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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.

On 17th August 2024, we had the privilege of attending the second of two performances of Rhapsody in Yellow, a lecture-concert held at the Esplanade – Theatres on the Bay. Conceived by Singapore-based interdisciplinary artist Ming Wong, this bold and thought-provoking work explores the intricate relationship between the United States and China in the 20th century, weaving together classical music, documentary film, and a historical lecture.

Wong’s vision for Rhapsody in Yellow drew inspiration from the “Ping-Pong Diplomacy” of the 1970s—a period marked by the unlikely collaboration between two superpowers through the sport of table tennis. The heart of the performance was the juxtaposition of George Gershwin’s Rhapsody in Blue with the Yellow River Concerto, a piece born out of China’s Cultural Revolution, reflecting the cultural and political interplay between these nations. The result was a cacophony of sound and image, capturing the turbulence of international relations while also highlighting moments of harmony and clarity.

The introduction to “Rhapsody in Yellow” set the stage by illustrating classical music as a universal medium of communication—one that transcends cultural boundaries and speaks to shared human experiences. The show began with a historical exploration of how Western music traditions were introduced to China, particularly through missionary schools, where the young composer Xian Xinghai first encountered these influences.

Xinghai’s musical journey was profoundly shaped by his studies in Paris, where he became deeply affected by footage of China’s civil war and the suffering of refugees. Witnessing the crowd’s passionate singing at a Bastille Day celebration, he found his own musical voice taking a new direction, one that blended the political with the personal, reminiscent of the missionary hymns he had heard as a child. This evolution in Xinghai’s work, particularly evident in the “Yellow River Cantata,” reflected the broader cultural and political narratives of the time.

In contrast, the show also explored George Gershwin’s parallel journey in America, where he was crafting “Rhapsody in Blue,” a groundbreaking orchestral work that came to symbolize American innovation in classical music by blending elements of African American jazz with traditional symphonic forms. By featuring both the “Yellow River Concerto”—an adaptation of Xinghai’s cantata—and “Rhapsody in Blue,” the production established a compelling musical dialogue, emphasizing the distinct yet interconnected trajectories of classical music in the East and West.

The narrative also delved into the period when Western music was banned in China, leading to the destruction of pianos and classical records in many households. This historical context added depth to the performance, underscoring the resilience of cultural expression in the face of repression. Through these carefully chosen musical pieces, “Rhapsody in Yellow” wove together the legacies of Gershwin and Xinghai, offering a nuanced reflection on the intersection of culture, politics, and history.

A Collaboration of Talents

The work’s success is due in large part to the exceptional talents involved in the project. Ben Kim, a Korean-American pianist known for his narrative-driven performances, and Berlin-based pianist Mark Taratushkin, a specialist in the works of Bartók and Prokofiev, captivated the audience with their playing, their technical precision and emotional depth added a compelling dimension to the performance. Both pianists lent their voices to the show’s narration as well, giving the showcase a more intimate yet cinematic feel.

The music itself was a collaborative effort, with Christopher Schlechte-Bond as the arranger. His experience in composing for feature films and orchestras around the world brought a cinematic quality to the score, allowing the audience to experience the historical and cultural narratives on a visceral level.

Henry Hao-An Cheng, the musical director, played an integral role in bringing Wong’s vision to life. An acclaimed conductor, composer, and producer, Cheng’s expertise in navigating complex musical structures and his experience with symphonic, contemporary, opera, and ballet works worldwide made him the perfect fit for this ambitious project. His leadership ensured that the performance was both cohesive and exploratory, a true reflection of the geopolitical themes at its core.

An Immersive Experience

The performance itself was surreal and immersive. The juxtaposition of archival film clips with live orchestral recordings created a dense, almost chaotic soundscape, where moments of clarity emerged from the musical dialogue between the two pianists. Their dueling pianos playing themes and transitional cadenzas from Gershwin’s Rhapsody in Blue interplaying and intermingling with the iconic, unmistakable lines of the Yellow River Concerto, along with the pianists on-stage presence — walking around, approaching each other—added a layer of physicality to the metaphor of diplomatic negotiation, with their distinct playing styles highlighting the contrasts and occasional harmonies between the two sonic regimes.

The use of two C. Bechstein D282 concert grand pianos provided by Bechstein Music World, further enriched the performance. The differences in the pianos’ individual tonal qualities, combined with the unique timbres of the pianists’ voices in the spoken-word narration and playing styles, underscored the contrasts and synergies between the American and Chinese musical traditions. “Rhapsody in Yellow” is a one-of-a-kind interdisciplinary art piece that everyone should experience at least once in their lifetime.

 Live Music Meets Cinema

The visual and technical aspects of the performance were equally impressive, thanks to the efforts of Liam Morgan (Cinematography, Lighting), Elias Fritz (Camera Assistance), and Torsten Podraza (Technical Director). Their contributions created a surreal atmosphere, where archival film clips, and orchestra recordings intertwined with the live playing —  perfectly synced to the accompanying video footage, enhancing the narrative’s depth and emotional impact.

Production Manager Mariko Mikami lent her expertise in managing interdisciplinary and aided in bringing together the diverse elements of this complex production.

Reflections and Insights

Following the performance, a post-concert discussion facilitated by a representative from the Singapore Art Museum allowed the audience to delve deeper into the creative process behind Rhapsody in Yellow. The discussion provided valuable insights into how the show had evolved since its inception, with the creatives sharing their experiences and the challenges of bringing such a multifaceted project to life.

Rhapsody in Yellow was not just a performance; it was an exploration of identity, history, and the complexities of international relations, all conveyed through the universal language of music. It was a fitting tribute to the intricate dance of diplomacy and a powerful reminder of the role that art can play in reflecting and shaping our understanding of the world.

Nestled within Singapore’s vibrant arts and cultural scene, the Kayserburg – Pearl River Gallery @ SMU has quickly become a sanctuary for music lovers. Since its soft opening in late 2023, the gallery has emerged as a hub for musical excellence, offering a unique space for both seasoned artists and emerging talents to showcase their skills.

Located on the dynamic campus of Singapore Management University, the Kayserburg Gallery features a stunning collection of pianos from the renowned Kayserburg and Pearl River brands, each a masterpiece of precision and craftsmanship. The gallery’s activities have been enriched by the Harmonic Convergence series, a monthly event that began in June 2024. The inaugural performance featured a grand finalist from the 2023 Kayserburg International Youth Piano Competition, setting a high standard for the series and highlighting the exceptional sound quality of the Kayserburg Grand Piano.

The Harmonic Convergence series is designed to provide young musicians with a platform to perform, grow, and connect with a wider audience. The most recent event, held on 28th July 2024, continued this tradition, offering yet another opportunity for young artists to shine. The gallery’s inspiring atmosphere and state-of-the-art instruments create an ideal setting for both performers and attendees.

Looking ahead, the Kayserburg Gallery will host 1-2 recitals each month, solidifying its role as a key player in Singapore’s cultural landscape. These events not only promote music as a pursuit for aspiring musicians but also foster a thriving community where art and music converge. The Harmonic Convergence series is just the beginning—there are many more notes to be played, and the Kayserburg Gallery is poised to be the stage for countless musical journeys.

Kayserburg Music School’s vision to serve as a cultural bridge between Singapore and China was prominently highlighted during the event. With a commitment to providing a platform for aspiring musicians to showcase their talent on the global stage, the school aims to nurture and empower the next generation of music virtuosos.

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