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Join us as we usher in 2025 with an enchanting evening of music, featuring Fanny Mendelssohn-Hensel’s masterful Das Jahr (The Year). Performed by the talented students of the NAFA-University of the Arts Singapore (UAS) program, this recital celebrates the enduring artistry of one of history’s most remarkable composers.

The event takes place on Friday, 3 January 2025, at 5 PM at Bechstein Music World, located at 7 Shenton Way #02-01, Singapore Conference Hall.

About the Programme: Das Jahr – A Musical Collaboration Born of Love and Artistry

In 1841, Fanny Mendelssohn-Hensel composed Das Jahr, a cycle of thirteen piano pieces—one for each month of the year, with a postlude to conclude the set. This heartfelt Christmas gift for her husband, Wilhelm Hensel, combined his evocative illustrations and quotations from German poets with her profound musical expression. The result was a deeply personal work that transcended mere ornamentation.

Lost for more than a century, Das Jahr was rediscovered in the late 1980s, revealing its intricate artistry and emotional depth. Today, the cycle stands as a testament to Fanny’s pioneering spirit and her enduring influence on classical music.

This recital, aptly titled A New Beginning, will present the complete cycle of Das Jahr, brought to life by NAFA-UAS students under the guidance of Lena Ching. Their technical brilliance and emotional depth promise to illuminate every facet of this masterpiece.

A Celebration of Musical Talent

The evening’s program not only showcases Das Jahr in its entirety but also features select works by J.S. Bach and Béla Kovács. These pieces reflect the recital’s spirit of collaboration and artistic growth, celebrating both Fanny Mendelssohn-Hensel’s legacy and the promising talents of NAFA-UAS students,  including Kayden Yap, the 2023 Second Prize winner at the National Piano & Violin Competition, and Nicole Ng, a candidate in NAFA’s Master of Performance program.

Event Details

• Date: Friday, 3 January 2025
• Time: 5 PM
• Venue: Bechstein Music World – 7 Shenton Way #02-01, Singapore Conference Hall, 068810
• Admission: Free (registration required)

Estimated Program Run Time: 80mins

Programme:

FANNY MENDELSSOHN-HENSEL: January from Das Jahr
Kayden Yap

FANNY MENDELSSOHN-HENSEL: February from Das Jahr
Kayden Yap

FANNY MENDELSSOHN-HENSEL: March from Das Jahr
Kayden Yap

J.S. BACH: Bourree I / II from Cello Suite No. 4 in E flat major, BWV 1010
Teh Chia Hui, viola

FANNY MENDELSSOHN-HENSEL: April from Das Jahr
Kayden Yap

FANNY MENDELSSOHN-HENSEL: May from Das Jahr
Kayden Yap

FANNY MENDELSSOHN-HENSEL: June from Das Jahr
Luo Ruiping

– Intermission (10 minutes)-

FANNY MENDELSSOHN-HENSEL: July from Das Jahr
Olivia Chean

FANNY MENDELSSOHN-HENSEL: August from Das Jahr
Shu YiXin

FANNY MENDELSSOHN-HENSEL: September from Das Jahr
Davelyn Jesine Djiwandana

BELA KOVACS: Hommage a Manuel. de Fella, Natalie Gail Alanguilan Pimentel, clarinet

FANNY MENDELSSOHN-HENSEL: October from Das Jahr
Davelyn Jesine Djiwandana

FANNY MENDELSSOHN-HENSEL: November from Das Jahr
Nicole Ng

FANNY MENDELSSOHN-HENSEL: December from Das Jahr
Nicole Ng

FANNY MENDELSSOHN-HENSEL: Postlude — Chorale from Das Jahr
Nicole Ng

Register Now

Spaces are limited, so secure your spot today and immerse yourself in the timeless beauty of Fanny Mendelssohn-Hensel’s music. Let’s come together to honor her artistry and nurture the next generation of musical talent.

This recital is proudly supported by Bechstein Music World Singapore.

Click here to register for this free recital

We look forward to welcoming you to A New Beginning!

Be sure to follow Bechstein Music World on Facebook and Instagram for the latest updates on more upcoming concerts and other events for 2025!

