Bechstein Music World, 13 December 2025 Presented by Bechstein Music World and organised by True Music Singapore, Cherry Ge’s lecture-recital Empathy in a Fractured World offered an afternoon of music and reflection at the Bechstein Music World Event Hall. Combining performance with spoken commentary, the programme examined how music emerges from lived experience, and how it continues to speak meaningfully in a time shaped by uncertainty and unrest. In an interview prior to her lecture-recital, Cherry spoke candidly about the contemporary reality many listeners recognise all too well: constant exposure to global headlines, war and displacement, environmental anxiety, and the quiet paralysis that comes with witnessing so much suffering from afar. Rather than proposing answers, she positioned music as a space for reflection and human connection, a way of responding thoughtfully within the means of her own artistic practice. The works she selected were framed not as abstract masterpieces, but as expressions born from human struggle, resilience, and emotional truth. The recital featured works by Hamelin, Janáček, and Schumann, with Cherry guiding listeners through the historical and emotional contexts behind each piece. Her commentary was measured and purposeful, enhancing understanding without overwhelming the music itself. The focus remained on how composers transform personal and collective experience into sound, allowing listeners to encounter familiar works through a more human lens. At the piano, Cherry’s playing reflected this same clarity of intent. There was no emphasis on theatrical gesture or outward display; instead, her performance prioritised structure, tonal balance, and sincerity of expression. The intimate setting, paired with the warm and responsive sound of the C. Bechstein D282 concert grand piano, allowed subtle colours and inner voices to emerge naturally, reinforcing the reflective spirit of the programme. The evening concluded with an encore, Chopin’s Mazurka in A minor, Op. 17 No. 4, which, rather than feeling tacked onto the programme, contributed a quiet summation. Introspective and restrained, the piece echoed the central idea of the lecture-recital: that music, shaped by human experience, offers a way to process complexity without spectacle or excess. In a year that has seen Singapore host an impressive roster of international pianists, Empathy in a Fractured World was also a reminder of the depth and seriousness that local artists bring to the concert stage. Cherry Ge’s lecture-recital affirmed that Singapore-based musicians are not merely participants in the global classical music landscape, but thoughtful contributors, engaging with the world as it is and responding through the language of their art. Updates on the upcoming European Sound Piano Concert Lineup for 2026 will be released soon. Follow True Music Singapore and Bechstein Music World on Facebook and Instagram for updates!
When we talk about musical tone, we often focus on technique, strings, reeds, or electronics. But beneath all of that lies a quieter influence that shapes how an instrument sounds, responds, and even feels to play: wood.
Across pianos, guitars, violins, ukuleles, and drum kits, different woods — often called tonewoods — play a crucial role in resonance, projection, warmth, and clarity. Understanding this doesn’t require advanced physics; it simply deepens how we listen and appreciate sound.
How Wood Affects Sound
At its core, wood influences three main aspects of tone:
Resonance – how freely sound vibrates and sustains
Timbre – warmth, brightness, and tonal complexity
Response – how quickly sound reacts to touch or attack
Denser woods tend to produce focused, powerful tones. Lighter woods often sound warmer, more open, and quicker to respond. The way wood is cut, aged, and combined also matters greatly — sometimes as much as the species itself.
Pianos: The Hidden Power of the Soundboard
For pianos, the most important tonewood is the soundboard , typically made from spruce.
Spruce is prized because it is light yet strong, highly elastic, and exceptionally good at transmitting vibration. A well-crafted spruce soundboard acts like the piano’s voice box, amplifying string vibrations and shaping tone colour, projection, and sustain.
European piano makers have long been known for their careful selection and seasoning of soundboard spruce, often sourced from high-altitude regions where slow-growing trees develop ideal grain density. Companies such as C. Bechstein, W. Hoffman, Seiler, and Petrof are especially respected for this tradition, combining high-quality spruce soundboards with finely engineered rims made from hardwoods like maple and beech. These structural woods contribute stability, clarity, and long-term durability, allowing the instrument’s tone to mature beautifully over time.
This attention to wood choice and craftsmanship is one reason why two pianos of similar size can sound remarkably different — even before a single note is played.
Guitars: A Balance of Top, Back, and Sides
Acoustic & Classical Guitars
In acoustic and classical guitars, the top (soundboard) has the greatest impact on tone.
