Programme Notes
InTempo 2017: Rise of the Transhuman
REPERTOIRE
“March” from Symphonic Metamorphosis on Themes by Carl Maria von Weber | Paul Hindemith
Traveler | David Maslanka
H.P. Human Progress | Daisuke Shimizu
INTERMISSION
Ecstatic Waters | Steven Bryant
Symphonic Suite from Mobile Suit Z Gundam | Shigeaki Saegusa arr. Jun Nagao
Galaxy Express 999 | Arr. Masanori Taruya
“March” from Symphonic Metamorphosis on Themes by Carl Maria von Weber | Paul Hindemith
Traveler | David Maslanka
H.P. Human Progress | Daisuke Shimizu
INTERMISSION
Ecstatic Waters | Steven Bryant
Symphonic Suite from Mobile Suit Z Gundam | Shigeaki Saegusa arr. Jun Nagao
Galaxy Express 999 | Arr. Masanori Taruya
"Do take note that you can click on some of the following images which have been marked as "(linked)" to find out more about their respective topics!"
"March" from Symphonic Metamorphosis on Themes by Carl Maria von Weber
Paul Hindemith
Hindemith’s inspiration for Symphonic Metamorphosis was based on three piano sonatas and an overture, originally composed by Carl Maria von Weber for a play based on Turandot. The piece is a confluence of various cultures including ancient China, baroque and romantic Europe, and modern America.
The fourth movement, March, is a variation of Weber’s composition for piano 4-hands, Op. 60 no. 7. Utilizing the rich tonal colour of the full orchestra, Hindemith passes melodies playfully between instruments.
The concept behind the symphonic metamorphosis introduces variations to an original composition, thereby extending and giving new life to its major themes. A metaphorical parallel may be drawn with biotechnogenesis, which involves enhancing ordinary life with human-computer interfaces, virtuality, bioarts, synthetic life, and other mean, especially in extending life over time and onto and into non-biological platforms.
The fourth movement, March, is a variation of Weber’s composition for piano 4-hands, Op. 60 no. 7. Utilizing the rich tonal colour of the full orchestra, Hindemith passes melodies playfully between instruments.
The concept behind the symphonic metamorphosis introduces variations to an original composition, thereby extending and giving new life to its major themes. A metaphorical parallel may be drawn with biotechnogenesis, which involves enhancing ordinary life with human-computer interfaces, virtuality, bioarts, synthetic life, and other mean, especially in extending life over time and onto and into non-biological platforms.
Traveler
David Maslanka
Written in honour of Maslanka’s close friend and colleague, Ray C. Litchenwalter, Traveler is a sentimental tale of life’s journey. The piece begins assertively with a quote from Bach’s chorale BWV 384, “Nicht so traurig, nicht so sehr” (Not so sad, not so much). It conveys the sentiment that the final leg of life’s journey need not be sad. Rather, it is the nostalgic reminiscence of all that has gone before, and a reminder to keep looking forward at life’s potential. The music then morphs into one that is energetic, depicting an engaged life in full stride. A meditative quiet then settles in. Life’s battles are largely done; the soul is preparing for its next big step. “In our hearts, our minds, our souls, we travel from life to life to life in time and eternity.”
In stark contrast to this celebration of the dawn and demise of life, a transhuman future that allows immortality through transfer of consciousness seemingly overturns the natural cycle of life and death. We ponder the philosophical, spiritual and socio-ethical implications of such a future.
In stark contrast to this celebration of the dawn and demise of life, a transhuman future that allows immortality through transfer of consciousness seemingly overturns the natural cycle of life and death. We ponder the philosophical, spiritual and socio-ethical implications of such a future.
H.P. Human Progress
Daisuke Shimizu | Commissioned by NUS Wind Symphony
H.P Human Progress features three movements. The first movement, The New Beginning, begins heavily with systematic rhythm and powerful harmony. A musical depiction of the civilization that human beings have built up and the dawn of a new era, the rhythm by the percussion represents the powerful human force.
This quickly evolves into a fast tempo of six quarters of a beat in Intelligence, the second movement. A heroic melody balances the strong percussion, representing the upside of scientific advances, contrasted with issues that become material of conflict.
The piece concludes with the movement titled Human Progress. It expresses the inherent good in human nature, as man continues progressing toward the unknown future. Various motifs that appeared in previous movements recur, and gradually accumulate power and intensity until it becomes a spectacular choral.