On Friday, 22nd November 2024, the Sun Mao Arts Center at Shenton Way was transformed into a haven of musical storytelling.  The recital, titled Metamorphosis, offered a rich exploration of music’s evolving tapestry, featuring performances by the talented teachers of the Cristofori Academy of Fine Arts (CAFA). With the Petrof P237 Monsoon Grand Piano at its heart, this concert embodied both artistic excellence and a celebration of the transformation and evolution of music across genres and eras, embodying the Sound of Europe.

Based at One Holland Village, Cristofori Academy of Fine Arts strives to push the boundaries of musical education and performance, fostering creativity and connection through meaningful events like this. The evening’s programme showcased a harmonious blend of Baroque refinement, Romantic lyricism, and contemporary flair.

The recital opened with Bach’s Cello Suite No. 1 Prelude in G Major, interpreted on guitar by Teacher Jax. This was followed by a rendition of Bach’s Invention No. 13 in A Minor on piano by Teacher Patricia. Mozart’s elegance then took center stage with performances of Piano Sonata No. 16 in C Major, K. 545 and Piano Sonata No. 11 in A Major, K. 331 (“Alla Turca”) by Teacher Silvia. The first half concluded with an emotional journey through Francisco Tárrega’s Lágrima and Chopin’s Fantaisie-Impromptu in C-sharp Minor, Op. 66, culminating in the dreamy lyricism of Liszt’s Liebestraum and the lively imagery of Ren Guang’s Silver Clouds Chasing the Moon.

The second half brought a vibrant shift in mood, starting with Richard Rodgers’ beloved My Favorite Things, followed by Teacher Silvia’s performance of Scott Joplin’s Maple Leaf Rag. Edward and Silvia’s respective interpretations of Yoko Kanno’s Flowers Will Bloom and Katsuo Ohno’s Detective Conan Main Theme added a nostalgic yet modern touch. Guitarist Jax’s performance of Yin Biao’s King of the Birds enchanted with its melodic narrative.

The evening’s grand finale celebrated collaboration and innovation through Yoasobi’s dynamic piano four-hand arrangements, including Halzion, Tracing a Dream, and Racing into the Night, as well as RGB, The Swallow, and Monster, performed by Teachers Silvia and Patricia, and Ms. Jaclyn.

Throughout the recital, the Petrof P237 Monsoon Grand Piano proved to be an indispensable partner in bringing these diverse works to life. Renowned for its superior craftsmanship, the piano exuded a solid European tranquility, embodying understated elegance and noble temperament. Yet, it also revealed a spirited personality, with moments of fiery energy and a humanistic charm that enriched the evening’s performances.

This enchanting event was not only a testament to the dedication of Cristofori’s educators but also a celebration of music’s boundless capacity to connect and transform.

 Be sure to follow CAFA on Facebook and Instagram for more concerts and other events!

Recital Review – Singapore Conference Hall, 3 November

Liu Ziyu’s “Triumph Spirit Over Adversity” recital on 3 November 2024 was a truly captivating exploration of emotional and technical mastery. With a program featuring Scarlatti, Beethoven, Liszt, and Ravel, Liu’s thoughtful interpretations and impressive technique created an immersive concert experience. Performing on the beautifully resonant C. Bechstein D282 Concert Grand Piano with its crystalline highs and warm, balanced and pure mid and low ranges, Liu found an ideal partner for his wide dynamic palette, allowing the piano to sing and shine across each piece’s unique textures.

The program opened with Scarlatti’s Sonata in F Minor, K. 466, a piece that Liu infused with breath-like phrasing, allowing each phrase to ebb and flow with a captivating delicacy. His control over the pedal notes and clarity in balancing voices hinted at a performer deeply immersed in his craft. Contrasting this was the spirited Sonata in E Major, K. 135, which conjured images of a playful ballet, dancers full of life, and Liu leaned into its vibrant energy with ease. His performance here channeled the joy and vivacity of Scarlatti’s Spanish-influenced style, drawing listeners into a world both exuberant and lighthearted.

The performance of Ravel’s La Valse was an unforgettable journey through layers of elegance interspersed tension, capturing an air of opulence tinged with a sense of foreboding. Liu’s interpretation felt almost cinematic as he moved between the moments of clarity and dissonance, subtly conveying a waltz that was perhaps clinging to an illusion of joy — only for darker undercurrents to emerge. His handling of the sudden, bold chords gave an impression of something sinister, almost like bombs dropping amid the whirling skirts of ballroom dancers. The energy built towards a frenetic crescendo, leaving an impression of opulence and subtle distress — a kind of masked exhilaration that hinted at an underlying unease in the music’s narrative.