Common top woods include:Spruce (clear, articulate, with a wide dynamic range) and Cedar (warmer, darker, and more immediately responsive).
Back and side woods shape resonance and tonal colour:Rosewood (rich overtones and deep bass), Mahogany (focused mids and warmth), and Maple (brightness and strong note separation).
Renowned European guitar makers such as Esteve, Alhambra, and Raimundo are known for pairing traditional Spanish craftsmanship with carefully selected tonewoods. Their classical and flamenco guitars often feature solid spruce or cedar tops combined with rosewood or mahogany backs and sides, resulting in instruments that respond sensitively to touch and support expressive phrasing — qualities especially valuable for students developing tone control and musical nuance.
Don’t get us started on some more exotic selections like Koa (endemic to Hawaii), Cocobolo, or Ziricote among others for their vibrant appearance and exceptional tonal colour, or increasingly regulated Indian Rosewood. That’s a whole other rabbit-hole to dive into!
Electric Guitars
While pickups play a major role in shaping amplified sound, wood still influences sustain, attack, and feel.
Common electric guitar woods include:Alder (balanced and versatile), Ash (bright with strong low-end clarity), Mahogany (warm, thick tone with long sustain), and Maple (often used for necks or tops to add brightness and snap).
The wood determines how strings vibrate before the signal even reaches the electronics, subtly shaping the instrument’s personality.
Violins: Centuries of Wood Wisdom
String instruments rely on a finely balanced combination of woods.
Spruce is used for the top plate for its responsiveness and clarity.
Maple is used for the back, sides, and neck, adding brilliance and strength.
The interaction between these woods gives violins their singing quality and wide dynamic range. Aging, carving precision, and wood density all contribute to why great violins continue to develop sonically over time.
Check out top quality violins here in Singapore at our Sun Mao Violin Workshop at Blk 3013 Bedok Industrial Park E #04-2120 Singapore 489979. Reach out to them to book an appointment by call or WhatsApp to (+65) 88238599.
Ukuleles: Small but Mighty
Ukuleles originate from Hawaii and are traditionally made of Koa wood, which is native to the region.
Because ukuleles are compact, wood choice plays an especially noticeable role in tone.
Common ukulele tonewoods include:Mahogany (warm, mellow, and balanced), Koa (bright, lively, and traditionally associated with Hawaiian ukuleles), and Spruce tops (increased clarity and projection).
A wide variety of ukuleles and acoustic guitars, covering different wood combinations and sizes, allows students to hear and feel these differences firsthand. As listening skills develop, players begin to recognise how wood affects sweetness, volume, and responsiveness — even in smaller instruments.
Drum Kits: More Than Just Skins and Sticks
Drum shells act as resonating chambers, and wood choice shapes tone dramatically.
Common drum woods include:Maple (warm, balanced, and versatile), Birch (bright attack with focused projection), and Mahogany (deep, punchy, vintage character).
Drum shells can be made from various materials, including different tonewoods.
Shell thickness also matters: thicker shells produce louder, more focused tones, while thinner shells resonate more freely. For drummers, wood choice affects both sound and dynamic response.
Sustainability and Instrument Care
Paneveggio Forest in Italy’s Dolomites, famous for its red spruce trees (Picea abies) that produce exceptional tonewood for crafting high-quality violins, cellos, and pianos was declared a UNESCO World Heritage site in 2009.
The Future of Tonewoods (Sustainability)
The very best tonewoods—such as Brazilian Rosewood, some species of Mahogany, and older, slowly-grown spruce—are becoming increasingly scarce and, in many cases, heavily regulated under international agreements (like CITES). This is a crucial topic for the industry and for instrument owners.
Innovation: Manufacturers are now exploring excellent alternative tonewoods (like Walnut, Cherry, and Bamboo) and highly sustainable practices, such as utilizing reclaimed wood or thermal modification (torrefaction) to treat common woods so they achieve the sound qualities of aged timber.
Companies like the Pearl River Piano Group have explored alternative materials for some lines of their instruments such as the Kayserburg KP121 – Bamboo Series.
Ethical Sourcing: Supporting brands that prioritize responsible and certified sustainable sourcing helps preserve these precious natural resources for future generations of musicians.
The Importance of Caring for Wood (Maintenance)
Unlike metal or plastic, wood is organic and constantly reacting to its environment. Proper instrument care is essential for maintaining the wood’s acoustic properties and structural integrity.
