Kelly Tang’s compositions have been performed by international ensembles such as the Russian National Orchestra, Warsaw Philharmonic Orchestra, Minnesota Orchestra, Nashville Symphony, Nagoya Philharmonic Orchestra, Ensemble Contemporain of Montreal, Band of Her Majesty’s Royal Marines (UK), and “The President’s Own” United States Marine Band.
In Singapore, Tang’s works are performed by the Singapore Symphony Orchestra, Singapore Chinese Orchestra, Singapore Armed Forces Central Band, Singapore National Youth Orchestra and the T’ang Quartet. His Jazz compositions have been performed by pianist Jeremy Monteiro with Grammy® recipients Ernie Watts (saxophone) and Randy Brecker (trumpet).
Tang’s music has been presented worldwide at Berlin Konzerthaus, Musikverein Golden Hall (Vienna), Sydney Opera House, Suntory Hall (Tokyo), Palais de l’Élysée (Paris), Museum of Musical Instruments (Brussels), The Rodahal (Netherlands), Auditorium di Milano (Italy), St. Paul’s Cathedral (London), and Carnegie Hall (New York). To celebrate Singapore’s 50th anniversary in 2015, Tang’s Concerto in Three Movements was commissioned for a premiere by superstar pianist Lang Lang and the Metropolitan Festival Orchestra.
Tang received his masters degree in composition at Northwestern University (Illinois, USA) in 1991, and his PhD in composition at Michigan State University (USA) in 1995. He served as Associate Professor of Music at Nanyang Technogical University (NTU) from 1996 to 2011, Dean at School Of The Arts (SOTA) from 2011 to 2017, and Master Teacher at Ministry of Education (MOE) Singapore Teachers’ Academy for the aRts (STAR) from 2017 to the present.
Tang received the COMPASS Artistic Excellence Award from the Composers’ and Authors’ Society of Singapore. For his contributions in the arts, Tang was conferred the Cultural Medallion in 2011 by the President of Singapore.
The Band Post catches up with Dr. Kelly Tang, composer of Overture No. 1 and Overture No. 2, the set pieces for the 2025 Singapore Youth Festival (SYF) Arts Presentation (AP). In this interview, he shares insights into the social significance of the pieces and what they represent for Singapore.
A previous interview with Dr. Kelly Tang, conducted in July 2009, explored the technical dimensions of his compositions. Read it here.
How do you feel about Two Overtures for Band being selected again for SYF AP (Band) 2025?
This is a test of whether the Two Overtures continue to be as rewarding and elucidating to play 16 years later, and if the music is as captivating as it was 16 years ago. We live in a very different world today, and this is a test of whether the two overtures have something new to say today, and if they address current issues confronting today’s students. I hope the changing colours and rhythms of the music reflect the turbulent landscape of an unknown future, and how we can take advantage of that unpredictability with our creativity, imagination and resourcefulness.
What was your inspiration behind the overtures when you composed them in 2009?
In 2009, the Two Overtures became the first SYF set pieces to be composed by a Singaporean in over a decade. As such, it was so important for Singaporeans to be proud of the Two Overtures. I wanted the Two Overtures to not only be enjoyable and widen perspectives, I wanted them to make a unique and powerful Singaporean statement that would be different from band pieces written in any other part of the world.
The work was composed with school bands in mind. What were the key technical considerations when writing for this level of musicianship?
I remember in 2009 that every bar and part of the Two Overtures were scrutinised closely and re-scrutinised to ask if they were playable by students. Several changes were made to this end, but yet I needed to retain the original musical flow and keep the original structure of the Two Overtures. I struggled very hard to resolve these conflicts between playability and musicality, and this tested my compositional craft to its limit.
Over the years since 2009, bands have continued to perform the works. Have you observed any differences in interpretation between past performances of these pieces?
It is fortunate that, in the last 16 years, bands overseas and locally found it rewarding to perform the Two Overtures. I observe that bands, musicians and conductors took liberties to explore different ways to interpret the music in their own way, and they often frame the Two Overtures within the strictures and conventions of traditional band music. However, the Two Overtures were meant to break free from the boundaries of wind band cliches.
This year’s SYF 2025 is particularly refreshing as it marks a return to the original intentions of the score, as musicians pay meticulous attention to observing and rediscovering the original tempi, dynamic markings, phrasings, accents, musical intentions and articulations I originally scored, giving the Two Overtures the opportunity to be liberated from the conventions of band music, and to say what they had to say.
What advice would you give to bands performing these overtures at the SYF 2025 AP?
I’d ask musicians to be open to the unpredictable syncopations, rhythms and colours of the Two Overtures, which were written not to fall into predictable patterns, but to keep the listener at the edge of their seats.
I’d ask musicians not to see each piece as separate sections, each to be milked separately for transient pleasure, but to see the music flow as a whole entire piece, because that’s how the Two Overtures are structured: each as a whole , integrated, entire , complete and total piece.
I’d also ask musicians to listen for the flow, counterpoint and interconnectedness of all the harmonic lines, from the top to bottom of the score. In fact, all the lines are contrapuntal melodies that interact with one another, including the bass line, each percussion part, and all the inner parts.
What are the key lessons you hope student musicians take away from performing these pieces?
I hope student musicians learn that music, just like life, is fun, interesting and appealing only when it does not fall into predictable patterns. I hope the SYF musical experience emboldens students to grasp, imagine and create the most of unexpected opportunities the future brings. That is how the Two Overtures were composed.
Given that these works have stood the test of time, do you see them as defining pieces in the band repertoire?
While they may not define band repertoire, I hope these works can say something different and compliment band works from other parts of the world, forming a worldwide tapestry of diverse musical flavors together.
How do you see the evolution of wind band music in Singapore, and what role do you hope your compositions / (other locally composed works) will play?
I am thrilled to see that the level of skill and musicianship in young Singapore musicians has increased surely and steadily over the last 16 years. Bands and orchestras can now play scores that they could not 16 years ago.
I hope these works provide an option for bands who wish to play unique Singaporean band works, and I hope these are band works that Singaporean musicians can showcase internationally, with heads held high, and proudly call their own.