Beethoven’s Sonata No. 32 in C Minor, Op. 111, a monumental work for sure, provided Liu a canvas to explore profound contrasts of struggle and transcendence. His performance brought out a fierce clarity in the powerful opening movement, which, while intense, still felt reflective of a personal journey rather than purely virtuosic display. The depth of his engagement with the music was undeniable, underscored when a premature round of applause was met with a light-hearted “shh” gesture. This brought an added layer of intimacy between performer and audience, and reflected Liu’s deep connection to the piece. The second movement offered an entirely different side, with Liu conveying the movement’s serene acceptance and almost jazzy rhythmic nuances with grace. His handling of the delicate trill passages evoked an enchanting, fantasy-world-like soundscape, adding  warmth and a touch of modern relatability, subtly inviting younger listeners to engage with its beauty.

Liszt’s Sonata demanded immense technical command, and Liu met it with a determined approach, embracing its shifts from introspection to triumphant boldness. He adeptly navigated the transitions between moods, from tranquil to grand, leaning into the drama without ever feeling contrived. His natural ease in the most technically demanding sections underscored his ability to connect with the music on a personal level, and the audience felt the impact as he delivered the sonata’s emotionally charged passages with great conviction.

Liu’s encores rounded out the evening with a personal touch. Debussy’s Clair de Lune was delivered with a soft, reverent touch, though the slightly slower tempo added a lingering quality that felt contemplative. For his second encore, Liu chose Zhang Zhao’s Numa Ame, ending the concert on a note of contemporary resonance that brought modern “epic” qualities into the evening’s classic themes. Liu expressed his gratitude to the audience and shared his enjoyment of his first performance in Singapore, a touching moment that captured his sincere engagement with the listeners.

Ultimately, Liu Ziyu’s recital was an inspiring journey through the beauty and power of classical music, inviting us to witness his artistry as he brought each work’s spirit to life. This performance highlighted his skill in balancing technical mastery with emotional depth, showcasing Liu’s gift for blending triumph and transformation into an unforgettable evening.

Be sure to follow Bechstein Music World on Facebook and Instagram for the latest updates on more upcoming concerts and other events for 2025!

Musicale 2024 brings us together under the theme “Music: The Universal Language.” This year, we celebrate music’s power to cross borders, communicate beyond words, and connect people from all walks of life. When language falls short, music speaks through melody and rhythm, creating a bridge that unites us in our shared humanity. This theme underscores music as an art form that transcends diverse cultures, languages, and nations, proving its unique role as a universal language that resonates deeply within us all.

In highlighting music’s universality, we embrace its ability to reach across cultural divides, expressing emotion and meaning where words cannot. Melody, rhythm, and feeling combine to build connections that words alone could never convey. As Hans Christian Andersen so eloquently put it, “Where words fail, music speaks.” In this spirit, Musicale 2024 aims to honor music as the true language of the human soul—one that breaks down barriers and brings people closer across the globe.

A Cristofori Tradition

Musicale, our Annual Students’ Grand Concert and Star Student Award Ceremony, is the most anticipated event of the year at Cristofori Music School. It serves as a vibrant platform for students to showcase their talents, share their hard work, and celebrate their love of music. The event is also a treasured tradition, honoring exceptional students and encouraging them to reach even greater heights in their musical journeys.

This year, with the theme “Music: The Universal Language,” we continue our tradition of acknowledging the efforts and achievements of our students, as they bring music to life without borders. The Cristofori Star Students Awards and the Musicale Concert are our way of celebrating the dedication and passion that our students pour into their craft, highlighting music’s role as a unifying force.

By focusing on music as a universal connector, we’re reminded that no matter where we come from or what language we speak, music has the extraordinary power to express the deepest parts of our shared human experience, building bridges and fostering a sense of unity.

Tickets

Tickets are still available for Musicale 2024! To be part of this celebration of music’s unifying power, simply enquire at your nearest Cristofori Music School. Join us for a night of connection, expression, and the universal language of music!

