LibGuides: A select list of music scores: Kelly TANG

Biography

Kelly Tang’s compositions have been performed by internationally-renowned ensembles such as the Russian National Orchestra, the Warsaw Philharmonic Orchestra, the Queensland Conservatorium Wind Orchestra, the Ensemble Contemporain of Montreal and principal musicians from “The President’s Own” United States Marine Band. In Asia, his works have been performed by the Vietnam National Symphony Orchestra, the Macau Youth Symphony Orchestra, the Royal Thai Navy Orchestra and the Nagoya Philharmonic Orchestra.

Locally, Tang’s works have been performed by local ensembles including the Singapore Symphony Orchestra, the T’ANG Quartet, the Singapore Lyric Opera, the Singapore Youth Choir; the Philharmonic Chorus, the Singapore Youth Wind Orchestra, the Philharmonic Winds, the National University of Singapore Symphony Orchestra, the Singapore Armed Forces Central Band and the Singapore National Youth Orchestra.

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Music Scores

Flying without wings : a contemporary motet upon a theme by Westlife (2004)
Flying without wings is a ‘contemporary motet’ for choir, There is the bold aesthetic re-orientation found in the song which Tang sees in his music as an ‘augmentation’, not refutation of the past. The link with the past is perhaps clearest in pieces like Flying that make use of counterpoint, centricity, voice leading, and various musical genres, such as the seventeenth century motet in this case.
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Sinfonia concertante in C (1999)
In Sinfonia Concertante (1999, for orchestra), Tang uses the eighteenth century sonata form and a quotation from Brahms’ Fourth Symphony. Although Tang recognises Stravinsky rather than Schoenberg as his muse, the composer makes use of the motivic technique of early Schoenberg; Tang’s atonal harmony focuses on intervallic relations and symmetry. Significantly, the motivic technique of early atonal music is a continuation of the practice of motivic manipulation stretching back several centuries in Western music.
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A synchrony fo Psalms (2004) : from Pslams 22 & 23
With Synchrony of Psalms (2004, for choir, piano, cello, and clarinet), Tang relinquished the possibilities afforded by Finale, employing a neotonal harmonic language in the first psalm, that evolves into C major in the second and final psalm. Tang places a lot of emphasis on the expressive aspect of Synchrony, which attempts to give voice to the suffering of Man, but with hope on the horizon (corresponding to the two psalms – No. 22, ‘My God, my God, why have you forsaken me?’, and No. 23, ‘The Lord is my shepherd’).
Synchrony closes with a solo cello passage that bears a striking resemblance to the opening of Bach’s most famous cello piece, the ‘Prelude’ from Suite No. 1.
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