Shaun Ng

Historical centres of string making

2011-12-13T04:36:00.001+11:00

View Historical centres of string making in a larger map

I have been recently doing some research into historical stringing of instruments of the Baroque era, paying particular attention to three theories that I feel require further scrutiny: 1) equal tension stringing, 2) wound strings and 3) loaded gut strings. Hopefully I will be able to publish my findings. To make more sense of these locations, I have made a map listing all the cities that were famous for gut-string making. These cities are: Lyon, Strasbourg (France), Nuremberg (Germany), Leghorn, Pistoia, Bologna, Padua, Venice, Rome and Naples (Italy). I am certain there are quite a bit more, but these are the cities that were mentioned by the Baroque sources I consulted. Perhaps the more sought-after strings were made in these cities.

2011-11-30T18:10:00.003+11:00

I will be presenting my newest research into the French Baroque at the 34th National Conference of the Musicological Society of Australia:

Performing the trill in Marin Marais's Pièces de viole

1st Dec 2011, 2.30-3.30pm, Tunley Lecture Theatre, University of Western Australia.

Seaven Teares Consort

2011-11-30T16:02:00.006+11:00

I have just received some new photographs from Vikki Pumpuang of Seaven Teares' new publicity photographs, and they are just simply stunning! These images will definitely be seen in future concert material as well as the CD we just recently recorded, but hush for now. To stay in touch with future updates, 'like' the Seaven Teares website on Facebook.

Early Music Association of NSW

2011-11-30T15:27:00.004+11:00

A last minute request to perform at an Early Music Association concert event with Tim Willis and Joanna Tondys at a concert at the Old Darlington School.

Saturday August 20, 7.00 pm, Old Darlington School, Sydney University.

Dido and Aeneas

2011-11-23T13:01:00.002+11:00

An excellent opportunity to use my recently acquired (brand new!) theorbo for its first public outing in Purcell's Dido in Aeneas, directed by the famous harpist Andrew Lawrence-King.

Date: 24th Novemeber

Venue: Sydney Conservatorum, Macquarie Street, SCM Music Workshop

Time: 4-5pm

Gallery

2011-11-20T18:25:00.001+11:00

Photos: Vikki Pumpuang

Viol concert celebrates spring (Seaven Teares)

2011-09-11T04:09:00.004+10:00

Viol concert celebrates spring

"Shaun is our virtuoso in that he plays bass viol, violin, theorbo (bass lute) and violone, the viol family version of the double bass. This afternoon he features on tenor viol."

Thanks Jenny, Shaun.

05 Sep, 2011 12:00 AM

MOSS Vale Uniting Church is celebrating the end of a long, cold winter with a "Spring Concert" to raise funds for two special local charities: Triple Care Farm, which supports troubled teenagers, and The Angel Tree, an organisation that ensures the children of jailed prisoners receive Christmas gifts.

The musicians will once again be provided by Sydney-based string virtuoso, Jennifer Eriksson.

Jennifer has strong ties with the Highlands as her parents-in-law, Ken and Mary Pogson, are long-term Moss Vale residents and members of Moss Vale Uniting Church.

In 2010 Jennifer thrilled a packed house with the music of her unique ensemble, The Marais Project.

At that concert, many in the audience got to hear the viola da gamba (a seven-string, fretted instrument the same size as a cello) and harpsichord for the first time.

This year Jennifer will introduce the Highlands to her new viol consort, "Seaven Teares" in their first concert outside Sydney.

"A viol consort is similar to a string quartet," Jennifer said.

"Only all the instruments are members of the viol family rather than the violin family.

"This means that even the smallest instrument, the treble (similar to a violin) is played between the knees, as is my instrument, the viola da gamba."

"The music for viol consorts is very beautiful and relaxing: much of it dates from around the time of Queen Elizabeth I.

"However, I've also arranged some well known songs for the Consort so those attending will get to hear our rather ancient instrument play some more contemporary tunes."

Special guest artist for the Highlands Spring Concert is soprano Nicole Thomson, a long-term member of the nationally known professional choir, "The Song Company."

"I've had the pleasure of accompanying Nicole before," Jennifer said. "She has a gorgeous voice and a special stage presence."

Other members of Seaven Teares include Cathy Upex, Shaun Ng and Imogen Granwal, all of whom have worked extensively with Eriksson in the past.

Together they recently completed a new studio recording of viol consort music for ABCFM.

When: 2pm on Sunday, September 18.

Where: Moss Vale Uniting Church, corner Argyle and Spring streets, Moss Vale. Cost: $15/10

Tickets: Ken Pogson (phone 0248 681463) and at the door .

“Seaven Teares”- Highlands Spring Concert

2011-09-11T04:06:00.002+10:00

From the Marais Project Blog:

2.00pm Sunday 18^th September, 2011

Presented by Moss Vale Uniting Church, cnr of Argyle and Spring St, Moss Vale (1.5hrs south of Sydney)

What follows is an edited version of the program notes for the concert on 18 September.

Southern Highlands Spring Concert

Moss Vale Uniting Church is celebrating the end of a long, cold winter with a “Spring Concert” to raise funds for two special local charities: “Triple Care Farm” which supports troubled teenagers and “The Angel Tree”, an organisation that ensures that the children of gaoled prisoners receive Christmas gifts.

I’ve been asked once again to provide the musicians. I have strong ties with the Highlands as my parents in law, Ken and Mary Pogson, are long term Moss Vale residents and members of Moss Vale Uniting Church. In 2010 we played to a packed house at Moss Vale Uniting with The Marais Project. At that concert, many in the audience got to hear the viola da gamba and harpsichord for the first time.

Background to the music and the viol consort

“Severn Teares” takes our name from a famous piece by John Dowland whose music makes an appearance in today’s concert at several points. Dowland lived and worked in England around the time of Queen Elizabeth, before English spelling was standardised. So “Severn Teares” is, of course, the old spelling of “Seven Tears”! Dowland and the other composers we play today wrote a great deal of beautiful and sophisticated music for viol consort which sounds very fresh to our ears even though some works are hundreds of years old.

The viol family has a history quite independent to the violin family and for a time, the two competed with each other for dominance. The viols eventually lost, but we are making a comeback! Technically, viols are constructed quite differently to the violin, viola and cello that make up the violin family. For example, we have 6 or 7 rather than 4 strings and we also make use of tied on frets. Our strings are made of sheep gut and strung at a lower tension than those of the modern violin or guitar. This means that viols “speak” more slowly, are softer and have great resonance. This wonderful resonance results in our consort “ringing on” for a moment or two after we finish playing each song – a lovely effect.

Unlike modern string players, viol consort members in olden times were expected to play at least two or more different instruments. Today Cathy will play treble viol, but she normally plays bass. Shaun is our virtuoso in that he plays bass viol, violin, theorbo (bass lute) and violone, the viol family version of the double bass. This afternoon he features on tenor viol. Imogen and Jenny will perform on the bass, but Jenny also plays treble viol and the smallest member of the viol family, the Pardessus viol. Imogen is a professional cellist by training but is also a skilled bass violist.

Much of the music for viol consort is “contrapuntal” which means it consists of a number of different instrumental voices intertwining with each other. The contrapuntal nature of the music means that at times audiences may have difficulty identifying a strong tune. Composers of this era tended to concentrate on writing for a number of different parts rather than on a single tune with an accompaniment. However, we encourage listeners to just to sit back and “take it all in”.

This concert will be the first time soprano Nicole Thomson has performed with us and we are very pleased to have her on board. She has sung in the past with The Marais Project with great success.

The Golden Century

2011-09-10T04:56:00.000+10:00

Another one at the Sydney Conservatorium, this time on theorbo:

Conductors' Series - The Golden Century - Early Music Ensemble (4.00pm)
3 September 2011

Early Music Ensemble

Neal Peres Da Costa director
Matthew Manchester cornetto
Jane Sheldon soprano
Anna Fraser soprano

Program

Gabrieli	Canzona Quarti Toni a 15 (c1850)
Frescobaldi	Canzon "La Bernardina"
Schutz	Excerpts from Symphoniae sacrae
Praetorius	'Wie schoen leuchtet der Morgenstern' from Polyhmnia caduceatrix
Praetorius	Dances from Terspichore
Gabrieli	Canzona Septimi Toni a 8
Castello	Sonata 'La Strozza' for 2 soprano instruments
Schutz	Excerpts from Kleine geistliche Konzerte
Castello	Sonata Decima Sesta a 4 per stromenti d'Arco
Praetorius	'Puer natus in Bethlehem' from Musae Sioniae
Monteverdi	Bella Madre d'Amore
Gabrieli	Canzona a 22

King Arthur

2011-05-18T19:37:00.003+10:00

This time performing Baroque opera on the theorbo:

Baroque Opera - King Arthur - Purcell (6.00pm)

13 & 14 May 2011

Sung in English, King Arthur (1691) is a semi-opera by Henry Purcell, to a libretto by John Dryden. The tale centres on King Arthur's endeavours to recover his abducted fiancée, amidst the battles between the Britons and the Saxons.