At Cristofori, we’re committed to offering students the finest instruments the world has to offer, cultivating a musical journey rich in quality and inspiration. Through our Sound of Europe mission, we proudly present some of Europe’s most esteemed pianos—C. Bechstein and Seiler from Germany, Petrof and W. Hoffman from the Czech Republic to name just a few—ensuring an unparalleled selection. Now, we’re excited to expand this vision in the realm of guitars by welcoming Esteve Guitars from Spain to our catalog, where it joins our collection of acclaimed Alhambra and Raimundo guitars.

Esteve Guitars, founded in 1957 by Francisco Esteve in Valencia, represents the pinnacle of Spanish guitar-making tradition. Known for its meticulous craftsmanship, Esteve blends traditional techniques with modern innovations to produce guitars celebrated for their warmth, resonance, and exceptional playability. With every instrument crafted by skilled luthiers from carefully selected materials, Esteve embodies a commitment to quality that has made it one of the leading names in classical and flamenco guitars.

Adding Esteve to our catalog, alongside Alhambra and Raimundo, gives students the opportunity to explore the full breadth of Spain’s iconic guitar-making legacy. Whether playing classical or flamenco, students can now experience the authentic Spanish sound, renowned for its distinctive tonal beauty and expressive range. We’re thrilled to bring Esteve to our “Sound of Europe” series, where the artistry and passion of Spanish guitars are celebrated and accessible.

Welcome to a new era of sound at Cristofori, where the legacy of Esteve, Alhambra, and Raimundo guitars brings the heart of Spanish music and tradition to your fingertips!

Check Esteve Guitars now on the E-Shop!

The 5th Amason Award Pop Piano International Competition 2024 Singapore Grand Finals reached a thrilling conclusion on October 5th, 2024, at the Bechstein Music World Event Hall. This year’s event brought together exceptional young pianists from around the globe, dazzling the audience with their versatility and passion for 20th Century and Contemporary piano repertoire.

This competition’s mission is to unite young aspiring pianists from all nationalities in a celebration of music that transcends generations. From timeless classics to catchy pop tunes, film scores, anime themes, and beloved evergreen hits, the finalists filled the hall with a vibrant range of sounds that captivated and inspired. The focus was not just on technical brilliance but also on igniting a deep love for music that extends far beyond the stage—a vision that aligns perfectly with our goals for every Cristofori student.

This year, participants represented a diverse group of countries, including Singapore, Thailand, Malaysia, Indonesia, India, Myanmar, the Philippines, China, Russia, and Vietnam. Among the talented finalists, we are incredibly proud to share that 47 of our very own Cristofori students earned their place in the Finals—a remarkable achievement that speaks to their dedication and the unwavering support of their teachers.

The competition featured three categories: Junior, Intermediate, and Open, each highlighting pianists at different stages of their musical journeys. Participants showcased both classic 20th Century and contemporary pieces, delivering performances that celebrated their creativity, technical skills, and emotional depth. In this field of talent, our Cristofori students certainly proved they can match an international standard, with 22 of them earning Most Promising Awards and Top Prizes in this year’s competition—a true testament to their hard work and commitment!

Top Prize Winners from Cristofori! Clockwise from top left: Xu Jingtian Cyrus – 2nd Prize Junior Category, Cavine Chong Nam Feng – 2nd Prize Intermediate Category, Karthikraj Rajavel – 3rd Prize Open Category, and Charmain Low Xiao Min – 2nd Prize Open Category

Junior Category – Most Promising Awards: AVERY BELLINA DANIEL, FLORES TIEN JAVIER, JANICE SEE JIA EN, QUEK BANGSHENG, SEE TOH KE QI, YANG YITING

Intermediate Category – Most Promising Awards: CHENG YINUO, GUO JINGZHI GLEN, JAYDEN SEE JIA YING, XU LETIAN VICTOR, GUO JINGZHI GLEN, YANG JUNXIANG, YURIELLE EUMI YAMBOT

Open Category – Most Promising Awards: TEONG YUAN YI SHERRIE, TIMOTHY KHOO HUAN SHENG, CHIN LIK YANG, GOH GUAN AIK CHESTER, KUNG YUN TING, WANG JIA WEN, TAN MING ZHE WALLACE

A Heartfelt Thanks to the Cristofori Community

We extend our deepest gratitude to everyone who supported our students throughout the 5th Amason Award Pop Piano International Competition 2024. From the dedication of the students and the encouragement of their parents to the tireless efforts of our teachers and staff, your passion and commitment have made this event truly unforgettable for the entire Cristofori family.

