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 <\/p>\n

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\u0e44\u0e21\u0e48\u0e27\u0e48\u0e32\u0e2a\u0e16\u0e32\u0e19\u0e17\u0e35\u0e48\u0e40\u0e23\u0e35\u0e22\u0e19\u0e17\u0e35\u0e48\u0e15\u0e25\u0e34\u0e48\u0e07\u0e0a\u0e31\u0e19\u0e08\u0e30\u0e21\u0e35\u0e25\u0e31\u0e01\u0e29\u0e13\u0e30\u0e1b\u0e23\u0e30\u0e14\u0e38\u0e08\u0e41\u0e2b\u0e25\u0e48\u0e07\u0e40\u0e2a\u0e37\u0e48\u0e2d\u0e21\u0e42\u0e17\u0e23\u0e21\u0e2b\u0e23\u0e37\u0e2d\u0e44\u0e21\u0e48\u0e01\u0e47\u0e15\u0e32\u0e21  \u0e2a\u0e16\u0e32\u0e1a\u0e31\u0e19\u0e2f \u0e01\u0e47\u0e22\u0e31\u0e07\u0e04\u0e07\u0e04\u0e38\u0e13\u0e20\u0e32\u0e1e\u0e01\u0e32\u0e23\u0e40\u0e23\u0e35\u0e22\u0e19\u0e01\u0e32\u0e23\u0e2a\u0e2d\u0e19\u0e44\u0e27\u0e49\u0e44\u0e14\u0e49  \u0e41\u0e21\u0e49\u0e27\u0e48\u0e32\u0e43\u0e19\u0e2d\u0e19\u0e32\u0e04\u0e15\u0e2d\u0e31\u0e19\u0e43\u0e01\u0e25\u0e49  \u0e2a\u0e16\u0e32\u0e1a\u0e31\u0e19\u0e14\u0e19\u0e15\u0e23\u0e35\u0e41\u0e2b\u0e48\u0e07\u0e19\u0e35\u0e49\u0e2d\u0e32\u0e08\u0e08\u0e30\u0e16\u0e39\u0e01\u0e1b\u0e23\u0e30\u0e17\u0e38\u0e29\u0e23\u0e49\u0e32\u0e22\u0e14\u0e49\u0e27\u0e22\u0e19\u0e42\u0e22\u0e1a\u0e32\u0e22\u0e27\u0e31\u0e15\u0e16\u0e38\u0e19\u0e34\u0e22\u0e21\u0e02\u0e2d\u0e07\u0e23\u0e31\u0e10\u0e1a\u0e32\u0e25\u0e17\u0e35\u0e48\u0e08\u0e21\u0e1b\u0e25\u0e31\u0e01\u0e2d\u0e22\u0e39\u0e48\u0e01\u0e31\u0e1a\u0e41\u0e19\u0e27\u0e04\u0e34\u0e14 4.0 \u0e01\u0e47\u0e15\u0e32\u0e21<\/p>\n

 <\/p>\n

 <\/strong><\/p>\n

Standing Ovation for a Student Orchestra from <\/strong><\/p>\n

the Hong Thaew Conservatory in Taling Chan<\/strong><\/p>\n

 <\/strong><\/p>\n

Chetana  Nagavajara<\/em><\/p>\n

         <\/p>\n

          If I had been a young music student playing in the Silpakorn University String Orchestra, I would have been thrilled by the standing ovation at the Siam Society in the evening of 6 February 2018. The musicians had already been accorded an enthusiastic applause after each piece they played, but the second encore<\/em>, Johann Strauss\u2019s \u201cRadetzky March\u201d brought the house down, so to speak. I do not think the audience\u2019s participation associated with this composition was instrumental to the warm reception: the youths from Taling Chan miraculously captured the spirit of this old warhorse which eludes many a world-class orchestra. It sounded genuinely Viennese to me, especially its lilting rhythmic vitality. I was told by one of their teachers that the young musicians had been encouraged to watch those historic New Year\u2019s Concerts from Vienna on Youtube. Well, technology has its positive side too.<\/p>\n