With the Early Music Ensemble

Neal Peres Da Costa conductor

Brendan Carmody director

Sensational Sunday - Gods and Monsters

2011-04-14T21:50:00.005+10:00

Journey into an Arcadian world of gods and monsters with Handel's Italian cantatas, written circa 1710. Shriek with the heroine as she is abducted by the serpent, swoon with the adventurer as he discovers - and loses - his lover. Let the enchantress of music beguile and befuddle; indulge with the shepherd and Dionysus in some of Handel's most dramatic works.

Perfomers

Rachael Beesley violin

Julia Fredersdorff violin

Nicole Forsyth viola

Daniel Yeadon cello

Shaun Ng violone

Neal Peres Da Costa keyboard

Anna Fraser soprano

Mark Donnelly baritone

Program

Handel Instrumental music from the Operas Alcina and Rinaldo

Cantata Cuopre tal volta il cielo in D Major, HWV98

Cantata Tra le Fiamme, in G Major HWV 170

Cantata for soprano and bass

Event details

Date: 8 May 2011

Time: 3.00pm

Location: Verbrugghen Hall

Cost: Adults $30, Conc. $25, Friends $20, Students $10, Child $10

Tickets: City Rectial Hall - 1300 797 118 (bookings fees may apply)

Conductors' Series - Mostly Bach - Early Music Ensemble

2011-04-13T21:55:00.000+10:00

Program

Telemann Ouverture "La Bizarre" TWV 55: G2

Heinichen Concerto a 8

Bach Brandenburg Concerto No. 6 BWV 1051

Dall'Abaco Concerto a più Instrumenti No. 3, op. 5

Bach Brandenburg Concerto No. 1, BWV 1046

Event details

Date: 9 April 2011

Time: 4.00pm

Location: Verbrugghen Hall

Cost: Adults $30, Conc. $25, Friends $20, Students $10, Child $10

Mount Beauty Music Festival

2011-02-13T08:42:00.003+11:00

I will again be joining The Marais Project performing at the Mount Beauty Music Festival in Victoria from the 29th of April until the 1st of May 2011. If the location is as beautiful as the name suggests, I am in for a really nice time at this festival. For more information, visit here.

Bellingen Music Festival 2011

2011-02-10T12:05:00.005+11:00

First post of 2011 - Happy New Year!

I am part of an upcoming music festival that will be held in the lush surroundings of Bellingen, NSW. My colleagues and I will be presenting a varied programme of French and German music, including the viola da gamba duos of Marin Marais and Johann Schenk. I am certainly looking forward to performing as well as seeing more of New South Wales. More information can be found at the festival's website here.

Across the Channel

2010-10-17T16:32:00.006+11:00

Please note: there has been a change in the venue of the next concert I will be doing. For further details, please visit http://www.maraisproject.com.au/

3.00pm Sunday 24th October

Christchurch Anglican Church Lavender Bay, Cnr Lavender and Walker Sts, North Sydney (a short walk from North Sydney Station and buses)

“Across the Channel”–Directed by Jennifer Eriksson and Tommie Andersson”

Tickets - $30, $20, $70 (+ booking fee)

Our focus is typically French music. In this concert we “cross the channel” to perform some of the greatest English works for lute and viol.

About Bach and Christmas

2010-10-01T20:33:00.003+10:00

Again, I will be playing the violone in a concert mostly Christmas music with the Sydney Conservatorium's Early Music Ensemble and Chamber Choir. I am really looking forward to playing some French music for a change.

About Bach and Christmas
Saturday 9 October 4.00pm

Early Music Ensemble & Conservatorium Chamber Choir

Neal Peres Da Costa/Ashley Soloman& Neil McEwan AM directors

This concert will also feature guest director Ashley Solomon, Head of Historical Performance at Royal College of Music, London.

Charpentier Messe de Minuit
Corelli Concerto Grosso No. 8 in G minor, Op. 6 "Christmas Concerto"
J.S. Bach Cantata Ein'feste Burg ist unser Gott BWV 80

Early Music Ensemble

2010-09-03T00:51:00.013+10:00

I will again join the Sydney Conservatorium's Early Music Ensemble as their violone player. Here are the details of the concert or click here for the Facebook page:

Conductors' Series - Early Music Ensemble
4 September 2010

The Descent of Cibell
Saturday 4 September 4.00pm
Early Music Ensemble

Neal Peres Da Costa director

Handel Concerto Grosso No. 3 in G Major, Op. 3 HWV 314
Geminiani Concerto No.12 in D minor, Op. 5 after Corelli 'La Follia'
Handel Selections from the Opera Rinaldo
Purcell Cibell in C Z678
J. S. Bach Brandenburg Concerto No. 4 in G Major, BWV 1049

___________________________________________
Where Verbrugghen Hall, Sydney Conservatorium of Music
Tickets $15 full, $10 concession (including Friends of The Con),
Discounts Purchase a total of 3 or more concerts from the Conductors', Cocktail Hour and Jazz in the Café Series for just $10 each. Tickets must be booked in advance.
Bookings via City Recital Hall
Phone: 1300 797 118, or online via link below (booking fees may apply)

Selby & Friends "A Little Lunch Music"

2010-07-13T13:04:00.004+10:00

I will also be playing the violone for this concert.

Selby & Friends "A Little Lunch Music" - Rising Stars - Sydney Con Early Music Ensemble with Neal Peres Da Costa

Tuesday 20 July 1pm

City Recital Hall Angel Place

For more information, click here.

Geminiani Concerto grosso - La Folia

Handel Concerto Grosso Op 6 No 7 Bb Major

Purcell Fairy Queen (excerpts)

Vivaldi Il Grosso Mogul Concerto

CPE Bach Cello Concerto

Sydney Biennale - A Cabinet of Curiosities

2010-07-13T12:37:00.005+10:00

I will be joining the Ironwood Ensemble and Sydney Conservatorium's Early Music Ensemble as their violone (great bass viol) player.

Ironwood & Developing Artists - "A Cabinet of Curiosities"

Sunday 18 July 2010 3pm

Cockatoo Island, Building 74, as part of the Biennale of Sydney.

For more information, click here.

Geminiani Concerto grosso - La Folia

Handel Concerto Grosso Op 6 No 7 Bb Major

Purcell Fairy Queen (excerpts)

Easter Viol School 2010

2010-03-27T22:05:00.003+11:00

I will be tutoring at the Easter Viol School at Bermagui, NSW, this year as an unofficial-last minute addition to the faculty. Although I am not in the official publicity, you will see me there! Click here to download an enrolment form and brochure. Although I have been assigned to work with the beginners, I will be able to provide lessons to anyone who wants some.

Across the Channel

2010-03-27T21:45:00.004+11:00

I will be performing with an early music ensemble called The Marais Project on the tenor viola da gamba. Details on the concert are below. For further information and tickets, see http://www.maraisproject.com.au/mainpages/events.htm

3.00pm Sunday 24th October 
Mosman Art Gallery & Community Centre, Cnr Gallery Way and Myahgah Rd, Mosman.

 “Across the Channel”–Directed by Jennifer Eriksson and Tommie Andersson”
Tickets - $35, $25, $80 (+ booking fee)

Our focus is typically French music. In this concert we “cross the channel” to perform some of the greatest English works for lute and viol.

Belinda Montgomery – soprano
Fiona Ziegler -baroque violin
Tommie Andersson – lute & theorbo
Jennifer Eriksson & Catherine Tabrett – viola da gamba
Shaun Ng – tenor viol

Picture

2010-03-18T02:27:00.004+11:00

A lovely picture of me and some of my younger violin students. :)

The Suzuki Method - Criticism and Response

2010-02-15T15:30:00.004+11:00

The most common criticisms of the Suzuki method from educators outside the various Suzuki associations are that group playing, extensive listening to and copying of recordings, and early focus on memorization lead to:

compromised sight reading skills
a tendency towards rote learning and 'robotic' group performance at the expense of individual musicianship

Other criticisms include:

teachers are often low-level performers, and are not required to hold a degree or have had any formal training on their instrument

if music is to be learned from audio recordings, the quality of the recorded pieces must be questioned in terms of style, integrity, and its positive or negative traits. The resulting views are subjective and may differ between people.

any reliance on listening to a single piece in order to learn it is not sufficient for instilling a sense of the style of the work (where the style refers to the traits of performance that are common to many similar works), since a style can only be acquired by listening to a range of works of common style (including listening to works for enjoyment, rather than with only the goal of copying them).

Criticism has also sprung up from within the Suzuki movement:

students may progress too rapidly and find themselves studying repertoire for which they are not yet emotionally prepared.
Baroque music is emphasized in the Suzuki violin literature to the detriment of other styles and periods. Some of this literature includes note errors and 19th-century editorial changes that are not in keeping with historically informed performance practice. (The International Suzuki Association is in the process of addressing this by revising the violin repertoire).
"Older students can become overly dependent" on the support structure of recordings, parental note-taking and tutoring at home, and teaching styles appropriate for younger students (Barber, 1991).
very young students, such as those aged 3–5, are often not ready for formal instruction, and too much emphasis on practicing hard at this age may be counterproductive (American Suzuki Journal, 2005).

Keep the V&A Musical Instrument Gallery Open

2010-02-04T00:56:00.003+11:00

The V&A have decided to close its long established musical instrument gallery, in effect the de facto National Collection in the absence of an official collection. Join this group to petition the museum requesting this action be postponed until alternative arrangements can be made to house these instruments.

Crisis at the V&A!