Reflecting on this incredible journey, we are reminded of music’s power to unite, inspire, and bring joy to people from all walks of life. It has been a privilege to witness the progress of each participant, from the qualifying auditions to the grand finals, and to see how they have each contributed to fostering a love of music within our community.

Congratulations to all the participants—we can’t wait to see where your musical journey will take you next!

The Competition Piano

During the 5th Amason Award Pop Piano International Competition 2024, participants performed on the Flykeys GP6100 Concert Series Digital Piano—a sophisticated instrument crafted for the modern musician. With its elegant design standing at 39″ tall, 61″ wide, and 63″ long, the GP6100 comes in striking Black, Red, or White Polish finishes, adding a touch of style to any stage. The Italian Fatar Wooden 88 Grand-Response™ keys, complete with hammer action and dynamic curve response, provide a playing experience that feels authentic and expressive.

Equipped with an independently developed DSP chip and the famous German grand piano sound sample, the GP6100 delivers a remarkable sound with 512-note polyphony, 26 voices, and 30 rhythms. It also offers advanced features like recording up to 22,000 notes per song, split keyboard, reverb, chorus, and versatile connectivity options including MIDI, USB, and Bluetooth. With its user-friendly LCD display, 50 demo songs, and 50 teaching tracks, the GP6100 is as perfect for the aspiring musician as it is for the seasoned performer. This level of craftsmanship and innovation made it an ideal choice for the competition, showcasing each participant’s talent with clarity and precision.

Twenty-year-old Hao Rao captivated the audience at his Singapore debut recital held at the prestigious Victoria Concert Hall on September 29, 2024.

The program opened with Zhang Zhao’s arrangement of “My Motherland,” honoring the PRC’s 75th anniversary. Hao Rao’s interpretation provided a vivid portrayal of China’s natural beauty and rich cultural heritage. From the outset, his playing conjured cascades reminiscent of flowing rivers and majestic landscapes blanketed in rolling mist. The imagery deepened, evoking scenes of flowing silk, winding roads, bustling cities, and a profound connection to the nation’s history.

As the piece progressed to richer, more sonorous harmonies, Rao brought to life a profound sense of pride, reminiscent of a mass chorus filled with love for the country, underscoring the unity and strength of the nation.

Technically, Rao demonstrated impressive differentiation of textures in his expressive interpretation, leaving a lasting impression on the audience.

The instrument itself, a Kayserburg KD275 9′ Artists Series Concert Grand Piano, expertly crafted by Pearl River-Kayserburg, sang with pride in Rao’s hands. Its tone shimmered with a bright, tender quality—gentle and comforting, much like light reflected on the rippling surface of a serene lake or the waves of the sea. Each note glowed softly, adding warmth and fluidity to the performance, enveloping the audience in its calming yet radiant embrace.

Rao showcased his mastery of contrasting Chopin pieces, moving seamlessly between the tender lyricism of the Four Mazurkas, Op. 30, and the dramatic intensity of the Scherzo No. 3. The Mazurkas, with their subtle rhythmic nuances and folk-inspired melodies, exuded gentle nostalgia, creating a serene, almost hypnotic atmosphere. In contrast, the Scherzo No. 3 infused the hall with exhilarating energy, its dissonant octaves and Beethovenian grandeur resonating powerfully. Whether embracing the delicate phrasing of the Mazurkas or the bold drama of the Scherzo, Rao’s performance captivated the audience, revealing the emotional breadth of Chopin’s work.

He then closed the first half of his program with Ballade No. 4 and Andante Spianato et Grande Polonaise. In the Ballade, his seamless shifts in mood highlighted his interpretative sensitivity, executed with effortless grace. The Andante Spianato showcased his ability to evoke beauty and lyricism, while the varied textures of the Grande Polonaise truly displayed his technical skill and artistry.

The second half of Hao Rao’s program featured the Op. 25 Études, where his performance truly shone. He brought out the distinct character of each étude with remarkable clarity, positively gliding across the keys. His interpretation made the complexities feel accessible, fostering intimacy amid the intricacies of Chopin’s writing. This masterful execution testified to both his skill and deep understanding of Chopin’s musical language.

