This year, Singapore marks 60 years of independence, a milestone not only of nationhood but also of artistic achievement. As part of the Singapore Symphony Orchestra’s SG60 National Day Concert, saxophonist Lin Chien-Kwan returns home to premiere Chok Kerong’s Through the Nebula. Now based in the United States as Professor of Saxophone at the Eastman School of Music, Lin shares what it means to him, both personally and artistically, to be part of this national celebration.
What does SG60 mean to you personally and artistically?
Thank you for letting me be part of this interview series. When the SSO reached out with its invitation for me to participate in SG60, my immediate feeling was one of excitement. What an honour to be part of this special moment in our history as a nation.
It also made me reflect on how far Singapore has come musically since 1965, and all the internationally successful artists we have nurtured. As someone born and raised here, you can imagine how proud I felt to be among the selected musicians represented on this concert.
You’ll be premiering Chok Kerong’s Through the Nebula with the SSO. What has that experience been like?
It has been a great joy preparing this world premiere. New works are always more complex to prepare, simply because there is no existing performance tradition or recording to reference. Every interpretation must be built from the ground up, and every little detail in the score needs to be considered with care.
At the same time, that also makes the process incredibly rewarding. You get to explore different possibilities in shaping the music without being bound to previous norms. It has been a fulfilling journey for me.
What stood out to you about Chok Kerong’s compositional voice in this work?
I have not spoken with Kerong directly about the piece, but from studying Through the Nebula, I found his writing to be deeply thoughtful. The form is rhapsodic, the harmonies are rich and modern, and the modulations are delightfully unexpected. His orchestration is colourful and expressive, and his melodic writing is both angular and fluid — a compelling mix of modernism and tradition.
The piece feels like a journey through space, mysterious and challenging at first, then gradually revealing its beauty and clarity. That narrative, to me, is very fitting for SG60. It mirrors Singapore’s own journey from uncertainty to triumph.
As a Singaporean musician based overseas, how do you stay connected to the music scene here?
I have been living in the United States for over 30 years, and naturally it becomes harder to stay in touch with everything happening back home. These days, most of my connections are through the saxophone scene in Singapore.
One key link has been the Singapore Saxophone Symposium, founded by Dr. Zechariah Goh Toh Chai, whom I like to call the Godfather of the Singapore Saxophone. It is through this platform that I have witnessed the incredible evolution of our local saxophone scene, and by extension, our classical music ecosystem.
There are now more skilled musicians, more resources, and better training than ever before. I have met young saxophonists currently studying in the United States, winning major competitions, and receiving top-tier training. It is incredibly inspiring, and I am very optimistic about the future of music in Singapore.
The saxophone remains a relatively rare voice in orchestral settings. How do you see its role evolving in Singapore?
That is true — the saxophone is not a core member of the orchestral family. It is usually featured for its unique colour in select passages. I do not see that changing drastically, simply because orchestras are steeped in tradition.
However, the global standard of saxophone performance has risen dramatically. Saxophonists today regularly win competitions against all other wind instruments, and the repertoire is expanding too. I believe this will lead to greater acceptance of the saxophone as a concert instrument in Singapore’s classical scene, just as we have seen happen with the flute or clarinet.
What was it like working with the SSO and sharing the stage with fellow Singaporean artists?
The SSO is a world-class orchestra, and performing with them is a tremendous privilege. Sharing the stage with incredible artists like Jonathan Ong and Charlie Lim is the icing on the cake.
It is also personally meaningful. Both Maestro Joshua Tan and Jonathan Ong are fellow alumni of the Eastman School of Music, where I now teach, so there is an added layer of connection and pride.
One especially moving moment for me is that the concert features a work by Mr. Kam Kee Yong, my violin teacher and a profound influence during my formative years. It feels like everything has come full circle.
What message do you hope audiences took away from this SG60 concert?
As performers, we always hope audiences leave feeling uplifted and connected, that they have been part of something special.
But in the context of SG60, I hope the concert served as a reminder of how far we have come as a nation — not just in infrastructure or economy, but in the arts. We now have a world-class orchestra, world-class musicians, and original music that reflects our unique identity.
I am deeply grateful to the generations of musicians, educators, and visionaries who paved the way. There is still more to be done, but for now, SG60 is a moment to pause, reflect, and celebrate through the one thing that unites us all — music.
Temasek Foundation × SSO National Day Concert 2025
Saturday, 16 August 2025
Esplanade Concert Hall, 7.30pmhttps://ticketing.sso.org.sg/sso/booking/SOT2533-1