2010-02-04T00:53:00.001+11:00

Taken from http://www.hogwood.org/news/crisis-at-the-vanda.html:

The Victoria and Albert Museum plans to break up its historic and valuable music collection to make space for fashion.

There has been widespread consternation in the music world at the news that the the V&A plans to break up the collection that has been fostered since they bought their first instrument in 1856. A petition to the Prime Minister has been written and signed by many, including Christopher. The museum has issued a statement saying that the instruments are being moved to make way for more fashion on the basis that they are a museum for the decorative arts, and fashion is more fitting for that description. Read Ben Hoyle's article in The Times for more information.

Christopher, who holds a personal affection for both the venue and its instruments, having played concerts and recorded CDs on the instruments there, believes it is important not to break up such a collection. His worry is that, as a result of the loss of official space in which to display the instruments, they will find themselves kept out of sight, under lock and key. These instruments, whilst being appreciable for an aesthetic value, are also of great importance to those academics, like Christopher, who want to revive the sound as well as view the sight of these important instruments.

Click Here to listen to Christopher voice his opinions to Sean Rafferty on BBC Radio 3's In Tune.

The fate of the instrument gallery is still under discussion. You can sign the petition, or take action in person, to which end Judith Wardman of the British Clavichord Society advises members:

'Last chance to visit to the Musical Instrument Gallery and express your concern:

'Forgive me if you've already heard that there's a chance to demonstrate your concern about the V&A proposal this Thursday lunch-time, 4 February, 1 to 2pm. Meet at the entrance to the instrument gallery, where James Yorke of the V&A will be opening the gallery to the public for what seems to be the last time. Various organizers are suggesting that as many people as possible should turn up to protest at the closure and to pressure the museum to make the best possible arrangements for its instruments in the future.'

Viol Soundposts

2009-12-09T08:11:00.007+11:00

"So according to Mersenne the soundpost is most often placed directly under the foot of the bridge, which if carried out to a tee, puts the soundpost fair and square in the middle of the soundpost plate, the place where one would expect it to stand."

Heale, Michael. "Viol Soundposts." Early Music, 9(4) 1981 :521-524.

This is exactly what I have done.

A'=392 Hz for International 'Baroque' Pitch

2009-12-06T19:30:00.002+11:00

A Facebook group for Baroque music enthusiasts who believe that a'=392 Hz is a far more realistic pitch standard than a'=415 Hz.

German Baroque Concert

2009-10-01T07:48:00.007+10:00

German Baroque Concert

Cottesloe Civic Centre

Sunday 11th October 2009 3.00 pm

Directions to Cottesloe Civic Centre

Georg Corall – Harpsichord

Shaun Ng – Viola da gamba

Andrew Tait – Basse de Violone

Programme

Karl Friedrich Abel (1725-1787)

Sonata in C Major for viola da gamba and basso continuo

Vivace – Adagio – Minuetto

Karl Friedrich Abel (1725-1787)

Three pieces from manuscript 5871 for solo viola da gamba

Allegretto – Adagio – Allegro

Christoph Schaffrath (1709-1763)

Sonata in G Major for viola da gamba, obligato harpsichord and basso continuo

Allegro – Largo – Allegro

Georg Philipp Telemann (1681-1767)

Sonata in Canon C Major for viola da gamba and basse de violone

Vivace – Cantabile - Scherzando

Johann Jakob Froberger (1616-1667)

Suite XXX

Plainte faite à Londres pour passer la mélancolie, laquelle se joue lentement avec discrétion – Courante – Sarabande – Gigue

Georg Philipp Telemann (1681-1767)

Sonata in G Major for viola da gamba, obligato harpsichord and basso continuo

Andante – Allegro – Largo – Presto

Réponce de Monsieur Rousseau

2009-08-05T01:47:00.006+10:00

My first-ever journal article has been published in the online journal of the Viola da Gamba Society of Great Britain. It can be found here.

The editor decided to address Monsieur de Machy as "De Machy", and unfortunately added one too many prepositions, ending up with "Monsieur de De Machy" (See line 2). I am sure they can correct that though.

Ng, Shaun K. F. “Réponce de Monsieur Rousseau.” The Viola da Gamba Society Journal 2, no. 2 (2009): 56-74.

Le Sieur de Machy and the Solo French Viol Tradition (Finished)

2009-04-19T19:22:00.005+10:00

Ng, Shaun K. F. "Le Sieur de Machy and the Solo French Viol Tradition." MA, University of Western Australia, 2008.

Shaun goes for baroque

2009-03-10T10:47:00.007+11:00

Just before my trip to the USA, the University of Western Australia publication called UWA News got hold of me to write a little article about my then recent success with the Artflight grant and the invitation to Oberlin Conservatory.

I like what Dr. Suzanne Wijsman said:

"Shaun is one of our shining stars."

How sweet. :)

Hawaii

2008-11-03T22:49:00.005+11:00

When I met Kathy Spencer in Oberlin last summer, she told me about my little photo and write-up in the American Viola da Gamba Society of America's newsletter. Here it is, with me looking a little too relaxed and cheerful during my recital at the University of Hawaii (Manoa):

Old photos

2008-11-03T22:45:00.003+11:00

Here are some photos from the event taken from the Australian Viola da Gamba Society's Newsletter during the last Easter Viol School in Sydney:

Original Instruments

2008-10-05T23:14:00.002+11:00

While in Oberlin, I visited the home of Catherina Meints where I manage to try her collection of original viols! Feast your eyes on Barak Norman, John Rose, Nicolas Bertrand, Jacob Stainer, etc. Which one did I like the most? The French one, of course!

Recital in Bangkok

2008-10-05T22:27:00.005+11:00

Here are scenes from the first ever viola da gamba recital in Thailand (so I'm told!). Photos by Mongkol Chayasirisobhon:

Bangkok Update

2008-10-03T12:11:00.003+10:00

From the Shrewsbury International School website, where I visited and taught:

Shaun Ng recently visited from Australia to lecture students and perform in our Khunying Sumanee Memorial Hall. Shaun played both traditional and modern pieces, including a moving rendition of Danny Boy, on a seventeenth century instrument called the Viola da Gamba.

I must say, I particularly like this picture of me. :)

Concert in Bangkok

2008-08-30T14:01:00.004+10:00

D & M Music Studio is pleased to present

A Bass Viol Recital by Shaun Ng

On Friday, September 26th, 2008

at 7.30 pm at Thai German Cultural Foundation Auditorium

on South Sathorn Road Soi 1
For more information:

D&M MUSIC STUDIO
467 Soi Mahadthai 2, Ladprao 130 Road, Bangkapi, Bangkok 10240(Thailand)
Mobile: 081-682-8000 or 086-506-8000
e-mail: dm_music_studio@yahoo.com

Mongkol Chayasirisobhon D&M MUSIC STUDIO
e-mail: dm_music_studio@yahoo.com

French Club Play

2008-08-21T06:36:00.004+10:00

French Club Play

We are proud to announce the staging of the UWA French Play, Eugène Ionesco’s Rhinocéros, in August 2008.

A sleepy Sunday afternoon in a non-descript French village. Two old friends drinking at a café. A rampaging rhinoceros. If you saw the Rhino what would you say? Would you maintain your integrity when your friends and colleagues join the herd? And most importantly is the Rhinoceros African or Asian, one or two-horned?

► Wednesday 20 August to Saturday 23 August, 7 pm
► Dolphin Theatre, UWA
► Tickets: $12 general admission, $10 (UWA Guild and Alliance Française Members), $9 UWA French Club members
► For bookings contact Kevin Wilson at frenchclub@guild.uwa.edu.au or purchase tickets at the Alliance Française

Le club français de UWA est fier de vous présenter
Rhinocéros de Eugène Ionesco, un drame absurde en trois actes. Ne manquez pas ce grand spectacle!

Although it doesn't say so on the information flyer, the main star of this play, Ilario Colli, also composed the music for the play. I've been working with him for the past few weeks. He's asked me to conduct the music he wrote as well as record it. It's been an extremely interesting experience, watching myself turning from conductor to recording engineer. I hope I will enjoy the end result. I will be watching the play later today and performing the music in a concert on Friday.

Oberlin

2008-07-28T17:36:00.002+10:00

Oberlin is a little town south west of Cleveland, Ohio, USA. In this little town is Oberlin College. Part of this college is a very established music conservatory. In 2008, the conservatory held its 37th Baroque Performance Institute, an event dedicated to the study and performance of baroque music. This year's theme was " Music in Paris, 1632-1764: from the birth of Lully until the death of Rameau".

I was invited by Catherina Meints (who I met in Hawaii) and Kenneth Slowik to present lecture recital based on my thesis "Le Sieur de Machy and the French Solo Viol Tradition". Details on this recital are available on older posts in the blog.

I had the opportunity take part in many viol masterclasses by Catherina Meints. Here are some pictures from when I played La Boisson by Antoine Forqueray (1672-1745), possibly the most difficult piece ever written for the viol. As you can see, from my extremely relaxed attire, Oberlin was really nice and warm. The conservatory was however freezing!

Here you can see Catherina Meints demonstrating a passage from the Forqueray piece I just played. She is playing an original bass viol by Nicolas Bertrand. She also owns a wonderful collection of original instruments. I managed to visit her home and play some of the viols in the collection.

More details on my trip in the next post.