The final piece of the program was met with resounding applause from the audience, who were then treated to a total of three encores: Chopin’s 24 Préludes, Op. 28: No. 15 in D-Flat Major, an energetic Mozart-Volodos Turkish March, and finally, Gabriel Fauré’s Impromptu No. 2 in F Minor, Op. 31.

Overall, “My Motherland & Chopin” served as a splendid introduction to Hao Rao and his immense talent.

Recognition is well-deserved for True Music Singapore for organising this event and bridging cultures by bringing in true talents to showcase to the Singapore audience. Be sure to follow them on their Instagram to stay updated on more upcoming concerts and events.

On 10th September 2024, our teachers got an exclusive look at the new RSL Classical Music Theory Syllabus, RSL’s latest innovation in the field of Classical Music Education. The session was facilitated by RSL’s Director of Product & Marketing Mr Nathan Theodoulou, who was himself heavily involved in the development and production of RSL’s new syllabuses. 

This new syllabus supports the existing RSL Classical practical syllabus lineup and is aimed at equipping learners with the knowledge they need to get the most out of their learning. As a composer and arranger, and a lover of  many different styles and genres of music, Nathan holds a special place in his heart for classical music too. He also understands the value and importance of understanding the building blocks that make up the foundations of musical understanding. At RSL, they are mainly concerned with molding and nurturing not just instrumental players, but well-rounded and knowledgeable musicians who can easily communicate and work with other musicians, thus deepening their enjoyment and appreciation of the music they play.

“At RSL, we make Musicians, not just Certificates.” – Nathan Theodoulou

Playing music is one of life’s greatest joys, and understanding how music works can make the experience even more rewarding. The RSL Classical Music Theory books are designed to gradually build your knowledge, helping you grasp the key concepts in a clear and simple way.

The approach to creating these books was done using the CAP approach: C-reativity, A-pplication, and P-racticality. RSL’s Classical Music Theory places an emphasis on practical skills and activities, with simple transposition, melody writing, and other creative tasks introduced from Grade 1, allowing learners to solidify and apply their understanding of the concepts they are learning with an active demonstration of their knowledge. 

What’s in the Books?

The RSL Classical Music Theory books are available for Grades 1 through 5, with one book per grade. Each book serves as both a course book and a workbook, with step-by-step lessons, clear diagrams, engaging activities, and a practice exam paper at the end. Answer keys are available to download from the RSL website.

How to Use the Books? 

Each book supports & scaffolds the corresponding grade of the practical syllabus by building on the knowledge gained from the previous level to bolster foundational knowledge, as well as introduce the concepts and scales needed to grasp the technical understanding for the next practical instrument grade. Nothing comes as a surprise this way, as the concepts a student will need to tackle their next grade are already introduced to them before they need them for playing.

The books feature step by step lessons with clear diagrams and engaging activities & exercises, making them easy to learn and teach with

Preparing for, and taking the RSL Classical Music Theory Exams

Once students are done with the workbook and sample paper, and are feeling good about sitting the exam, they can go ahead and purchase an exam entry on the RSL Awards (UK) website, and gain access to unlimited practice exam questions on the online platform. RSL Classical’s syllabus and online exam system was developed in association with the Australian Music Examinations Board (AMEB) who have a well established and brilliantly intuitive online theory platform that not only allows you to practice using the actual exam interface, but also gives you immediate feedback on your practice answers, whether you got them right, or if you made a mistake, the system highlights your error and offers the correct answer, so even on the practice system, you can continue to learn and revise as you go. You have access to this for about 1 year before you need to take the exam.

When you’ve practiced enough and are ready to sit the exam, simply switch to the Exam Mode on the online system. Simple, practical and innovative in true RSL style.

Conclusion

In today’s fast-changing musical landscape, a solid theoretical foundation is essential. The RSL Classical Music Theory syllabus provides a comprehensive pathway for learners to deepen their understanding of music, enhance their performance, and unlock their creative potential. As educators and students embrace this forward-thinking curriculum, the future of classical music theory education is brighter than ever, ensuring that the timeless art of classical music continues to thrive in modern times.