Humidity: Wood expands and contracts with changes in humidity. For solid wood instruments like guitars and violins, extreme shifts can cause cracking, warping, and serious tonal damage. Storing instruments in a climate-controlled environment or using humidifiers is vital.
Temperature: Avoid exposing instruments to rapid temperature changes or direct heat (like car boots or direct sunlight), which stress the wood and glues.
Cleaning: Regular, gentle cleaning with appropriate, non-abrasive polishes and cloths helps protect the wood’s finish and longevity.
Why This Matters for Students
Understanding tonewoods isn’t about choosing a “better” instrument — it’s about listening more deeply.
As students progress, recognising how materials affect sound helps them:
Develop a more refined ear
Make informed instrument choices
Understand why technique interacts differently with different instruments
Appreciate craftsmanship, not just brand names
For families and students in Singapore, this is especially valuable when instruments can be explored both online and in person. A wide selection of pianos, guitars, and ukuleles is available via Cristofori’s eShop, with many models also viewable and playable at Cristofori showrooms island-wide — allowing players to experience how wood, build, and touch come together in real life.
Final Thoughts
Wood is the silent partner in music-making. It doesn’t replace good technique, but it amplifies it — shaping warmth, clarity, power, and character across every family of instruments.
The more we understand how tonewoods work, the more intentional we become as listeners and musicians. And ultimately, that awareness leads to better playing, more meaningful practice, and a deeper connection to sound itself.
Want to try some of the best European pianos in the world? Book a tasting with at the European Timbre Piano Showcase at the Music Paradise of Cristofori Music (9 Bishan Place, #04-02D, Junction 8 Shopping Centre, Singapore 579837). Find out more here!
Your guide to ending the year stronger — and starting the next one with purpose
December often feels like a blur of celebrations, travel, and well-deserved rest. But for music students, it’s also the perfect moment to pause, take stock, and set yourself up for a fresh, motivated start in the new year. Think of it as a musical reset: a chance to reflect on your growth, reorganise your space, and prepare for the exciting challenges ahead.
Whether you’re a beginner or preparing for advanced exams, here are seven year-end habits that can make a huge difference in your musical journey.
1. Look Back at How Far You’ve Come
Before setting new goals, take a moment to appreciate your progress. Listen to old practice recordings, revisit pieces you struggled with back in March, or try sight-reading something you couldn’t manage last year. You’ll be surprised by how much you’ve grown.
For younger students, this also makes practice feel meaningful — progress is easier to see when we stop and acknowledge it.
2. Clean and Reset Your Practice Space
A tidy space makes for a focused mind. Clear out old scores, organise your books, give your instrument a wipe-down to remove dust and any grime build-up, and reset your stand, bench, or sticks. For apartment living in Singapore, even small improvements — like better lighting or a quieter practice corner — can make practice feel calmer and more enjoyable.
This is one of the quickest ways to boost your motivation without even touching a single scale.
3. Refresh Your Repertoire List
Make a list of:
Pieces you’ve mastered
Pieces in progress
Pieces you want to learn next year
Dream pieces to aim for
Teachers love seeing this kind of list — it shows ownership of your learning and helps craft a clearer plan for the New Year. Bonus: it also makes your lesson time more efficient. Your playlist should grow as you do!
4. Review Your Technique Fundamentals
December is ideal for strengthening the basics that get neglected during exam preparation or busy school terms.
Think of this as your “technique tune-up” before January kicks off.
5. Try Something New (Even If It’s Just for Fun)
End the year with a little musical curiosity.
You could:
Improvise freely for 5 minutes
Learn a short holiday tune for family gatherings
Experiment with a genre you rarely play
Arrange a simple melody
Try a new practice app or backing track
Exploration keeps your relationship with music fresh — and often reveals skills you didn’t know you had.
6. Set Three Music Goals for the New Year
Not ten goals. Not resolutions you’ll forget by February. Just three clear, realistic goals that truly matter.
Examples:
“Improve my rhythm by practising with a metronome 4 times a week.”
“Finish my Grade 4 piano pieces by March.”
“Play one full song confidently for my family.”
“Join my school ensemble.”
Good goals are specific, motivating, and manageable.