This quickly evolves into a fast tempo of six quarters of a beat in Intelligence, the second movement. A heroic melody balances the strong percussion, representing the upside of scientific advances, contrasted with issues that become material of conflict.
The piece concludes with the movement titled Human Progress. It expresses the inherent good in human nature, as man continues progressing toward the unknown future. Various motifs that appeared in previous movements recur, and gradually accumulate power and intensity until it becomes a spectacular choral.
Ecstatic Waters
Steven Bryant
Ecstatic Waters by Steven Bryant draws inspiration from two poems by W.B Yeats, ‘News for the Delphic Oracle’ and ‘The Second Coming’. This piece begins with Ceremony of Innocence, which has a fantastical, almost naive quality. Just as childhood innocence does not last, Augurs tells of dizzying arrogance which gradually grow bolder and more uncontrollable in the third movement, The Generous Wrath of Simple Men. In The Loving Machinery of Justice, the conflicts of the previous movements are replaced by mechanical simplicity and power before there is a reprise of the first movement in Spiritus Mundi.
The piece features a juxtaposition between the impulses of man and the steadiness of machine. As we contemplate the possibility of a transhuman future, we must weigh if post-human synthesis can tame the impulses of man, or if man cannot be trusted with such technology.
Click here to see the full, comprehensive composer's notes.
The piece features a juxtaposition between the impulses of man and the steadiness of machine. As we contemplate the possibility of a transhuman future, we must weigh if post-human synthesis can tame the impulses of man, or if man cannot be trusted with such technology.
Click here to see the full, comprehensive composer's notes.
Symphonic Suite from Mobile Suit Z Gundam
Shigeaki Saegusa arr. Jun Nagao
Mobile Suit Zeta Gundam is a Japanese television anime series featuring giant robots called “Gundam”. The series revolves around the political aspects of transhumanism, with the underlying theme of social conflict between Earth-born humans (Naturals) and evolved/modified humans (Newtypes).
Can evolution ever transcend mankind’s innate propensity for corruption and self-interest? Newtypes were hailed by scientists and philosophers as hope for the future of humanity, but were ultimately used as pawns to the schemes of greedy politicians and violent militarists, resulting in greater devastation. Scientific advancement can be progressive - but it also opens Pandora’s box of complications on regulation.
Can evolution ever transcend mankind’s innate propensity for corruption and self-interest? Newtypes were hailed by scientists and philosophers as hope for the future of humanity, but were ultimately used as pawns to the schemes of greedy politicians and violent militarists, resulting in greater devastation. Scientific advancement can be progressive - but it also opens Pandora’s box of complications on regulation.
Galaxy Express 999
Arr. Masanori Taruya
In Galaxy Express 999, humans have found a way to achieve immortality by transferring their minds and emotions seamlessly into mechanical bodies. The story follows the journey of ten-year-old Tetsuro Hoshino to the Andromeda galaxy, in his quest to acquire a machine body.
It features the idea transcendent engineering, on which the tranhumanist author, Giulio Prisco, asserts that, “science may someday develop the capability to resurrect the dead and build god(s)”. Such is the idea of transferring one’s consciousness into other inanimate objects, resulting in immortality.
Click here to see an interesting article by Giulio Prisco on Transhumanist religion.
It features the idea transcendent engineering, on which the tranhumanist author, Giulio Prisco, asserts that, “science may someday develop the capability to resurrect the dead and build god(s)”. Such is the idea of transferring one’s consciousness into other inanimate objects, resulting in immortality.
Click here to see an interesting article by Giulio Prisco on Transhumanist religion.