Back from BPI and Update

2008-07-21T11:34:00.004+10:00

I had a wonderful time at the Oberlin Conservatory's Baroque Performance Institute. Unfortunately, I did not have my notebook computer with me to document the experience. I have finally got the photos from the event and will update this blog periodically with those photos.

I am currently writing an article for the Viola da Gamba Society of America about the BPI that should appear in their newsletter some time in the next few months. Some members of the society reported that I appeared in their previous newsletter on their article on the Pan-Pacific Gamba Gathering. I hope to post this article on the blog when I receive it.

Next month (August), I will be conducting a chamber ensemble in a performance of modern works by a local composer. I have yet to receive the score, but I am sure it will be an extremely interesting and exciting experience. A welcome change to all that early music.

I am in the process of arranging concerts in Bangkok, Singapore, Perth and Melbourne. I hope it all works out.

Discography

2008-07-07T19:01:00.003+10:00

ArtsWA Artflight

2008-06-06T09:14:00.003+10:00

I am happy to announce that my application for the Artsflight grant from ArtsWA has been approved! I will be flying off to Oberlin in a few days time. Other than the lecture recital, 'Beginnings', I will be taking part in as many activities as I can with Catherina Meints. I have already been assigned to work on some duets by Sainte Colombe with some of her students. Also, I will be receiving some instruction on the theorbo from Lucas Harris, who tells me there is a nice theorbo by Michael Schreiner at Oberlin that I can borrow. More information and pictures to come.

Beginnings

2008-05-27T01:39:00.007+10:00

Beginnings
A lecture recital of solo French viola da gamba pieces.

Works by Hotman, Dubuisson, Machy, Marais and Sainte Colombe.

Date: 24 June 2008 (during the Baroque Performance Institute)
Venue: Kulas Recital Hall, Oberlin Conservatory, Ohio, United States of America.

Supported by:

Le Sieur de Machy and the French Solo Viol Tradition

2008-05-13T11:43:00.003+10:00

Baroque Performance Institute

2008-04-24T16:20:00.005+10:00

I have been invited by Kenneth Slowik, the artistic director of the Baroque Performance Insititute at the Oberlin Conservatory, to present a lecture recital as a part of the BPI. This would be my first performaince in mainland USA. I hope to devise a lecture recital around all the famous solo 17th-century viol composers, namely Hotman, Dubuisson, Sainte Colombe, Machy and Marais. Perhaps a 'best of solo viol' concert culminating in a chaconne would go down well.

While the Oberlin Conservatory has offered me a full scholarship to the event, I will need to find my way to Cleveland International Airport all by myself. I have applied for ArtsWA's Artflight grant to help with this. I managed to get 3 excellent letters of support from Suzanne Wijsman, Stewart Smith and Miriam Morris. Special thanks to them.

If I should be succesful in acquiring the grant, I will be using this blog to document the process, including the 30 plus hour flight from Perth to Cleveland, Ohio! That would certainly be very interesting. If I have an internet connection in Oberlin Conservatory, I would definitely post from there. I expect many, many, many photos.

Concert in Sydney

2008-03-30T23:23:00.002+11:00

Voice and Viols
March 28, 3:30pm to 5:00pm

MLC Chapel
Rowley St, Burwood NSW

Professional Tutors from the National Viol School present their annual concert. Works by Dowland, Machy & Marais. New work by Chris Berensen. Timothy Chung, Counter Tenor, Chris Berensen, harpsichord. Louis Begin, Caroline Downer, Shaun Ng & Jennifer Eriksson, viols.

For more information, click here or here.

Easter Viol School 2008

2007-11-14T19:15:00.000+11:00

I have been invited to the Easter Viol School. Held in Sydney at the MLC School in Burwood, I will be teaching beside Jenny Eriksson and Caroline Downer. I will also meet bow maker, Louis Begin, whom I also met on my last trip to Hawaii during the Pan-Pacific Gamba Gathering. Some part of me feels like commissioning a bow from Louis, but I've already got a theorbo on commission and I would like to be able to afford a holiday at some time. I do not have more details on the school, but I imagine there will be opportunities for consort coaching, private lessons as well as masterclasses. In addition, the tutors are in the process of planning a concert during the school. I will post more exact information closer to Easter.

The Concert Spirituel

2007-11-11T05:59:00.000+11:00

The next disc with Ensemble Battistin has been released on ABC Classics. I am mostly heard in the Sonata by Guillemain, which features a really interesting viol part including some really cool and flashy virtuosic passages. I have not received a copy yet, but I suppose at some point of time I'll receive one in the post. I read a PDF of the liner notes online and was very happy to see the changes in my biography. (See my last post on the first CD)

I am not sure if there will be any more CDs to the series, but I hope there will be. Perhaps I will suggest recording the baroque cantata Tobie by Bousset? I read about it somewhere in a thesis, but I have never seen the score. Has anyone heard of this work?

Catharina Meints

2007-08-07T18:33:00.001+10:00

The high point of my trip to Hawaii was not my solo performance, but my meeting with Catharina Meints. Currently the professor of viol in Oberlin Conservatory, she is probably one of the most established violists, having studied with August Wenzinger in Basel. Here is some information from the Oberlin website:

Education:
B.M., Performers Certificate 1996, Eastman School of Music, cello study with Ronald Leonard; Viola da gamba study with August Wenzinger, Basel, Switzerland, 1968-71.

Professional Affiliations:
Cellist, Rochester Philharmonic, 1964-66; assistant principal cellist, Chamber Symphony of Philadelphia, 1966-68, National Symphony, 1968-71, Cleveland Orchestra, since 1971.

Performances:
Performances on viola de gamba and baroque cello throughout the U.S. as member of the Oberlin Baroque Ensemble, Cleveland Baroque Soloists, and Oberlin Consort of Viols since 1971; Solo recitals at Carnegie Recital Hall and Smithsonian Institution, solo appearances with Cleveland Orchestra, Chicago Symphony, Apollo's Fire and Lyra.

Teaching Background:
Faculty member, Oberlin Conservatory since 1975; Oberlin Baroque Performance Institute since 1971; Clevland Institute of Music since 1990. Master classes in Italy, Austria, and the U.S.

Recordings:
Solo and chamber music recordings for Cambridge, Vox, Gasparo, Dorian, and Nonesuch.

Here we are pictured with her 1680s Joachim Tielke viol, after her Bach sonatas recital with harpsichordist Web Wiggins. I took this opportunity to have some lessons with her and to participate in her masterclass. In retrospect, I think that was somewhat unorthodox, as none of the other younger professional players did the same. The masterclass was really meant for students or amateur players. However, I knew I was not going to pass up on this opportunity to play for one of the teachers of my first viol teacher! After the conference in Hawaii, Catherina invited me to Oberlin for its next Baroque Performance Institute in 2008. I do not know if I will have the funds to fly (40+ hour flight from Perth!), but I'm dreaming about it already.

P.S. That's Liam Byrne in black with a gold belt!

Solo Recital in Hawaii

2007-08-07T17:51:00.000+10:00

August 1, 12:30pm - 1:30pm
Manoa Campus, Orvis Auditorium

This young performer from Australia (via Malaysia) will play his bass viola da gamba in a mixed program of early viol solos, music he has composed himself, and “fusion” pieces. Part of the Pan-Pacific Gamba Gathering, July 31-August 4.

For more information, click here.

Machy

2007-03-30T02:18:00.000+10:00

I recently changed the setup of bass viol slightly. Instead of having the soundpost almost directly under the bridge (as suggested by Wieland Kuijken), it has gone around an inch away from the bridge. A longer, but thinner soundpost was made and fitted by local luthier, Andrew Tait. The overall string tension has been vastly reduced, especially on the bass side. I'm now using strings of the lightest gauge by Daniel Larson's Gamut Strings. I am using a very, very old, long and light pernambuco baroque violin bow, which has taken the edge off the sound, and made it more resonant (Are there many existing historical snakewood bass viol bows anyway?). My usual snakewood one feels too bright for my taste. The thin ribbon of hair has made my playing a lot more focused and perhaps even slightly louder. The string length has also been reduced, to around 68 cms. I think this has been the best thing I have done for my viol in a long time.

Below is a clip of a prelude by the violist Machy (fl 1685). It's probably my all time favourite prelude and possibly the most dramatic one ever written for the viol. It is an unmeasured prelude, so no bar lines or any sense of a regulated tempo. Because of that, even up to today, after so many years of playing this piece, I am never quite sure how I should play it. Despite all those years of musicological research (I'm probably the world's only Machy scholar), I don't think I'm even close to what Machy would have wanted.

bMuze.com
Title: Prelude Artist: Shaun Ng

Morning Magazine

2007-03-28T20:37:00.000+10:00

When publicising my last solo recital at Kulcha, I was invited to do a little interview on RTRfm 92.1FM Morning Magazine. So on the morning of 8th February, I turned up at their Mount Lawley studios. This is what I said.

However, at their website I noticed:

From Singapore, and making his debut solo performance in WA, Shaun performs the works of the viola da gamba masters of the 17th and 18th centuries and tells us about the appeal of this instrument and its era…

At least this time I wasn't born in Singapore!