7. Celebrate Your Achievements — Big or Small
Music learning is slow, steady, and deeply personal. It deserves celebrating.
Share a performance with your family, record your favourite piece of the year, or treat yourself to a new score, journal, or music gadget. Recognition builds confidence — and confidence fuels progress.
Final Thoughts
A year-end reset isn’t about starting over, but about moving forward carrying everything you’ve learned, clearing away what no longer serves you, and stepping into the new year with clarity and excitement.
With a refreshed mindset and a well-organised practice routine, you’ll be ready to take on new pieces, new exams, new performances — and a whole new musical year.
Practising music isn’t just about putting in the hours — it’s about how you use your time. A well-planned session helps you progress consistently, feel more confident, and actually enjoy the learning process, no matter what instrument you play. This how-to guide is written for young musicians (and anyone young at heart) who want their practice to feel smoother, clearer, and more rewarding.
1. Start with a clear goal
Before you begin, decide what you want to achieve today. A good practice goal is focused, realistic, and small enough to finish in one session.
This might look like: • Piano: making a four-bar left-hand pattern feel steady and controlled • Guitar: smoothing a tricky chord change so it flows naturally • Violin: fixing an out-of-tune phrase so it sits cleanly with the backing track • Drums: tightening a groove or fill so it feels stable, clean, and precise
A clear goal keeps you from drifting into random playing and makes improvement easier to notice.
2. Warm Up With Intention
A warm-up isn’t something to rush through — it prepares your body and sets your focus.
Examples: • Pianists: slow scales or five-finger patterns • Guitarists: gentle finger stretching or simple picking patterns • String players: long bows and relaxed scales • Drummers: quiet, slow rudiments • Singers: humming, lip trills, or easy slides
Keep your warm-up short, calm, and controlled.
3. Work in Small Sections
Instead of playing the whole piece over and over, break it into small, manageable chunks. Most musicians improve faster when they zoom in on the hardest spots.
Try practising: • A single phrase • Four bars • One tricky shift, run, or rhythm • A difficult hand position or bow change
If a section still feels overwhelming, shrink it further. Three well-built bars are more valuable than three messy play-throughs.
4. Slow Practice — But the Right Kind of Slow
You’ve probably heard the saying: “If you can play it slowly, you can play it fast.” Musicians debate this, but the fuller truth is more useful:
Slow practice works only when it is easy, accurate, and relaxed.
It’s not about dragging through the notes — it’s about giving your fingers, ears, and brain time to understand the music clearly. If the slow version feels tense, uncertain, or uneven, speeding up won’t fix it.
Once your slow playing feels smooth and controlled, increase the tempo gradually. A great approach is to combine: • Medium-tempo practice, where everything feels mostly comfortable • Short bursts at full speed, just a few notes at a time, so your muscles learn what fast movement actually feels like
This helps you gain speed with confidence instead of forcing it.
How this looks on different instruments: • Piano: relaxed wrists, clear finger patterns, stable hand shapes • Guitar: light left-hand pressure, consistent picking, no clamping • Violin: slow bow control, centred intonation, even shifts • Drums: clean sticking and steady subdivisions
If you can play it slowly with ease and accuracy, you can speed it up later with confidence.
5. Switch Between “Building” and “Testing”
A productive practice session usually alternates between two modes:
Building mode — slow, careful, focused problem-solving. Testing mode — play a longer section at a comfortable tempo to see how it holds together.
A balanced session might look like: • Fix eight difficult bars (building) • Play the whole page to check progress (testing)
Switching modes keeps your practice interesting and helps you track improvement.
6. Record Yourself — Even Once a Week Helps
Recording is one of the quickest shortcuts to better playing. You’ll hear things you miss while playing.
Listen back for: • Rhythm and timing • Tone quality • How smoothly you change positions • Dynamic contrast • Rushing or dragging
This works for every instrument, from piano to drums to vocals, and more.
7. End on a Positive Note
Never finish a session right after something frustrating. Ending with something enjoyable helps you associate practice with progress, not stress.
Try: • A favourite piece • An improvisation • A polished section you’re proud of • A fun groove or riff
This small habit makes it easier to come back tomorrow.
