Bridging Shores Through Sound: Chan Tze Law and Jonathan Shin on One Melody: Celebrating 50 Harmonious Years of Singapore-Republic of Korea Relations | The Flying Inkpot
Hallyu has taken over Singaporeans’ way of life – from Kdrama and Kpop to, of course, Korean food. But beyond the more recent Korean pop culture wave, Singapore and South Korea have enjoyed 5 decades of diplomatic relations, commemorated this year with events and activities, including the unveiling of the Korea–Singapore 50th Anniversary Friendship Mural. Amidst the smorgasbord of activities ranging from arts and culture to food and entertainment, Singapore’s Orchestra of the Music Makers presents an upcoming concert One Melody: 하나의 선율 – Celebrating 50 Harmonious Years of Singapore-Republic of Korea Relations, featuring renowned Korean pianist Kun-Woo Paik. The concert will also see the world premiere of a new work by Singaporean composer Jonathan Shin.
Aileen Tang spoke to Jonathan Shin and Music Director Chan Tze Law about Korean – and Asian – influences.
The Flying Inkpot: Prof Chan, for OMM – and for you personally – what is the significance of this relationship between the 2 countries?
Chan Tze Law: Indeed it is a privilege to be involved in this concert with OMM. We have had the privilege of working with Korean artists in the past, and it is a real treat for us to play with one of their most iconic pianists this time, Maestro Kun-Woo Paik. In addition, we are proud of the relationship between our two countries, and this is a wonderful way to express that joy.
TFI: The saying that Music is a universal language has become a bit of a cliché. Do you agree with that saying?
Chan: It may be clichéd, but there is truth in that. A good expression of that is the commissioned work we are premiering at this concert by Johnathan Shin, bringing together Korean themes in an orchestral setting for our audiences, irrespective of where home is for them.
TFI: Jonathan, tell us about your new work “what the sea was whispering!”
Jonathan Shin: The title comes from the final stanza of Gyeongpo Beach, the opening poem of Singaporean poet Gwee Li Sui’s collection of love poems ‘One Thousand and One Nights’. The imagery of the two lovers (himself and the collection’s dedicatee, a Korean novelist) watching “[t]he rim of the dark blue sea / hunched and fell into white threads” became a departure point for my work. Sea laps at our two shores, and I find the idea that our nations are connected by water to be very powerful and touching.
The work itself is a fantasy on three Korean songs, about three kinds of love – a mother’s love for her child, romantic love tinged with nostalgia, and love for a country’s landscape – dressed in orchestral colours and featuring extended solos! I picked these songs for the universality of their messages, but more importantly, the melodies were attractive to my ear.
Once again, I’m very grateful and thankful to OMM for believing in my work. Finally, I want to thank composer Heather Hyoeun Ahn, cellist Hang-oh Cho, and baritone Edward Kim with their perspectives and timely help in this commission!
TFI: This concert is part of a series of activities to celebrate 50 years of diplomatic relations between Korea and Singapore this year. What part has this narrative played in the writing of your new work?
Shin: 50 years is an extraordinary length of time. In this climate, so many things can easily go south, so we are very lucky that both governments possess a level-headedness and warmth which have allowed relations to flourish. Art can thrive under trying circumstances, but it’ll be hard to argue against a working environment that a good relationship offers.
TFI: In your opinion, are there similarities or overlaps in the musical tastes and preferences of Korean and Singapore audiences?
I can’t speak for a population’s musical taste, but I can tell you about the first time I obsessed over a Korean song: I was 14, and Princess Hours (Goong) was the 7 pm timeslot on Channel U. Every time the theme song ‘Perhaps Love’ came on… I was – and still am – very smitten by the song. The cascades of secondary dominants ii-Vs are just very delicious. Still very shiok!
TFI: It is not surprising that classical concert programmes in both Korea and Singapore consist primarily of Western classical works though there are more and more works by Asian composers being performed. What are your thoughts on the gap in contemporary Asian works?
Shin: It’s a niche line of work we are in, so the media coverage won’t be that prominent, but I think the gap is closing globally. The generation of Asian composers and performers and conductors before my time has done so much to grow the ecosystem, and now it’s our turn to water it. But it must play out at every level of the ecosystem: money needs to flow so composers have food to put on their table, and composers must grow their communities, find their performers and conductors, and performers who find that so-and-so’s music speaks to them must go out of their way to commission and perform it. But this is beyond the composer’s ken and control. All we can do is write music we believe in, and the people who love the music will uplift us.
TFI: From your perspective, is it necessary for Asian composers to intentionally include cultural references and elements? Is there an unspoken expectation for Asian composers to do that, and are they therefore more constrained? How much do your own works draw from cultural influences?
Shin: These are complex questions. There are many things to unpack here. I don’t think it is necessary to include cultural references. I suppose it depends entirely on the composer’s agency and position in their body politic. Some composers opt out of the conversation and operate outside of institutional spaces. Some choose to write in a style that signals a culture. (Sometimes it happens at a subconscious level: I was told I had the SQ [Ed: Singapore Airlines] motif in bar 78—maybe I orchestrated that while on a flight!) But I suppose folks hear what they hear and calibrate expectations before they hear a non-white work, and Asian composers must make strategic moves to decide if they want to play to or against this expectation.
As for my own works… not so much cultural influences, but I think I draw influences from anything that touches me. In the end, I am concerned with what other human beings are saying or doing, and if their work inspires me, I want to converse with them. I get excited and I want to make a Good Thing. There’s no accounting for that hunger inside. I guess it’s like watching a great recital, and you go back to the practice room to practice. Maybe that’s the same for creating.
TFI: Prof Chan, you’ve worked with so many Singaporean musicians and composers. Who do you see as being the next big name to look out for?
Chan: Jonathan Shin.
JONATHAN SHIN — what the sea was whispering (World Premiere)
FRÉDÉRIC CHOPIN — Piano Concerto No. 2 in F minor, Op. 21
JOHANNES BRAHMS (orch. Schoenberg) — Piano Quartet No. 1 in G minor, Op. 25
One Melody: 하나의 선율
Friday 31 Oct 2025, 7.30pm
Esplanade Concert Hall
Orchestra of the Music Makers
Chan Tze Law conductor
Kun-Woo Paik piano
Tickets for One Melody can be purchased from SISTIC:
https://sistic.com.sg/events/melody1025
