Adeline Wong President of Malaysian Composers Collective on the Sounds of Asia
Is there a sound that truly embodies the cultural identity of 21st-century Malaysia? Adeline Wong speaks with Music Press Asia on her recent project as president of the Malaysian Composers Collective, and the recent works performed in the contemporary classical music genre.
Is there a sound that truly embodies the cultural identity of 21st-century Malaysia? Adeline Wong speaks with Music Press Asia on her recent project as president of the Malaysian Composers Collective, and the recent works performed in the contemporary classical music genre.
INTRODUCTION
Q1: Welcome to Music Press Asia, Adeline. You are born and bred in Kuala Lumpur, Malaysia. Tell us about your journey as a classical contemporary composer. You studied in the US and UK before returning to Malaysia. So, when did you realize that this is something you must become or do professionally? How did you come to realize that music composition is the path you’ll be taking?
After high school, I was blessed with the encouragement and support of my family, I pursued music and never looked back.
I clearly remember the first time I was introduced to Bartok’s string quartets, Stravinsky’s Rite of Spring, Cage’s Sonatas and Interludes for prepared piano, George Crumb’s Voice of the Whale with full score. Online scores and recordings were not available during my time as a high school student and studying through the full scores and listening to the recordings, it blew my mind.
JKCK & MCC
Q2: In November last year, the Malaysian Composers Collective (MCC) presented the ‘Jalur Kita, Cerita Kita’ (JKCK) concert featuring 14 specially commissioned works of music based on the 14 states of Malaysia, as a way to celebrate the country’s rich heritage through contemporary classical music. What made this project (JKCK) especially unique concerning the milestone MCC has achieved since being a member? And what are some of the disciplines MCC aims to expand and grow in Malaysian composers today?
JKCK was especially unique as it was the first concert organized by MCC which brought together 14 Malaysian composers from across the country and different walks of life. We had composers from Penang, Sabah, Perak who travelled to attend the premiere and to me, that was the magic of music to bring people together – expressing unity in diversity. And this was even more meaningful to celebrate the country’s rich multicultural heritage and traditions through contemporary classical music.
In 2022, MCC collaborated with Ensemble Virama for JKCK and Malaysian Philharmonic Orchestra for Three Nations Concert featuring works by Korean, Singaporean and Malaysian composers. MCC is looking to expand and work with both international and local partners. This is something that I would like to continue to build so that Malaysian composers have platforms to showcase their music both at home and internationally and, to foster a healthy cultural exchange amongst composers, performers and audience in this region.
Q3: JKCK is essentially expanding the soundscape of Southeast Asia. How close have these compositions, including your composition of Negeri Sembilan, come to achieving the intricate and complex sound of what truly represents Southeast Asia?
What came out of JKCK was indeed a rare and invaluable experience on how music can be so diverse yet connected with the sounds of our own country and Southeast Asia. This sound will continue to grow and develop to attain a unique diversified resonance borne out of respect of each other’s culture and tradition.
NEW MUSIC RELEASE
Q4: Are Malaysian composers today given greater opportunities compared to, say, 20-30 years ago?
Definitely. We have many new chamber ensembles today driven by dynamic musicians. This allows for more performance opportunities and appreciation of new music.
One cannot deny that the largest development of music has been in the area of technology and the digital platform. Online rehearsals, masterclasses and performances can be conducted virtually across the globe reaching out to more audiences than ever before. Social media has been crucial in promoting concerts, events, and opportunities in the various spheres for composers today.
Q5: What will MCC be doing in 2023/2024?
MCC will be collaborating with UCSI University Institute of Music for the 3rd Free Hand Malaysian Contemporary Composers Piano Festival in September 2023. We have announced a call for scores for Malaysian composers to submit new piano works for this festival. During the festival, two composers will be commissioned to write a new piano work which will be the set piece for Senior and Young Artist Categories for the UCSI University International Piano Festival & Competition in 2024.
Looking at favourable outcomes in recent years and with the support of both private and public sectors such as Yayasan Sime Darby, Cendana, UCSI Univeristy, MCC is motivated to plan for more collaborations amongst institutions and performance groups as well as the possibilities of exploring into cross-disciplinary projects.
YONG SIEW TOH
Q6: You hold a full-time position at YST Conservatory. Tell us about some of the works and/or projects you are doing at YST.
At YST, I am Senior Lecturer in Composition and the module leader for Music Concepts and Materials. This core module presents key concepts for musical design and encourages students to engage creatively with music via composition, analysis, improvisation and performance.
The academic year 2022/23 is special as YST celebrates its 20th anniversary. Since July 2022, I have mentored the fascinating project, South East Asia Golden Age Symphony. This project features 7 young composers from across 6 Southeast Asian countries (Singapore, Indonesia, Malaysia, Philippines, Thailand, Vietnam), to compose a new symphonic work reflecting the vibrancy of Southeast Asia. This new symphony will be one of the key events during YST’s International Artistic Research Symposium, Performers(‘) Present – Flowing Resonances in October 2023 and will be premiered by the YST Orchestral Institute.
As a member of the organizing committee for Performers(‘) Present: Flowing Resonances, this symposium offers space to investigate and experiment with the art of presenting music, in relation to our contemporary world and broader cultural context: from the perspectives of performer, composer, producer, and audience.
2023 PLANS
Q7: What are you working on at the moment and where will you be visiting for masterclasses or jury work in 2023?
I have just completed a new work, Byar for string quartet written for Quatuor Bozzini from Montreal, Canada. This new work is my first piece written for prepared string quartet.
In November, I have a world premiere of my large ensemble work written for low brass quintet, string quartet and piano performed by Thallein Ensemble in Birmingham. This work will be the finale of my series of connected works which began in 2017.
On the earlier topic of expanding the soundscape of Southeast Asia , I am looking forward to a research trip to Bali this year to study the unique sounds and concepts of gamelan. I have always been fascinated with gamelan and more so to raise awareness for Southeast Asian innovation and diversity and hopefully, this will bring forth more cross-cultural collaborations in the future.
END.
Watch the Jalur Kita Cerita Kita documentary released on 17 May 2024, here.
For more information about the Jalur Kita Cerita Kita project, visit Malaysian Composers Collective official website here.
For more information about Adeline Wong, click here.