These Tips Work for Every Instrument
Even though the examples come from a range of instruments, the underlying principles are universal. No matter what you play — piano, guitar, violin, drums, voice, or anything else — effective practice always includes: • Clear, achievable goals • An intentional warm-up • Working in small, focused sections • The right kind of slow practice • A balance between building and testing • Occasional recording and self-review • Ending with something musical and satisfying
Repetition is just a small part of a good practice session. Remember; it’s thoughtful, patient planning that gets you the best outcome and helps you improve with confidence and consistency.
Final Thoughts
You don’t need long hours to make real progress. What you need is focus, curiosity, and steady habits. When you know how to plan your practice, every session becomes more productive, more musical, and much more enjoyable.
If you’re looking to get started on your Music Journey, reach out to our Lessons Enquiry Hotline to find out how!
On 18 November 2025, Singapore was graced with a rare Southeast Asia appearance by the legendary Eliso Virsaladze, presenting a full Chopin programme at the Victoria Concert Hall. For any pianist, tackling this demanding repertoire is a feat; to do so at 83, showing no signs of slowing down, underscores her unique and enduring authority. For piano students and listeners who often find interpretations of Chopin divisive—either due to excessive emotionalism or dry technical polish—Virsaladze’s recital offered a profound lesson, delivering a performance grounded in discipline and musical integrity.
Virsaladze’s greatest appeal, in our humble opinion, is as an artist who allows the music’s truth to emerge without adornment.
The Authority of Restraint: A Lesson in Presence
Virsaladze established her unique authority not just through her sound, but through her presence. Students could observe a model of controlled mastery: she approached the instrument with an astounding economy of motion. There were no overly dramatic gestures or extraneous visual cues designed to project feeling. Her stillness reflected absolute command, demanding that the audience’s focus remain entirely on the sound. This profound restraint sharpens the ear, making every colour and structural turn emerge with piercing clarity. Paired with the crystal clear tone of a C. Bechstein D282, this made for a profoundly apt match to the evening’s repertoire.
This philosophy was instantly showcased in the monumental Polonaise-Fantasie, Op. 61. Avoiding the exaggerated rubato (the slight give-and-take of tempo) that often clouds this late work, Virsaladze delivered an interpretation anchored in the score’s structural rhythm rather than surface drama. The complex harmonic landscape and fragmented narrative unfolded with an organic, unmistakable logic, achieving conviction without succumbing to melodrama.
Hard-Won Depth: The Value of Simplicity
The depth of her reading is not a simple talent, but the result of relentless dedication—a crucial lesson for developing musicians. Virsaladze has openly discussed the difficulty she faced internalizing Chopin, noting that true mastery lies in preserving the music’s innate beauty and sophistication—a feat achieved through deceptive simplicity.
This discipline was vital in the Piano Sonata No. 3 in B minor, Op. 58. Virsaladze ensured the vast architecture was coherent, shaping the four movements as a unified narrative. The Allegro maestoso (the fast, majestic first movement) achieved a perfect balance between its turbulent power and moments of pure lyricism. The Scherzo possessed focused precision, while the Largo created a sustained stillness that resonated with profound depth. The Finale built with careful, controlled power toward a gripping, earned close.
Insight and Intimacy: Expression Without Exaggeration
In the program’s second half, a journey through Nocturnes, Mazurkas, and Waltzes, Virsaladze underscored her gift for intimacy. Drawing warm, honest tones from the instrument, she proved that Chopin’s complex emotional world can remain deeply moving without dramatic exaggeration. The Grand Valse, Op. 42 captivated through sheer elegance and focused sound. Her encores—a pensive Mazurka in A minor (Op. 68 No. 2) and a jubilant Waltz in A-flat major (Op. 34 No. 1)—closed the evening with the same sincerity that defined the night.
In a musical landscape saturated with interpretation, Eliso Virsaladze offered something far more compelling: a hard-won, honest, and profoundly insightful realization of the repertoire. She allowed the composer’s voice to speak without flourish, gifting the audience a true Traversal of the life and authentic heart of Frédéric Chopin.
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Cristofori Music School celebrated its 45th Anniversary in grand style with Musicale 2025, a spectacular showcase of music and artistry that brought together students, teachers, alumni, and families in a heartfelt evening of performances and memories. Held on 8 November 2025, the concert captured everything Cristofori stands for — creativity, excellence, and the joy of making music together.