Review

2007-03-24T02:09:00.000+11:00

CLASSICAL, Ensemble Battistin, The Perfection of Music, Masterpieces of the French Baroque, (ABC Classics). Reviewed by Patricia Kelly

RESEARCH into period music performance during the mid to late 20th century produced a wealth of scholarly material that made possible recordings such as this sophisticated disc from University of Western Australia and Edith Cowan University. Unlike the geologist or archaeologist whose diggings into the past interpret but do not change what they see, the musicologist can interpret but can only approximate the instrumental and vocal quality produced in centuries before electronic recording could verify the process.

The program of this CD, the first of five exploring early 18th century French chamber music, is the outcome of study by musicologist David Tunley. The shimmering performance by Ensemble Battistin, with soprano Taryn Fiebig and mezzo Fiona Campbell, of two cantatas each by Jean-Baptiste Stuck and Michel Pignolet De Montéclair follows faithfully the French imperative to make the rhythms dance. The playing is clear, light and phrased with class, but oh, why do singers have to whine on to notes instead of going squarely to the sound's core?

Shaun: It's a called a port de voix, darling. :)

Finally!

2007-03-24T01:50:00.000+11:00

I finally received my copy of the French Baroque Cantatas CD. I must say, although I am generally amazed with the musical result, I am not very used to the overall sound of the recording. I suspect very much that when this recording reaches the hands of the magazines and gets reviewed, they might have issue with it too. Maybe I've been using a bad CD player and my Grado Labs headphones are too revealing?

The CD booklet is gorgeous, with a lovely picture of the chapel at New Norcia. The liner notes are top notch, as is the rest of the physical product. Looking forward to the next one, which should appear some time in June. Is there a sponsor out there who would like to help finance the next in the series?

N.B. In the liner notes, Shaun Ng again falsely represents Singapore again!

Born in Singapore, Shaun Ng studied bass viol...

Jambe de Fer

2007-03-22T22:01:00.000+11:00

A little quote I happened to stumble while doing research for my thesis:

What difference is there between Music & Singing, between musician and singer? There is as much difference between a poet and the reader of poetry: for the poet is inventor and maker of the thing, without which the reader could read nothing. Likewise the Musician is inventor & composer of some Music, without which the singer could not show off (or make heard) his voice.

Philippe Jambe de Fer, Epitome Musical (Lyons, 1556)

So tell me, were singers back then not musicians? Are singers now not musicians?

Pan-Pacific Gamba Gathering

2007-03-14T17:58:00.000+11:00

I have just received an invitation to the Pan-Pacific Gamba Gathering that will happen in late July to August in Hawaii. Represented at this event are viola da gamba players from Australia (this includes me), Canada, Japan, Malaysia (this includes me too), New Zealand, Switzerland, the UK, and the US. I usually falsely represent Singapore, but this time the organisers have got it right! Here is the tentative list of participants:

Ibi Aziz, Bruce Bellingham, John Bryan, Liam Byrne, Tina Chancey, Megan Collins, Brendan Conroy, Alison Crum, Marie Dalby, Wendy Gillespie, Brooke Greene, Peter Hallifax, Kaori Hashizume, Julie Jeffrey, Yukimi Kambe, Mari Kano, Andrew Kerr, Margaret Little, Loren Ludwig, Roy Marks, Sarah Mead, Catharina Meints, Miriam Morris, Susie Napper, Shaun Ng, Maki Noguchi, Eriko Ozawa, Ken Perlow, Fred Reinagel, Daniel Rippe, Alice Robbins, Brett Rutherford, Toshiko Shishido, Polly Sussex, Laura Vaughan, Victoria Watts, Webb Wiggins, Brent Wissick and Barbara Zuchowicz.

At this stage, I am still unsure what I will be performing or presenting. It seems that the organisers are keen on an unconventional programme. Perhaps I will include improvisations and contemporary works, especially music that was written for me. Naturally, I would like to include transciptions of current pop tunes. That seems to go down well with the mainstream audience, but I'm afraid that the viola da gamba crowd may not be familiar with what's current on Mtv. I say this because I too am not very familiar with what's on telly these days. I suppose I'll also include a few staple viola da gamba solos to make us all feel at home.

I hope that I will be succesful in securing funding for my trip. Hopefully the art funding bodies that I will approach will be interested in sending a representative from Western Australia to Hawaii.

French Baroque Cantatas

2007-03-07T12:15:00.000+11:00

At long last, the first of the French Baroque Cantatas CDs is out. We recorded it so long ago, I cannot remember what I played in this one. If I'm not wrong, there is an obbligato viola da gamba part in one of the cantatas, but the rest of the contribution is all basso continuo. Obviously I've not heard it yet, but will expect to get some complimentary copies soon. The next CD should include some of the chamber music. I believe this CD project is ongoing and may include more completely unknown French baroque works. More information about the CD can be found here.

Australian Youth Choir

2007-03-07T11:41:00.000+11:00

I finally accepted the position with the Australian Youth Choir as their choral conductor. So far, the experience has been an extremely rewarding one. I've been on the job 4 weeks now and I think things have been flowing along quite smoothly. I have convinced myself that if I can teach such young boys and girls to sing, I could probably teach just about anyone anything!

Bmuze

2007-03-04T23:52:00.000+11:00

Jeremy's Pick-- I haven't heard or seen a Viol da Gamba since college (music performance major), and I forgot how beautiful they are. Thanks Shaun Ng!

Thanks to Tim Wang, who uploaded our jam session online, I managed to find a great new service to upload tracks for our enjoyment. To my surprise, after uploading a Telemann movement a few days ago, I became "Jeremy's Pick!" (I think Jeremy owns and/or runs bMuze) Thanks very much Jeremy. Here's another for you and the rest of the world.

This piece by Abel is probably a world premiere recording! I have never heard it recorded by any viola da gamba player ever. I am not sure if this piecee has ever been published in a modern edition. A few years ago, when I went to New York with my father for holiday, I stopped by at the New York Public Library and made copies of the manuscript (New York Public Library, Drexel 5871). It's a little bit of a strange piece. Called Vivace, it doesn't feel to have a fast or lively character. There are very many crosses in the music, made probably by someone attempting to spot "mistakes" in the music. I am not sure if I got it right myself, but I quite like the music. How does it sound to you?

bMuze.com
Title: Vivace Artist: Shaun Ng

Kulcha Recital

2007-03-03T08:06:00.000+11:00

Thanks to everyone for attending my recital at Kulcha.

I had comfortable crowd of around 50 people, excluding my friends and family, which is a pleasant surprised considering how very new I am to Australia. The venue wasn't one that I was used to, but the relaxed "jazz club" atmosphere made the performance so much more intimate. I joked how similar it felt like being on the set of Dreamgirls.

For those that missed it, here is an old clip of the Telemann sonata that I played during the recital:

bMuze.com
Title: Andante Artist: Shaun Ng

Special thanks to my friends (Jeremy, Brian and Jumius) that turned up for my WA debut! (Sorry Brian, I don't have a picture with your eyes open!)

Jam

2007-02-22T02:16:00.000+11:00

bMuze.com
Title: perth jam session Artist: shaun/bryyin

Tim Wang, a friend from Melbourne, decided to do some singing with his guitar, when I suggested that we "jam" and record something. This is the first and only "take" we made of a song that I had never heard before. With such interesting sonorities from guitar and viola da gamba, I am surprised we don't hear the combination more often!

Upcoming Solo Recital

2007-01-30T15:47:00.000+11:00

Fri 23 February 8:00PM
SHAUN NG - Viola da Gamba

Shaun performs the works of the French and German viola da gamba masters of the 17th and 18th centuries including favourites such as a transcription of Bach's solo violoncello suite and Telemann's sonata.

Tickets at the Door $14, so Book Now!
Presale Tickets @ $12
Members Tickets @ $10

KULCHA Fremantle,
1st Floor, 13 South Terrace, Fremantle (above Dome Cafe)

Happy New Year

2007-01-06T03:38:00.000+11:00

Firstly, Happy New Year to all!

Last year I applied for a position with the Australian Youth Choir, and am happy to announce that I have just received an offer for the position of Choral Conductor! However, at this point of time, I am unsure if I want to accept this position as the terms of employment have somewhat changed since the interviews. I think some time of negotiation will be necessary before I decide to take up this position. I am aware how few choral conductors actually make a living working with choirs and how fortunate I am to be able to.

Autograph

2006-12-02T12:47:00.000+11:00

Three months ago, I was asked to accompany Wieland Kuijken and Eva Legene in concert, which I unfortunately could not do because of an unexpected urgent matter. Wieland requested to borrow my viol and I was meant to accompany on theorbo. Together with my viol, I passed him a copy of his CD that I owned and asked him to 'autograph' it. I thought that if I was not going to meet him this time, at least I would have something from Wieland to take away. This is what came back:

Dear Mr. Ng,

Many thanks for the nice instrument you lent me!

Wieland (signed)

I do hope you will approve the "new" setting. I moved the bridge up (± 1cm) and put the soundpost straight under the left foot of the bridge. In my opinion, the sound has improved a great lot.

Almost no violin luthiers would ever suggest putting the soundpost right under the bridge (of the violin). A baroque violin maker (I cannot remember who) did once suggest I try it on my violin, but never mentioned it for my viol. Because of this, I would have never thought that doing so would improve the sound. The overall effect of this small change in setup has created an evenness in tone that was not quite so apparent with my old setup. There is also an added resonance to the instrument, which is simply wonderful.

