妹妹的手艺 – 端午粽子
今天的早餐 - 妹妹亲手制做的端午肉粽，看来有点小巧玲珑的样子，但除了该有的“ 内涵”都具备，还别具创意的加入适量糖冬瓜来添加些许甘甜。
蒸熟了的粽子清香四溢，最关键是里头有我喜爱的冬菇栗子肥油猪肉
19.6.2026
2026年6月18日星期四
驾照更新
停止开车8年多，半年前又开始驾驶，虽然感觉身体状况还可以，只是毕竟已经不是8年前的自己，加上如今各种路况条规改变等等，车子也不同了，因此一开始不很习惯甚至有点新手上路的慌张不安。
因为开车兴趣锐减，一度曾产生放弃驾驶的念头，后来渐渐找回昔日开车感觉，自信才又慢慢回来了，当然现在更加小心谨慎。
其实没有车又年过65的那些年，每次收到交警部门定期寄来驾驶执照更新通知时都有放弃驾照的念头，但太太说驾照得来不易，非不得已还是别轻易放弃，于是坚持至今。
两天前又收到每3年驾照更新身体检查的通知，虽然刚买车时已经去了国立大学医院检查眼睛并配了新眼镜，这些年也没什么健康问题，但毕竟年纪大了，心里不由还是有点忐忑，不知这回能否过关？
记得上回体检还有张身体状况列表让医生勾画，这回医生只说会直接将体检成绩呈交有关交通部门，一时忘了确认能否通过，医生也不置可否。当天下午虽也收到交警部门短信通知正在进行有关体检认证，也没说什么。还好昨晚终于收到通知确定过关，整个过程才两天不到，比起以往费事费时不可同日而语，必须表扬有关部门的办事效率。
19.6.2026
2026年6月10日星期三
40多年就这样过去了，看到CD册子上那些昔日熟悉的名字，有些已经过世或失联多年，一时百感交集！.......... 不管里头曾经有过多少恩怨，还是很为当年一起努力的同事同仁们感到骄傲。如今重温当年的现场演奏录音，可以自豪的说，在那个无师自通自力更生的年代，我们的合奏水平并不比中港台科班出身的乐手差 ..........
*** 现拟免费限量送出有关CD，送完为止。有兴趣者，请私信PM 我。有关CD只能在新加坡领取。
人协岁月
离开人民协会（人协）不觉已经34年了。自一九七四年加入刚成立的专业人民协会华乐团至一九九二年离开，除了当中四年（一九八零年至一九八三年）暂别到澳洲留学之外，总共在人协工作了十四年。从普通团员做起到最后的副指挥，经历了吴大江，林哲源以及顾立民等不同指挥年代。
现在回头来看，我在作曲方面所取得的一点成绩，和在人协的日子不无关系。至今在新加坡甚至中国和台湾还常演出的《奋勇前进》序曲（原名为《人协二十五周年庆典晚会序曲》）以及一些其他曲目，都是在人协工作期间创作的。记忆中当时人协华乐团的工作并不算繁重。除了半天的排练和一些夜间例常演出和次数不多的正式音乐会以外。其余时间都挺自由的。从七十年代末期乐团指挥林哲源离开之后，我便代理了乐团指挥的一些日常职务－编曲与指挥。这工作虽然没有多少金钱上的收获，但给我提供了很好的编曲和作曲机会。更重要的是给了我一个极为方便的学习写作，实验和发表作品的场地。一九八四年代重回人协之后，更因有机会和人协舞蹈团艺术总监编舞家林飞仙合作而创作了舞剧音乐《唐璜》，《席方平》以及舞蹈音乐《奋勇前进》，《新加坡舞曲》（人协三十周年庆典晚会）《诗人的冥想》（西洋管弦乐）等等。
在人协的最后八年除了指挥乐团参加了人协二十五及三十周年庆典晚会演出以外，重要演出除了参与舞蹈团的舞蹈晚会演出以及日本巡回演出之外，就是包括一九八八年艺术节人协华乐团专场在内的三场正式乐团音乐会。在这几场音乐会里个人原创曲目包括舞剧《女娲》选曲，弹拨乐合奏《谜》，四重奏《新婚别》，《乐队变奏曲》，《颂歌与联想》等等。改编曲目包括《忆周璇》，《青年钢琴协奏曲》等。
现在重温这些曲目录音，也不禁回想起当年和乐团一同努力的种种情景。以当时乐团的水平和条件（团员大多基本自学起家），演奏瑕疵在所难免。但每一次的演奏和录音我们都全力以赴，以期尽善尽美。以今天的专业华乐演奏水平来看，这些演奏录音也许没有什么大不了。但希望你能感受到其中的心意和激情。同时也谨以此制作纪念我们英年早逝的同事洪彩兰，洪木进，陈雅琴，杨培贤，吴晓钟，谢家辉以及周经豪。
10.6.2026
MY YEARS WITH THE PEOPLE’S ASSOCIATION
BY PHOON YEW TIEN
It has been 34 years since I left the People’s Association (PA). From 1974 when the professional PA Chinese Orchestra was formed to my departure in 1992, apart from four years (from 1980 to 1983) of studies in Australia, I had worked in PA for 14 years. From an ordinary member I was promoted to become the assistant conductor under various conductors Ng Tai Kong, Lim Tiap Guan and Ku Lap Man through the years.