A Journey from Humble Beginnings
Founded in 1980, Cristofori began with a single dream — to make quality instruments and music education accessible to every home in Singapore. From one small piano store, we have grown into the nation’s largest music school network, having taught over one million students and delivered more than 60,000 pianos to homes across the island. This incredible journey has been guided by one enduring belief: music is for everyone.
A Celebration of Music and Community
Musicale 2025 was not just a concert, but a living tribute to 45 years of passion and progress. The programme unfolded in themed acts that traced the school’s musical story.
Act I – The Legacy Begins opened with Bach’s Air on the G String, performed by this year’s CMS String Ensemble led by Teacher Erwin Sudarmanto setting a tone of elegance and reflection. This was followed by childhood favorites of many generations, including works by Joe Hisaishi for Studio Ghibli, reminding us of the timeless foundations upon which Cristofori was built.
Act II – Piano Energy & Healing showcased the piano at the heart of our identity. From the poetic lyricism of Weissenberg’s En Avril, à Paris to Liszt’s dazzling Tarantella, performed respectively by pround Cristofori Alumni Carmen Wee, and William Wei respectively. Each performer displayed both technical brilliance and expressive artistry. Anime-inspired pieces by Animenz added a modern touch, connecting classical training with contemporary creativity.
Carmen Wee started her musical journey at age 3 and continues to pursue her craft.
William Wei recently made his concerto debut at the Esplanade Concert Hall in October 2025.
Act III – Rhythm & Power lifted the energy with percussion and ensemble performances that filled the hall with vitality. From K-Pop Demin Hunter’s Golden to Strauss’ Radetzky March that featured the audience as part of the performance, Beeethoven’s Romance No.1 in G major, and Celebration by Kool & The Gang, the spirit of joy was unmistakable — a reflection of the community that music builds.
For “Golden”, Teacher Lee Jit Seng featured the Aeroband Air Drum technology.
Radetzky March featured enthusiastic audience participation.
The performance was led by Teacher Pacholo Madlangbayan.
The concert concluded with Act IV – A Grand Celebration of Passion, bringing together a full cast of young musicians and vocalists for show-stopping numbers such as Divas Medley of songs from Taylor Swift, Olivia Rodrigo, Dua Lipa and Billie Eilish, Yellow, and The Greatest Show. The finale embodied the unity and confidence of a generation raised on Cristofori’s belief in the transformative power of music.
Honouring Our Legacy and Looking Ahead
A highlight of the evening was the return of distinguished alumni Carmen Wee and William Wei, whose performances and reflections reminded everyone how far a Cristofori education can carry a dream. Their journeys stand as a testament to our mission — to nurture not only skill, but also artistry, character, and lifelong passion.
As Cristofori moves beyond its 45th year, we remain committed to inspiring future generations through music learning, innovation, and community collaboration. From classroom lessons to concert stages, our mission continues: to bring music into every home and every heart.
A Heartfelt Thank-You
To our dedicated teachers, talented students, and supportive parents — thank you for being part of this extraordinary milestone. Musicale 2025 was not just another school concert, but a celebration of who we are, what we’ve achieved, and what we continue to strive for together.
🎉 Here’s to 45 years of music, passion, and legacy — and to many more years of inspiring generations to come.
Catch more photos from Musicale 2025 on our Facebook page!
The SOTA Concert Hall played host on 8 November 2025 to an evening of music and collaboration. Pianist Noah Zhou performed Rachmaninoff’s Piano Concerto No. 2 in C minor with The Last-Minute Artist Orchestra (LMAO) in its highly anticipated debut under Singaporean conductor Amanda Kye Tan. The concert was organised by Singaporean pianist Bryan Soo, whose initiative brought together some of Singapore’s most promising young talents for a night of powerful music-making. For many pianists, Rachmaninoff’s Second Concerto represents both a technical and emotional summit. Zhou’s interpretation, performed on the C. Bechstein D282 concert grand, revealed a balance of sensitivity and strength. His opening chords were poised and deliberate, unfolding into an interpretation that valued musical architecture as much as emotional immediacy. Each movement carried a natural flow — lyrical in the Adagio sostenuto, and charged with conviction in the finale. Under Amanda Kye Tan’s direction, the Last-Minute Artist Orchestra offered responsive support, shaping the concerto’s lush textures with warmth and precision. The ensemble displayed keen attentiveness to balance and phrasing, allowing soloist and orchestra to merge seamlessly in moments of shared lyricism.