Flutes
Lee Hoe
Debbie You
Han Hae Lin
Hong Chuan Yin
Sim Jin Lin
Lian Hui Shan
Norman Tan
Teo Sin Hua
Xu Cuixuan
Yeo Xin Hao
Piccolo
Vincent Fung*^
Clarinets
Amanda Lee Chew Xue Wei
Ho Zhi Jie
Lee Jia Jie
Lee Zu Xuan^
Liew Qian Qian Linda
Lim Han Siong*
Ling Hua Seet
Poh Kai Ying
Toh Shu Ling Yvonne
Wang Guoli^
Yeo Wee Chong
Yew Jiaii
Truman Teo
Goh Ying Xuan
Kimiie Chia Wei Lin
Lim Boon Chia
Chang Ya Yin
Darren Lim
Bui Do Phuong Tung
Toh Jing Jie Jasmund
Double Reeds
Yap Jian De Leonard*
Megan Sim
Claudia Teh Yi'en
Lee Rui Xue
Saxophones
Mitchell Tan Junhao
Phoebe Heng^
Sheryl Lee Jie Ting*
Sarah Yeo Xinn Tinn
Lee Wei Jie
Ker Zi Yi
Trumpets
Choo Shermeen*
Dexter Cheng Wei Jie^
Neo Yuan Khai^
Flora Fong Mei Yee
Koh Ting Rui Darrel
Tan Jyh Harng
Joyce Tan Man Fang
Jeffrey Tan Chun Hoe
Chan Yong Tat
Xu Yuting
Horns
Luo Yang*
Zhao Jia Qi
Lee Mung Liang Ryan
Fong Qiu Yi Tania
Trombones
Richard Schmoetten*
Peter Bruce Gale
Shoko Koashi*
Lee Heng Sheng
Jason Ang Wei Liang
Yeo Yeow Tong
Lee Yi Quan
Euphoniums
Jessica Lam*^
Ng Huan Ran
Basses
Alvin Hoh Guan Huah
Chee Yew Hui^
Lee Jin Xing*
Teo Zhen Zhong Darren
Yeoh Li Shan^
Hoo Feng Wen
Percussion
Cheng Huay Ee*
Chia Ming Li, Claire^
Darren Teo Kai Chao*
Lim Wei Jie
Keith Jieren Thirumaran*
Chung Kang Rui Conrad
Yu Chengfen Elanor
Jason Phang Kwang Zhou
Lin Siyao
Legend:
^EXCO
*SL/ASL
Lee Hoe
Debbie You
Han Hae Lin
Hong Chuan Yin
Sim Jin Lin
Lian Hui Shan
Norman Tan
Teo Sin Hua
Xu Cuixuan
Yeo Xin Hao
Piccolo
Vincent Fung*^
Clarinets
Amanda Lee Chew Xue Wei
Ho Zhi Jie
Lee Jia Jie
Lee Zu Xuan^
Liew Qian Qian Linda
Lim Han Siong*
Ling Hua Seet
Poh Kai Ying
Toh Shu Ling Yvonne
Wang Guoli^
Yeo Wee Chong
Yew Jiaii
Truman Teo
Goh Ying Xuan
Kimiie Chia Wei Lin
Lim Boon Chia
Chang Ya Yin
Darren Lim
Bui Do Phuong Tung
Toh Jing Jie Jasmund
Double Reeds
Yap Jian De Leonard*
Megan Sim
Claudia Teh Yi'en
Lee Rui Xue
Saxophones
Mitchell Tan Junhao
Phoebe Heng^
Sheryl Lee Jie Ting*
Sarah Yeo Xinn Tinn
Lee Wei Jie
Ker Zi Yi
Trumpets
Choo Shermeen*
Dexter Cheng Wei Jie^
Neo Yuan Khai^
Flora Fong Mei Yee
Koh Ting Rui Darrel
Tan Jyh Harng
Joyce Tan Man Fang
Jeffrey Tan Chun Hoe
Chan Yong Tat
Xu Yuting
Horns
Luo Yang*
Zhao Jia Qi
Lee Mung Liang Ryan
Fong Qiu Yi Tania
Trombones
Richard Schmoetten*
Peter Bruce Gale
Shoko Koashi*
Lee Heng Sheng
Jason Ang Wei Liang
Yeo Yeow Tong
Lee Yi Quan
Euphoniums
Jessica Lam*^
Ng Huan Ran
Basses
Alvin Hoh Guan Huah
Chee Yew Hui^
Lee Jin Xing*
Teo Zhen Zhong Darren
Yeoh Li Shan^
Hoo Feng Wen
Percussion
Cheng Huay Ee*
Chia Ming Li, Claire^
Darren Teo Kai Chao*
Lim Wei Jie
Keith Jieren Thirumaran*
Chung Kang Rui Conrad
Yu Chengfen Elanor
Jason Phang Kwang Zhou
Lin Siyao
Legend:
^EXCO
*SL/ASL