calling out sections to be louder whilst others go soft, even pause and make them do absurd holds just to test and make sure they are connected to him SEEMLESSLY. I wish his symphony and him the greatest success!
Ohh well this is 2022 now , but here I am ! Back to this absolute magical music ! This is not a just a music , it’s feeling! I will keep loving this music! That’s it!