Following an enthusiastic standing ovation, Zhou returned to the stage with two striking encores: Tchaikovsky’s Scherzo à la Russe and Ginastera’s Danzas Argentinas (3rd movement). Both showcased his rhythmic vitality and flair, closing the evening on a spirited note that contrasted beautifully with the depth of the concerto. The C. Bechstein D282, with its crystalline tone and wide dynamic range, proved an ideal partner for Rachmaninoff’s rich harmonies and orchestral scope. Its sound projected effortlessly across the hall, allowing Zhou’s touch — at once refined and expressive — to resonate with clarity.Organised by Bryan Soo, this concert brought together emerging musicians, a visionary conductor, and a world-class instrument in an event that reflected both the vibrancy and collaborative spirit of Singapore’s classical music scene. It was a performance that not only honoured Rachmaninoff’s enduring legacy but also pointed toward the future of music-making in the region.Noah Zhou is the first British‐born Laureate of the Rachmaninoff International Piano Competition and earned First‐Class Honours at the Royal Academy of Music (London).Singaporean conductor and violinist, Amanda holds a Master of Music (Conducting) from the Boston Conservatory at Berklee (USA) and a Bachelor of Music (Violin) from the Royal College of Music (London).Singaporean pianist, educator and concert organiser whose performance experience spans Singapore, Korea, Thailand and the U.S
The Asian Supreme Drum Competition 2025 Grand Finals turned the Funan Mall Atrium into a lively stage of rhythm and creativity on 1–2 November, drawing drummers and music lovers from across the region. Across two full days of performances, the air was filled with energy — cymbals crashing, sticks flying, and crowds cheering as finalists delivered their best under the spotlight.
Since its founding in 2018, the ASDC has become a much-anticipated event that unites drummers from all across Singapore, Thailand, Malaysia, Indonesia, China, Vietnam, the Philippines and beyond. This year’s finals carried that same spirit of celebration and community, as each performer showcased not only skill and precision but also the joy of making music together.
Shoppers and passers-by at Funan Mall often found themselves stopping to watch, the crowd drawn in by the excitement of the live performances. From the youngest participants in the Children and Junior Categories to the confident players in the Intermediate and Open divisions, every session brought something different to the stage — bursts of creativity, moments of focus, and the shared thrill of performance.
A highlight this year was the introduction of the Drum Fusion Challenge, which encouraged participants to step beyond structured forms and express their individuality through inventive rhythms and spontaneous flair. The Rockschool Category, a familiar fixture of the competition, once again provided a supportive space for students to perform the pieces they’ve learned and mastered, many adding creative touches that reflected their growing musicianship, this category also provides a stepping stone to our own Cristofori students into the world of competitions.
As the final awards were presented, applause filled the atrium — not only for the winners but for every performer who gave their all on stage. The weekend closed with heartfelt thanks to the teachers, mentors, and partners 9one of which is Cristofori Music) who have kept the community thriving year after year, who each received a special certificate of appreciation.
Regional Partners of the Asian Supreme Drum Competition, including Cristofori Music School Singapore.
Now in its seventh year, the Asian Supreme Drum Competition continues to grow as a platform for learning, creativity, and connection. This year’s Grand Finals reminded us once again how music — even in the middle of a bustling shopping mall like Funan — has the power to stop people in their tracks and bring everyone together through rhythm and groove.
Congratulations to all finalists and winners of ASDC 2025!
Full results and photos are available on the organisers platforms! RSL Event Center Facebook, Instagram, and on their website at www.rs-event.sg.
Improvisation — the art of creating music in the moment — is one of the most rewarding skills a student can develop. At Cristofori Music Singapore, we believe that learning to improvise doesn’t just build creativity; it strengthens confidence, listening, and true musical understanding.
A Creative Foundation for Every Musician
Whether you play piano, guitar, drums, or violin, improvisation helps you connect more deeply with your instrument. Instead of simply reproducing notes from the score, students learn how melodies and harmonies work together — how to think in music.
For young learners, improvisation introduces the joy of discovery. Simple rhythmic variations, melodic twists, or chord progressions encourage students to express themselves freely while building solid musical skills. It’s a fun and interactive way to turn lessons into creative exploration.