          The programme on the whole was most varied, ranging from Venetian Baroque to American popular music of the 20th<\/sup> century. On the whole, the ensemble was cohesive, and the youngsters had learned to listen to each other. That was what characterized their performance of Pachelbel\u2019s \u201cCanon in D\u201d, which they played without a conductor. But their teachers who had structured this programme were a little too ambitious when they made them tackle Mozart\u2019s \u201cAdagio und Fuge\u201d (K. 546), a revolutionary work by which Mozart paid a tribute to Bach and his generation, but outdid his masters in terms of innovative audacity that went beyond the \u201cProtestant counterpoint\u201d (an unfair and derisive expression of the British conductor, Sir Thomas Beecham, who disliked contrapuntal music!) The youths from Taling Chan certainly had some problems with this music. (But I would venture to say that if they had grown up with Thai classical music, they would have been able to brave its contrapuntal complexity with aplomb.)<\/p>\n

          I shall not be addressing all the compositions performed at this concert, but shall single out some that merit special attention. Many of the musicians hail from far provinces of Thailand and may have been familiar with folk music of their respective regions. That was perhaps the reason why they appropriated Bartok\u2019s \u201cRumanian Folk Dances\u201d as though these were their own local brands. I had rarely heard such a spirited playing. Moving from classical music to Glen Miller, Harold Arlen and Leroy Anderson was a big leap for the youth orchestra, whose members are naturally familiar with pop and rock of a more recent date. Gelen Miller\u2019s \u201cMoonlight Serenade\u201d was a little bland. They had probably never savoured the sound and rhythm of a really great big band in a live performance. But whoever rearranged Harold Arlen\u2019s \u201cOver the Rainbow\u201d for the string orchestra had really done wonders, for those extended melodic lines lent themselves exquisitely to classical strings. The result outclassed even professional \u201clight orchestras\u201d. Talking about arrangements and re-arrangements. I must commend Kittikhun Sodprasert\u2019s arrangement of the traditional Neapolitan song, \u201cSanta Lucia\u201d, a favourite tune often sung or hummed while working on his sculpture or painting by the founder of Silpakorn University, the great Florentine artist and teacher Silp Bhirasri. (Let us not forget: Kittikhun composed the ASEAN Anthem which was selected in an ASEAN-wide competition!)<\/p>\n

          It may appropriate for me to say a few words about the Silpakorn Faculty of Music. The original idea to establish a modern academy of art for Thailand was to cover both the visual and the performing arts (including music), but only the visual arts project did materialize. As for the performing arts, only the Professor of Music in the person of the famous Phra Chen Duriyang was appointed, but the full faculty was never recruited. The present Faculty of Music was created as late as 1998 at the initiative of the then President of Silpakorn, the late Professor Trungchai Buranasompop. The policy was clear from the start, namely to create competent practising musicians both in jazz and classical music. Let us face it, the wind instruments have made progress in leaps and bounds, because of the existence of marching bands at the school level all around the country, whose population at present numbers roughly 200,000. The strings do not fare as well, for the obvious reason that too few youths learn string instruments in their schools, or privately. Silpakorn therefore launched an initiative of recruiting \u201cwhite elephants\u201d from around the country, with the string teachers reaching out to the provinces to conduct special training classes, which, at the same time, serve the purpose of talent spotting. Several front desks, including the (lady) concertmaster, are scholarship holders, hand-picked by those teachers. This concert confirms that the labour on the part of these indefatigable teachers has not been futile.   <\/p>\n

          So the standing ovation is not just a one-time affair that has its worth as a morale booster just to this group of young talents, who take their regular lessons in a Hong Thaew (row house) on Borommaratchachonnani Road in the district of Taling Chan. Allow me, as a Germanist, to align myself with the German philosopher Schopenhauer, who maintains that music is the most subtle and the most edifying of all the arts. How could this group of music students, consisting substantially of country bumpkins, delight the sophisticated members of the august Siam Society, usually noted for their high aesthetics taste and erudite preoccupation? Music does it. Music cuts across temporal and spatial boundaries. While I am rejoicing at the success of our students at the Siam Society (which has kindly invested a great deal to overhaul the entire air conditioning system), I shudder to think of the dwindling budgets of the Faculty in the coming years, or even months, because the present government\u2019s policy under the dictates of the jargon 4.0 has no room for aesthetic and cultural edification. These are the facts of life.<\/p>\n","protected":false},"excerpt":{"rendered":"

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