According to Eva, Wieland mentioned he preferred my viol to all the others he borrowed during his Australian tour. Too bad I missed him this time round. Plans for a Perth international early music festival in 2008 are in the works. I may very well be the director for strings and invite Wieland over!

Wieland Kuijken in WA

2006-11-09T00:10:00.000+11:00

Wieland Kuijken is probably the most well-known and highly regarded viol player and teacher of my generation. He was the teacher of almost every professional viol player today (above 30 years of age!). This includes two of the my viol teachers, the glamorous Mieneke van der Velden and Philippe Pierlot. When I was studying in Holland, he had stopped accepting students into his class in The Hague and was signalling his retirement. I did however have the opportunity to experience his lessons, though I never did study with him. Here is some information about him:

(b Dilbeek, nr Brussels, 31 Aug 1938). Viola da gamba player and cellist. Members of the family were musicians on both sides, connected with brass bands. Wieland left school at 15 and began musical studies (cello and piano) at the conservatory at Bruges, where the family had moved in 1952. He also studied at the Brussels Conservatory (1957–62; prix d’excellence, 1962). At 18 he began teaching himself the viol. He played in the Brussels avant-garde group Musiques Nouvelles (1962) and, from 1959 to 1972, in the Alarius Ensemble, a group specializing in Baroque music, especially French. After that he played with his brothers in the Kuijken Early Music Group and was much involved in teaching; he has held appointments at the conservatories of Antwerp, Brussels and The Hague since the early 1970s and has conducted many masterclasses. He has appeared frequently at festivals, such as Flanders, Saintes and the English Bach Festival, and toured in Australia and New Zealand with his brothers and Gustav Leonhardt. Artists with whom he has played include Alfred Deller, Gustav Leonhardt and Frans Brüggen.

In the late 1970s Wieland Kuijken came to be regarded as the leading exponent of the bass viol, both as a continuo player, in a wide repertory of French, German, Italian and English music, and as a soloist, in Bach and particularly in the French repertory, notably Marais and Forqueray; he has also played in chamber music of the Classical period, including Mozart and Boccherini. His playing combines care over scholarly detail with a high level of musicianship; it is characterized by its tonal purity, its sense of line, its poise and restraint, and by its seriousness of approach.

J. A. Sadie: 'Kuijken, Wieland’, Grove Music Online ed. L. Macy (Accessed 8 November 2006),

It was only a little more than a month ago that I was asked to accompany Wieland and Eva Legene on the theorbo in concert (Wieland requested to borrow my viol as he did not bring his from Europe). However, I was urgently summoned back to Asia due to more pressing matters. This is a picture of my viol in Wieland's during the solo recital he did instead:

It seems he was equipped with his own bow, perhaps one of the Patignys that he seems to favour. I know, I can't stand my own bow either!

Fionnuala

2006-10-29T07:27:00.000+11:00

I discovered an entry in the Welsh Music Information Centre concerning the first ever modern work to be written specially for me. Fionnuala, inspired by Irish folklore, was a work for viol and harpsichord written by Andrew Wilson-Dickson, then the head of early music at the Royal Welsh College of Music and Drama. It was during a recital in 2003, with harpsichordist Shane Thio, that I premiered the work in Singapore. Here is some information about Andrew:

Andrew Wilson-Dickson is a composer, pianist and conductor (as well as author, teacher and string-player). During his four years at Cambridge
University he studied piano with John Lill and then the organ at York with Nicholas Danby and Francis Jackson, at the same time holding the post of organ scholar at York Minster.

Just prior to his move to Wales in 1984, Andrew won the National Eiseddfod`s `Tlws y Cerddor` with Sefyddfa a Sgwrs for clarinet, strings, horn and accordion. But before and since then his compositions have been played (and broadcast) by many well-known artists such as Peter Lawson, Andrew Ball, Julian Jacobson (piano), Nancy Ruffer (flute), John Wallace (trumpet), Susanne Stanzeleit, Madeleine Mitchell (violin), (piano) Kevin Bowyer (organ), and by ensembles such as Lontano, the Wallace Collection and the Medici String Quartet (who played his string quartet commissioned by the BBC). He has written three operas and other dramatic works. He won the Bournemouth-Parry International Festival composition prize in 1999 with a piece (Psalm 29) which has since been taken on tour in Australia by the Sydney Chamber Choir.

As a result of his long-standing involvement with period music as a player and teacher, he is particularly interested in writing for early instruments Â explaining the recent commissions for music from Fretwork and Charivari AgrÃ©able. Unknown to the players, he is writing a concerto grosso for the Welsh Baroque Orchestra, a period instrument ensemble which he founded and directs.

Recently completed commissions include Three Hail Marys (ten-piece brass) for the Royal Welsh College of Music and Drama and The Fox, a cantata for period instruments first performed by the Welsh Baroque Soloists, summer 2005. A guitar concerto is due for first performance at the end of 2005.

Fionnuala will definitely see the light of day soon (harpsichordist Stewart Smith expressed great interest during our last recital), but in the meantime I shall be on the look out for more composers - especially young composers - to write for the viol. Perhaps one day I will premiere your work?

Défense de la basse de viole

2006-10-29T05:30:00.000+11:00

This is a slightly amusing and revealing extract from a random blog I happened to stumble by during a Google search:

On Wednesday I caught a performance by Shaun Ng (viola da gamba), Jeong Ae-Ree (soprano) and Shane Thio (harpsichord). An entirely early programme:

Monteclair Le Triomfe de la Constance (sop, viola da gamba and continuo)
Simpson Ground in E minor (viola da gamba & basso continuo)
Telemann Sonata in D (Viola da gamba solo)
Rameau L'impatience (Sop & basso continuo)

A thoroughly enjoyable performance. Shane seems to be able to play anything and everything. Besides playing a harpsichord and not a piano, he was improvising all the way based on figured basses and the like. What a genius. Ae-Ree had a very pure tone which was very suited to this music and her singing was coloured and dramatic, reflecting the secular nature of the subjects. Shaun's viola da gamba was something I've only heard live one other time, at a concert by Les Arts Florissants performing Handel's Messiah. He plays well enough, and is very defensive of his instrument, as demonstrated in the post-concert interview with the artistes. What an evening! I had been transported to another place and time entirely.

Being described as being "very defensive" of my instrument hardly seems praise to any musician, but then again, I am not just any musician with such an uncommon instrument. During the interview, I was asked some rather factually inaccurate questions - mostly relating the viol to cello, which in reality has no truth or basis. Looks like this attempt to leave the audience a little more historically informed has backfired! (Despite playing in every piece, I get no credit!) :)

Recital

2006-10-27T16:39:00.000+10:00

Due to personal circumstances, this recital, originally scheduled for 15th of April this year was cancelled. Now that things are sorted, the concert organisers at KULCHA have scheduled the recital for the 23rd of February 2007 at 8.00pm. Do check back often, as the recital and programme will be finalised at a later date.

Interview in Chelys Australis

2006-10-27T03:05:00.000+10:00

with John Weretka
How did you first become involved with the viol?
In 1998, while studying modern violin in Vienna, I met Jose Vasquez, the professor of viola da gamba at the Vienna Hochschule for music. How it all started was really quite mysterious. While walking past the hochschule one day, something possessed me to get in touch with Jose. I called the secretariat, who gave me his number. Immediately, I gave Jose a call and explained my interest to learn the viol. I told him that I did not own a viol and hoped that it would not be a problem. He laughed it off and invited me over the same evening, where I joined him and some students playing Castello duets on baroque violin. It was then that I realised he owned a museum of original instruments. He lent me one of his viols and enrolled me under the hochschule's lehrgang studies. Back then it was not possible to do a degree in early music in Vienna, so after 6 months I had to venture elsewhere.

Could you tell me about your experiences in Europe?

Jose suggested I go to the United Kingdom, which I did. A scholarship to the Royal Welsh College of Music and Drama allowed me to study the baroque violin, as well as the viol to a lesser extent. Looking back, I feel that Jose gave me all the viol technique that I will ever need in that 6 months. After finishing with Wales, I moved to Holland, where I travelled between Amsterdam and the Hague for lessons.

I did most of my playing as a baroque violinist. I remember doing things like Monteverdi's Vespers and Poppea, Bach's Brandenburg concertos, Handel's operas, Mozart concertos, etc. As a viol player, I did more playing in Holland. I often collaborated with Takashi Watanabe, the harpsichordist. We even got as far as finalists for an early music competition in Germany. I would like to think I was one of the few active solo viol players of my generation around. I played everything in concerts, mostly Bach, Couperin, Forqueray, Schenk, but never Marais. I have never been fond of Marais and I think it has been done to death by violists. I always try my best to avoid his music.

I know you're involved in giving concerts in Singapore. What are the viol and early music scenes like in Singapore?

There is not very much activity in Singapore because the early music has not quite had enough exposure yet. In 2000, I managed to form an early music group to explore performing in Singapore. We managed to perform almost all the major genres of baroque music. We probably were the first in Singapore to ever do a 'one voice per part' Bach cantata, French air de cour, Monteverdi opera and so much more. We were faced with a surprising enthusiasm by our audience, most of whom were probably not sure what kind of musicians we were. I still hope to return to Singapore and resurrect this group, but my commitments are with Australia now.