For Experienced Players: Freedom Through Expression
Improvisation takes technique to a new level. Advanced students who explore improvisation develop phrasing, tone, and style with greater authenticity. It allows musicians to interpret pieces more personally, whether adding subtle ornamentation in classical works or experimenting with modern sounds.
For performers, improvisation is also about collaboration — listening, responding, and adapting in real time. It’s what makes live music so exciting and unpredictable.
Building Confidence and Creativity
Improvisation teaches students that there’s no such thing as a “wrong note” — only new possibilities. By experimenting, they learn to trust their instincts and turn mistakes into moments of growth.
This mindset extends beyond music. Students who improvise often become more confident learners, problem-solvers, and communicators — skills that resonate far beyond the classroom.
Discover the Joy of Creating
Improvisation reminds us that music is not just about precision, but expression. It’s about listening, exploring, and sharing what words cannot say.
At Cristofori, our music lessons and RSL Awards’ contemporary Rockschool and RSL Classical syllabuses encourage both structured learning and creativity, empowering students to play, explore, and express with confidence.
Unlock your creative potential — start improvising today and discover the music only you can make.
26 October 2025 – The Singapore–China Gala Symphony Concert at Esplanade Concert Hall was an evening that celebrated the power of music to bridge cultures. The programme brought together the Shanghai Nine Trees Philharmonic Orchestra under the baton of the distinguished Tang Muhai, one of China’s most respected conductors whose illustrious career has spanned leading orchestras in Europe, America, and Asia. Renowned for his expressive musicianship and deep understanding of both Eastern and Western repertoires, Tang brought poise, authority, and unity to the evening’s cross-cultural programme.
A celebration of cultural harmony: William Wei with conductor Tang Muhai (second row, fourth and fifth from left), members of the Straits Ensemble (front row), the talented musicians of the orchestra, and some of the dedicated supporters who made this concert possible.
The concert opened with Felix Phang’s Pasat Merdu, performed by the Shanghai Nine Trees Philharmonic Orchestra together with the Straits Ensemble. Featuring ethnic percussion and local instrumental colours, the work painted a vivid sonic portrait of Southeast Asia — alive with rhythm, texture, and community spirit. The collaboration between the orchestra and ensemble created a sonically rich dialogue between traditions, setting a fitting tone for a night devoted to cultural harmony.
One of the concert’s emotional highlights was The Butterfly Lovers Violin Concerto, a timeless fusion of Chinese melody and Western symphonic form. Soloists Zhu Lin (erhu, Singapore Chinese Orchestra) and Kong Zhao Hui (violin, Singapore Symphony Orchestra) delivered deeply expressive performances, intertwining their instruments in lyrical conversation. Their nuanced phrasing and heartfelt storytelling brought this enduring love story vividly to life.
William Wei with conductor Tang Muhai, and the Shanghai Nine Trees Philharmonic Orchestra.
The evening also featured the international premiere of Danny Dong’s Dreaming of Fengpu, a four-part orchestral work inspired by the true story of the residents of Fengpu who joined hands to raise funds to build a bridge for their community. The piece traced this narrative of unity and perseverance through lyrical themes and vibrant orchestral colour, capturing both the spirit of a place and the collective strength of its people.
Singaporean pianist William Wei then took the stage for a stirring performance of Chopin’s Piano Concerto No. 1 in E minor, performed on the C. Bechstein D282 concert grand piano. Making his homecoming concerto debut, William, a proud alumnus of Cristofori Music Singapore, played with elegance and depth, balancing Chopin’s youthful passion with moments of tenderness and reflection. His artistry and composure marked not only his growth as a musician — from a three-year-old in Cristofori Funan’s children’s group music class to an artist on the international stage — but also embodies a living bridge of friendship between Singapore and China.
The concert concluded with a delightful encore medley of beloved classical favourites “Hooked on Classics”, sending the audience home uplifted and inspired.
Taking a bow – from left: violin soloist Kong Zhao Hui, pianist Ge Xiaozhe who played with the ensemble for the first half of the program, erhu soloist Zhu Lin, William Wei, and conductor Tang Muhai.
More than a night of beautiful music, the Singapore–China Gala Symphony Concert stood as a celebration of shared artistry and cultural friendship. For us, seeing one of our own — William Wei — shine alongside musicians from across the region made this occasion especially meaningful, marking not just a milestone in his journey but a moment of harmony between nations.
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