Looking back now I had produced some works to my credit thanks to my time at PA. My People’s Association’s 25th Anniversary Concert Overture, which has often been performed in Singapore and even in China and Taiwan, were completed when I was working at PA. My workload at the PA Chinese Orchestra was not really heavy. I seem to recall. Apart from the daily half-day rehearsals and occasional concerts in the evening, I was quite free the rest of the time. After conductor Lim Tiap Guan left in the late 1970s, I took over the duties of the orchestra conductor, which included arranging and conducting. Though that additional responsibility did not give me any monetary gains, it was a good opportunity for doing musical arrangements and compositions. More importantly it provided me with a ready platform to write and to experiment, and it also provided me with have an audience. When I returned to PA after my studies in 1984, I had an even greater opportunity to collaborate with the artistic director of PA Dance Troupe, choreographer Lim Fei Shen, in dance productions such as Tang Huang, Xi Fangping, and dance music such as P A 25th Anniversary Overture，Singapore Dances and Meditation of a Poet etc.
During my last eight years with PA, apart from conducting the orchestra in the 25th anniversary and 30th anniversary concerts, I also participated in the dance troupe’s performances and its Japan tour. Besides, there were three concerts of the People’s Association’s Chinese Orchestra in the Singapore Festival of Arts in 1988. In these concerts my original compositions included selections from Nu Wa dance drama, Riddle for pluck instruments ensemble, Separation of the Newly-weds, a quartet, Variations for Orchestra, Paean and Reflections . My arrangements were Reminiscence of Zhou Xuan and Youth Piano Concerto.
Listening to the recordings of these compositions now, I recall how the orchestra and I worked very hard together back then. Given the standards and conditions of the orchestra at that time (most of the members were self-taught), there were naturally flaws in their performance. However for each work we performed or recorded, we put in our best efforts trying to perfect it. If judged by the standards of the professional Chinese orchestra today, these recordings are perhaps not so great. But I hope you can feel the intentions and passion in them. I would also like to dedicate this to the memory of our colleagues Ang Chai Lan, Ang Bok Cheng, Chen Ya Qin, Yeo Puay Hian and Wu Xiao Zhong who passed on at their prime.
*** I am currently offering a limited number of free items (CDs), while stocks last. If interested, please send me a private message (PM). Please note: CD Can only be collected in Singapore.
10.6.2026
现在重温这些曲目录音，也不禁回想起当年和乐团一同努力的种种情景。以当时乐团的水平和条件（团员大多基本自学起家），演奏瑕疵在所难免。但每一次的演奏和录音我们都全力以赴，以期尽善尽美。以今天的专业华乐演奏水平来看，这些演奏录音也许没有什么大不了。但希望你能感受到其中的心意和激情。同时也谨以此制作纪念我们英年早逝的同事洪彩兰，洪木进，陈雅琴，杨培贤，吴晓钟，谢家辉以及周经豪。
10.6.2026
MY YEARS WITH THE PEOPLE’S ASSOCIATION
BY PHOON YEW TIEN
It has been 34 years since I left the People’s Association (PA). From 1974 when the professional PA Chinese Orchestra was formed to my departure in 1992, apart from four years (from 1980 to 1983) of studies in Australia, I had worked in PA for 14 years. From an ordinary member I was promoted to become the assistant conductor under various conductors Ng Tai Kong, Lim Tiap Guan and Ku Lap Man through the years.