As a viol player, I did solo concerts in Singapore. Solo meaning, unaccompanied. I played anything and everything that was written for solo viol, even modern music. Recently, it has been mostly solo French music: Dubuisson, Hotman, DeMachy, Sainte-Colombe. I've done occasional "cross over" performances, with other artists like poets, singers, dancers, etc.

What particular challenges face the viol player in Perth? Are there challenges in Australia more generally?

In Perth, there are no other professional viol players, so playing consort is out of the question. Although there is a greater appreciation for classical music in Perth than there is in Singapore, there is probably less awareness in early music here. There is only one early music group, which is made up of the faculty of the university's music department. Occasionally I do join them. In the meantime, I spend more time teaching violin than anything else. At the moment, I am discussing representation by a local agent, which I hope will advance my career somewhat.

There are challenges anywhere. It just changes according to where you are.

Could you describe a typical lesson with José? What kinds of things were discussed in your lessons, and what did you play?

Most of my formative years of gamba playing consisted of technical exercises, e.g. bowing and finger exercises. A typical lesson would begin with me playing a piece that I've prepared, and then we would work from there. If there was a technical issue, the passage would be analysed in detail and the exact physical movement required to execute this passage would be discussed. It's an extremely efficient way to learn, which in time teaches the student to teach himself. Most, if not all, of his musical ideas are extremely expressive, sometimes going beyond the boundaries of what some consider tasteful, but I loved it.

What was the most important thing you learnt from José? How did his approach differ from other teachers you’ve encountered?

My bowing technique. Most of the other teachers I encountered did not seem to have a specific technique or a methodology, they just played. I think this is because the viol's repertoire is not so difficult that you cannot get away with some shortcomings, so there isn't really the need to be as regimented as our modern string player counterparts. Imagine if you had little concept of violin technique? You wouldn't be able to play Bach, let alone Brahms or Beethoven.

Avoiding Marais is a big challenge for a viol player. What turns you off Marais, and what are you finding in Schenck, Forqueray and others that you’re not finding in Marais?

The music of Marais is generally overplayed by viol players everywhere. This is understandable, since most of his music is pleasing and technically not too challenging. But after 5 books of Prelude, Allemande, Courante, etc., I am starting to feel that these books were intended as a commercial venture, rather than an artistic pursuit. Why I say this is because, in the context of baroque France, there are far better things. Lully, for instance, who can regarded as a benchmark for all things French, created the most wonderful sacred works. I know this can be considered a far fetched comparison, but the level of artistry and imagination that we get from Lully, in my opinion, is far more developed than anything we see in all 5 books of Marais. Not to mention, Lully's style was established before Marais', and Marais definitely knew how great Lully was. I think we are being shortchanged somewhat.

I am aware of many modern viol player's admiration of Marais, occasionally treating his music as the Rolls Royce of the French viol. My feeling is that these 5 books simply cannot represent the best pieces of the great Marais of baroque France. In giving these pieces more worth than what they have is simply misrepresenting the abilities of the French viol. Do you think Marais would sell his best pieces to just anyone? Everyone would start to sound like him!

I have a lot more faith in the works of Antoine Forqueray (Pièces de viole - Paris, 1747). The context in which they were transmitted is a clear indication of what we should expect from the French viol - a more varied style with greater technical requirements. These pieces were published posthumously by Jean Baptiste, his son, and possibly against the wishes of Antoine. I believe that they are an almost exact copy of Antoine's collected personal pieces. I am aware of the modern opinion that these pieces are actually the work of Jean-Baptiste, not those of Antoine. I completely reject this idea, since there is no historical evidence for this except for some similarity of the musical language with certain French violinists, which itself is not a compelling argument for the attribution of an entire collection of viol pieces. Many pieces share the more traditional idiom of 'jeu d'harmonie', which had been developed far back in the 1620s, as seen in the unaccompanied pieces of Hotman and similar composers that come after him, however with a more 'modern' musical language. In fact if you play Forqueray alone, you will find that most of it is already complete. Just listen to Forqueray's arrangement for harpsichord and the transcription for theorbo by De Visée. Doesn't it sound like unaccompanied music? Maybe that is why the basso continuo part for the viol sounds sometimes so redundant. I often play unaccompanied Forqueray to audiences, and so far, no one has ever realised that I was actually playing music that requires basso continuo. The texture is so rich and complete, and for a very good reason too; he never intended anyone to back him up. A truly great soloist wouldn't need any back up, would he? We could not do the same for Marais as his music has a completely different purpose. Marais' music is music meant for the general public, but Forqueray's music represents the actual pieces that he played himself; music we should expect from a great virtuoso of this period. There are some pieces of Marais that I would never perform for an audience. Do you think Marais would?

Susie Napper and I had a discussion about Isabelle Panneton’s ‘Ellipses’, which Les Voix Humaines performed while they were in Australia. This was a piece that had been inspired by Sainte-Colombe’s concerts and yet, in some ways, the music didn’t sit well on the viol at all, something you rarely feel in Saint-Colombe’s own works. What is your exposure to modern works for the viol, and do you feel, as one sometimes does with Schenck, that you make the music work in spite of the instrument?

Writing for the viol must be very difficult for the modern-day composer. As far as I know, there are no manuals out there to teach you how to write for this instrument, so understandably, there are pieces out there which do not suit the viol as well as one would like. But as viol players, we must be used to this. Bach's gamba sonatas are not all that idiomatic for the viol, but because they are such great pieces (more likely because it's Bach), we work as hard as we can to make them sound pleasing. Perhaps an even better example are Couperin's suites for the viol, which are the most beautiful pieces ever written for the viol, but don't always make too much sense technically (however I am starting to better decipher his intentions). In fact playing Schenk and Forqueray is far easier for the hand and the bow, despite requiring more pyrotechnics.

Where will you be in twenty years?

This is a very hard one. I suspect I will be doing something completely unrelated to music in some tropical island somewhere.

The Twain Shall Meet - Shaun Ng's bass viol knows no bounds

2006-10-27T03:00:00.000+10:00

by Greg Cahill

For Shaun Ng, discovering the viola da gamba proved a life-changing experience. "I personally believe that there is a missing link in our musical heritage," says the 22-year-old Malaysian musician and composer, "as there is no bass instrument—other than the viola da gamba—that expresses this kind of tonality. The larger cousin of the erh-hu [the two-string Chinese violin], to my knowledge, does not exist anymore. The modern reproductions of it are closely related to the cello and the double bass. This is why perhaps many people here possess a special affinity for the cello. But the viola da gamba has many more possibilities than a cello.

"Imagine what one can do with seven strings instead of four!"

Ng, a student at the Amsterdam Conservatory of Music, has been exploring those possibilities in some interesting ways while winning rave reviews. As the founder of the Singapore-based ensemble Musica Obscura, which specializes in medieval, Renaissance, and Baroque music, Ng is introducing the viola da gamba (also known as the bass viol) and early European music to a larger Asian audience. As a solo artist, he has performed and recorded works by Bach and Telemann, among others. But he also performs contemporary material in a duo with harpsichordist Shane Thio.

As a composer, Ng is helping to bring this ancient European instrument into the modern world. He recently told music writer Rachel Jacques that his mission is "to penetrate the souls of the listeners and to excite their emotions (to use the words of Leopold Mozart), and make accessible and familiar the raw energy and humanistic allusions that thrive in the nature of this music.

"We want to serve as an alternative to the more staid and established classical music conventions and institutions already prevalent in Singapore," he added. "One needs to understand what music is really about. People in Singapore need to be subjected to raw and honest emotion without the glitz and glamour of concert halls."

As a teen, Ng traveled to Europe on a scholarship and has since studied early music with Richard Boothby and Lucy Robinson of the Royal Welsh College of Music and Drama, Mieneke van der Velden of the Amsterdam Conservatory, and Philippe Pierlot of the Royal Conservatory of the Hague.

"I discovered the viola da gamba in 1997 when I met José Vázquez, the professor of early music at the Musikhochschule Vienna, while studying modern violin there," Ng says. "The initial attraction was naturally its sound. The viola da gamba possesses a kind of sound that evokes certain emotions—a kind of melancholy that complements such Asian instruments as the Indian sarang and the Chinese erh-hu. That is no surprise since these instruments share many similar technical attributes."

As an associate artist at the Substation, Singapore's first independent arts center, Ng is exploring the boundaries of that instrument. Last August, Ng premiered his own multimedia avant-garde performance piece, Suites of Stranger Taste, Book 1, a reference to a series of works by progressive French viola da gambist Marin Marais (1656–1728). The work employed the viola da gamba in compositions based on Indian ragas and teamed Ng with filmmaker Tania Sng, Bharatanatyam choreographer and dancer Arul Ramiah, and award-winning poet Cyril Wong of Singapore.

"The response was great," Ng says of his growing Malaysian following, an audience that obviously appreciates the bold cross-cultural approach he brings to his works. "As with Suites of Stranger Taste, Book 1, as often as possible I like to reach out to poets, composers, musicians, and dancers in my work. And I'm finding there are many others here who like to experience this form of experimental art."

