Ahead of the Marina Bay Countdown, we talk to acclaimed composer, and composer for the celebrations, Julian Wong about his life, work and inspirations.
When did you first realize that music was your passion?
When I was a child, my violin teacher insisted that students attend group ensemble classes every Saturday. That was when I first experienced the joy and discipline of music making in a group. Then when I was 10 years old, I met Maestro Iskander Ismail and saw a live orchestra for the first time. From the moment Iskander gave his downbeat, I was shocked.
How did you get into the world of composing?
I have no idea! I have never considered myself a composer, and I still don’t. But I approach my work with a “just try it” attitude. When I started out as a rehearsal pianist, a lot of my work included creating incidental or transition music on the fly.
What or whose work would you really like to work on?
Just the other day, I popped by Fern & Kiwi to watch Jive Talkin’. I loved their sound, energy and groove. Everything was so effortless. There are so many wonderful bands that play in live music venues at night. I would love to work with bands like Jive Talkin’, and put together a concert that features these musicians backed by a live orchestra. I think it would be very fun.
What are your career highlights so far?
Orchestrating Mark Chan’s 'Flight of the Jade Bird' was an education for me, because I got to write for an work with brilliant instrumentalists who played a variety of traditional Chinese and modern instruments. When Jade Bird went to Hong Kong for the New Vision Festival 2012, I had to conduct professionally for the first time. That was a baptism by fire, and a learning experience I will always treasure.
This year, there are three projects that are close to my heart; one of them is the Bulan Bahasa 2014, for which leading musicians from the Malay music scene guided me to in playing traditional Malay and popular music. The second was arranging for and conducting the Joyful Strings, a string ensemble of children aged 8-14. They were an absolute treat to work with. Lastly, I played for Because of You, a one-night-only charity concert that rose funds for children cancer patients at the House of Hope in Mindanao, Philippines. That was incredible meaningful to me.
How did you get involved with the Marina Bay Singapore Countdown?
In June 2014, Iskander told me he had asked Riduan Zalani to create a live drumming segment for the firework display. He then asked if I could compose the music that would surround the drumming. Although I kept turning him down at first, Iskander was persistent and determined. He asked me again and again. In the end I said yes because I didn’t want him to worry while he underwent chemotherapy.
How would you describe this project?
Personal. I am doing this for Iskander, who is an important man in my life. After studying all of his firework music from previous years, I had to also study the pyrotechnic effects that were available, so that I could compose the score while imagining the different explosions in my head. And I soon realized why Iskander loved composing for the fireworks.
Composers for other media take their cue from what is given to them from someone else. But the firework composer directs the entire display through his/her music. Sharing in that burst of creativity and joy that I know Iskander experienced all these years, and studying his previous scores, brought me closer to him and his heart.
The Marina Bay Singapore Countdown was one of Iskander’s “babies” that he looked forward to every year. I am grateful he entrusts me with it, and I will do the best I can for him.
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