Looking back now I had produced some works to my credit thanks to my time at PA. My People’s Association’s 25th Anniversary Concert Overture, which has often been performed in Singapore and even in China and Taiwan, were completed when I was working at PA. My workload at the PA Chinese Orchestra was not really heavy. I seem to recall. Apart from the daily half-day rehearsals and occasional concerts in the evening, I was quite free the rest of the time. After conductor Lim Tiap Guan left in the late 1970s, I took over the duties of the orchestra conductor, which included arranging and conducting. Though that additional responsibility did not give me any monetary gains, it was a good opportunity for doing musical arrangements and compositions. More importantly it provided me with a ready platform to write and to experiment, and it also provided me with have an audience. When I returned to PA after my studies in 1984, I had an even greater opportunity to collaborate with the artistic director of PA Dance Troupe, choreographer Lim Fei Shen, in dance productions such as Tang Huang, Xi Fangping, and dance music such as P A 25th Anniversary Overture，Singapore Dances and Meditation of a Poet etc.
During my last eight years with PA, apart from conducting the orchestra in the 25th anniversary and 30th anniversary concerts, I also participated in the dance troupe’s performances and its Japan tour. Besides, there were three concerts of the People’s Association’s Chinese Orchestra in the Singapore Festival of Arts in 1988. In these concerts my original compositions included selections from Nu Wa dance drama, Riddle for pluck instruments ensemble, Separation of the Newly-weds, a quartet, Variations for Orchestra, Paean and Reflections . My arrangements were Reminiscence of Zhou Xuan and Youth Piano Concerto.
Listening to the recordings of these compositions now, I recall how the orchestra and I worked very hard together back then. Given the standards and conditions of the orchestra at that time (most of the members were self-taught), there were naturally flaws in their performance. However for each work we performed or recorded, we put in our best efforts trying to perfect it. If judged by the standards of the professional Chinese orchestra today, these recordings are perhaps not so great. But I hope you can feel the intentions and passion in them. I would also like to dedicate this to the memory of our colleagues Ang Chai Lan, Ang Bok Cheng, Chen Ya Qin, Yeo Puay Hian and Wu Xiao Zhong who passed on at their prime.
*** I am currently offering a limited number of free items (CDs), while stocks last. If interested, please send me a private message (PM). Please note: CD Can only be collected in Singapore.
10.6.2026
2026年5月24日星期日
2026年4月28日星期二
为毛主席诗词谱曲
下午听了这张老唱片。这是1980年代香港老友唐锦成送我的10寸中国黑胶唱片，时隔多年也许他也忘了？但我还是不时会拿出来听听。
不一定和政治有关，但从各方面来看，尤其是其中的演唱风格以及当年的集体创作精神，就好像殷承宗演奏的第一版黄河钢琴协奏曲录音，都是一种如今再无法再现复制的朴实动人时代声响。
几十年下来，听过许多不同版本的同类谱曲，但无论演绎编曲配器，个人都以为，这张唱片里所展示的绝对是毛泽东诗词谱曲最高境界，除了录音效果有点差强人意，也绝对配得上毛泽东那源源不绝气势万千美不胜收已成经典的句子。
然而世事往往不公，这么一个真实体现了那个时代精神风貌，一丝不苟的高水平制作为何至今还是“默默无闻”？！更别说那些有关创作班子里的“无名英雄”们！
23.4.2026
2026年4月20日星期一
Spotify 杂记
自从上个月26日“登陆”Spotify 以来，至今已上载了近60个音频，点击量也已接近1000。只是期间或许上载量过高过快，还曾经两度被有关方面暂停上载！
由于有关方面特别注重以及严格要求“音频封面设计”，为了省时省事兼省钱，便利用网上免费下载的人工智能AI 自行制作与音乐相关的图片。一轮努力下来，出乎意外的居然产生了些感觉还不错的图片，就连一些陈年黑白老照片也能加上颜色以及改善清晰度！
上载音频里除了有与本土题材相关的音乐，也包含了多年前和实践话剧团合作的一些主题曲或配乐，连带种种个人回忆，也算是一种特色吧？
谢谢各位朋友上网欣赏支持！请继续支持（到 Spotify 搜寻 Phoon Yew Tien 户口）。
18.4.2026
Spotify Notes
Since “landing” on Spotify on the 26th of last month, I have uploaded nearly 60 audio tracks so far, and the number of plays has already approached 1,000. However, perhaps because I was uploading too much too quickly, my uploads were suspended twice by the platform during this period.
As the platform places special emphasis on and has strict requirements for audio cover design, in order to save time, effort, and money, I made use of free online AI tools to create music-related images myself. After some effort, quite unexpectedly, some rather pleasing images were produced. Even some old black-and-white photographs were given color and improved clarity.
Among the uploaded audio tracks, besides music related to local themes, there are also some theme songs and incidental music created many years ago in collaboration with The Theatre Practice. Along with them come many personal memories, which can be considered a special feature as well.
Thank you, friends, for listening online and for your support! Please continue to support me (search for Phoon Yew Tien on Spotify).
18.4.2026
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