Back to the Future from the Baroque

2006-10-27T01:47:00.000+10:00

by Justin Cheong

Something really old is about to become really hip!
The 20th century witnessed a resurgence of interest in the 500 year old viol (or viola da gamba) for the authentic performance of early music. But come August, the founder of early music group, Musica Obscura, Shaun Ng, will be making a radically cutting-edge step for the instrument in a collaborative performance that sees him cross-pollinating the media of music, film, dance and poetry.
The performance is titled Suites of a Stranger Taste, Book 1, a reference to a series of works by progressive French viola da gambist Marin Marais (1656-1728). In a programme as unconventional as Marais, Ng will compose and perform the accompaniment to a film created by Tania Sng, an Indian dance by Arul Ramiah and a poetry recital by Cyril Wong. Ng's long-time friendship with Wong made for a better understanding during this unusual collaboration. "Performance poetry," Ng explains, "is something which is often done very badly, because it's too easy to get carried away and end up writing a 'song'. We decided that I should have the freedom to give his poetry a different interpretation through my music."
A love for Indian culture and music prompted Ng to improvise on a tradition Indian raga and employ the talents of dance Arul Ramiah, whose choreography is based on the Bharatanatyam school of dance. Ng feels that early music and Indian music share many similarities, especially the art of improvisation and ornamentation. He reflects: "I do sometimes imagine that perhaps somewhere in history, these two cultures have met."
The performance will involve an improvisation of the Charukeshi raag in a non-metered form within a cyclical rhythmic structure. "Its supposed form should be no different from a traditional raga. The only things that I cannot recreate are certain ornaments, which aren't easily executed on a fretted instrument. Hopefully, one will forget that I am playing a musical instrument of Western origin."
Finally, multimedia forms a central theme in the performance. Ng articulates succinctly: "In our culture of television and film, what better way is there to reach out to audiences?" Ng intends to go beyond music, sound, noise, silence and emotions in an aural and visual experience, which incorporates a film by Tania Sng on the issues faced by Singaporean women.
"We developed this theme to explore the struggles of women amidst the lessons and fears faced in life, "Ng elaborates. "The music used to accompany her creation was composed along these lines to give the audience a more intense and heartfelt experience."
Held at The Substation, the performance will take advantage of the intimate venue to educate audiences on the viola gamba's reticence and poetry. "It has already missed out the best of the 1800s and 1900s," says Ng. "I hope it will be welcomed in the 21st century as the musical instrument that best describes the 'voice' of humanity." With a young artist like Ng as a proponent of the viola da gamba in such innovative new forms, it certainly looks like this ancient instrument can achieve the very goal.
Suites of a Stranger Taste, Book 1, on 30 August at The Substation - Guinness Theatre.

Young Plays Old Music

2006-10-27T01:38:00.000+10:00

by Tan Shzr Ee

The latest trend in the music world is old, and we mean really old.
Performer Shaun Ng, who is barely 21, will take you back into the musty 17th century this weekend, when he performs at The Substation, with the group he founded, Musica Obscura.
The final-year student on a summer break from the a music course at the Royal Welsh College of Music and Drama in Britain, plays amongst other things, an ancient seven stringed fiddle called the viola da gamba.
He is a budding specialist in Early Music, and intends to bring it to Singapore audiences in a big way.
"It's a process of discovery," he says. "In each concert, we try to be authentic and re-create the composer's original intentions and what might have happened in the 17th century. But we are all young and vibrant, and have something individual to add, too."
Up on the bill this weekend are unusual composers such as Ortiz, Marais and Abel. Audiences can expect an intimate dose of harpsichords jangling to genteel, sprightly bowing on large and small fiddles.
"Of course people come because it's exotic. I think it's perfectly understandable," he says. "But after a few times of coming to our concerts, it no longer becomes exotic. You realise there is something deep behind it all."
One common view is that this curious genre of music. assumed to be "trapped" in its own "time", is the sacred territory of silver-haired professors poring over crusty manuscripts.
And the novelty of this time-capsule appeal has apparently caught on with Singaporeans.
Since Ng formed his Musica Obscura with friends last September, he has already played four well-attended concerts here, slotted in between his school semesters. There is also talk of two more gigs to come in December, not including this week's engagement.
As Ng would like to think, this form of music-making is more than a passing fad here.
"I think there's a future for Early Music in Singapore here. I believe Early Music is much more accessible than your Romantic and Classical fare in the concert halls," he says.
"It doesn't require that you sit still for two hours and take in all the arty-farty stuff. It's not too deep or serious; often it can very light and dance-y."
Before you can accuse him of living in an ivory tower of old-fogey values dressed up as a clever academia, let the club music fan, who breaks the stuffy musician stereotype in his V-neck and lanky jeans assure you otherwise.

Old Instrument Does Not Play Second Fiddle

2006-10-27T01:22:00.000+10:00

by Sandra Leong

A 17th-century musical instrument can keep company with modern art forms like film.
That is the view of viola da gamba player Shaun Ng who is linking up with dance, poetry and film practitioners in a performance, Suites of a Stranger Taste, Book 1.
Ng, 22, will provide the music to accompany a poetry recital by Cyril Wong, a short film screening by Tania Sng and an Indian dance by Arul Ramiah.
Ng is also a founding member of Musica Obscura, a group of musicians who began exploring a repertoire of Early Music on period instruments in 2000.
Suites draws from his training in Early Music, paying homage to French Baroque composer and viola da gamba player Marin Marais.
The latter scored a series of works translated loosely as Suite of a Foreign Taste.
In it, Ng combines some of Marais' music with his own.
"Being a viola da gamba player, you are constantly exposed to the great music of Bach, Forqueray, Marais and Schenk," he says.
"Sometimes, you wish you could just step out of this mainstream genre and create your own music, just like how these composers did when they were alive."
He forged the unusual blend of performers from his personal admiration of others' works.
Of poet and good friend Wong, he says: "Cyril is a good writer who understands poetry well as a genre. His poetry also has a good sense of phrasing and rhythm. This is very important if you are trying to write music to it."
In return, Wong feels such collaborations will give his poems more exposure across different media.
One of his poems, One-Track Vision, was adapted for a short film by Sng last year. His other works have also been adapted for plays and soundtracks.
Similarly, Ng approached Ramiah and Sng because he shared their passion for Indian culture and film-making.
Though the viola da gamba is often associated with baroque music, Ng believes that it is suited perfectly for a contemporary context.
"One should not come to this performance expecting a baroque recital. Yes, the viola da gamba was a baroque instrument, but perhaps this recital will change that idea."

Lessons

2006-10-27T01:20:00.006+10:00

I am offering private lessons on the violin, viola, baroque violin or viola da gamba. For more information, see my entry at Music Teachers Online or contact me.

Lesson fees vary according to the level of the student.

Shaun Ng, BMus (Amsterdam), BMus Hons (Wales), MA (UWA), DMA (current)

Lesson Location My Studio

Availability Week - Most Daytime and Evenings, Weekend - Only Saturday

Contact Details

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To contact me personally or to arrange a lesson:
Location: Strathfield, NSW 2135
Telephone: 02 97 984985
Email: shaunkfng@gmail.com

Biography

2006-10-27T00:08:00.018+10:00

Shaun Ng, BMus (Amsterdam), BMus(Hons) (Wales), MA (UWA)

After gaining the Royal Welsh College of Music and Drama's String Scholarship in 1999, Shaun moved to Europe to study the instrumental performance with many of the best practitioners of early music. He studied the violin with Margaret Faultless and Oliver Webber (RWCMD), and the viol with Richard Boothby, Lucy Robinson (RWCMD), Mieneke van der Velden (Conservatorium van Amsterdam) and Philippe Pierlot (Koninklijk Conservatorium). He also participated in the master classes of José Vázquez, Catharina Meints and, most recently, Paolo Pandolfo.

In 2000, Shaun founded the early music ensemble Musica Obscura (Singapore), which he directed until the group disbanded in 2004 when he moved to Perth, Western Australia. At the University of Western Australia, he studied musicology with David Tunley and Suzanne Wijsman as well as orchestral conducting with Peter Moore. During this time, he also taught himself to play the theorbo and subsequently received lessons from Lucas Harris at the Oberlin Conservatory during the Baroque Performance Institute. In 2010, Shaun won the Australian Postgraduate Award to pursue his Doctor of Musical Arts degree at the Conservatorium of Music at the University of Sydney, and has since relocated to Sydney, New South Wales. He is currently studying with Neal Peres da Costa, Alan Maddox and Daniel Yeadon.

In Australia, Shaun has performed and recorded with early music ensembles such as Ensemble Battistin, Ironwood Ensemble, The Marais Project, Perth Baroque, Seaven Teares Viol Consort and The Sydney Conservatorium's Early Music Ensemble. He has presented his research at conferences such as The Pan-Pacific Gamba Gathering (Hawaii, USA), Baroque Performance Institute (Oberlin, USA) and the Musicological Society of Australia. He has published his research in The Viola da Gamba Society Journal (United Kingdom).

Shaun performs on the following instruments:

Violins:

Baroque violin, Benjamin Banks after Amati, Salisbury 1775

Modern violin, anonymous after Stradivari, late 19th century

Violas da gamba:

Seven-string viola da gamba, Sergio Gistri after Nicolas Bertrand 1687, Colle di Val d'Elsa, Italy 2000
Six-string tenor viola da gamba, after Henry Jaye 17th century
Six-string violone, after Maggini 17th century

Plucked instruments:

French theorbo, Jason Petty, Wellington, New Zealand, 2011