食之不厌猪油渣
上一回辛辛苦苦苦弄出来的宝贵猪油渣，无奈几天前已享用殆尽，少了这个秘密武器，炒菜煮面总感觉味道差了一点。
忍无可忍，今天毅然把多日前在超市买的两包生猪油切片拿出来，先解冻清洗并以热水略微泡泡，沥干水份后再下锅慢慢把油炸出，全程大约半个钟左右，热腾腾香喷喷爽脆脆的猪油渣便大功告成隆重登场。 老实说（老黄卖瓜），自己弄的猪油渣除了无比新鲜，也比外头能吃到的都好多了，还有一种成就感？哈哈哈哈！
21.6.2026
2026年6月22日星期一
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
2026年4月12日星期日
2026年4月8日星期三
车的回想与杂感
时代不同了，年纪大了，生活改变，开车的心情也很不一样了。
年轻时很喜欢开车，也很羡慕人家有车。记得1978年第一次买车时买的是一辆车牌 EF 7919 M 乳白色崭新的 1200CC TOYOTA COROLLA 。那是个很大胆的决定，因为当时每个月在人民协会华乐团工作的薪水加上教琴教学校华乐队收入也只不过是S$600上下，每月供车期就花去总收入的一半，再给点家用后就所剩无几了。如今回想真有点匪夷所思？但也是一种谈不上高尚的理想追求吧？
很怀念当年的驾车环境，那时在组屋区停车场或路边停车一般基本免费，路上车子相对少，交通灯少，道路通畅，没有ERP，汽油也比较便宜，虽然常见交通警察巡逻，但很少中招。可惜1980年代之后好景不长，路上车多了，各种前所未有的交通规则、收费以及罚款扣分等等也接踵而来？开车的压力也就越来越大，乐趣也越来越少！
仔细回想，这些年来开过的各类型品牌车子也有十多辆，其中不同年代的马赛地 Mercedes Benz 200 就开过至少五辆。喜欢马赛地也不完全是虚荣心，因为除了车型设计、舒适、安全感等等因素考量，开马赛地还有个额外的好处或实用价值：在路上不会被大车“欺负”，在一些大酒店商场机构停车时往往也会被有关人员“另眼相看”而顺利过关，哪怕你开的是一辆外观已经有点残旧的马赛地。
现今生活越来越紧张，开车时往往会不经意的显现了一个人的修养？一个平时斯文淡定的人一旦坐上驾驶位，有可能下一秒就会变成路霸一名？！多年前曾有人说过：在路上开车，前面经常有个白痴（开得像乌龟一样慢），后面则往往是个神经病（赶着去投胎似的）！这是否也是如今许多开车人的心情写照？！开车的朋友，你是前面那个还是后面那个，或者都曾经是？哈哈哈哈！
8.4.2026
2026年4月7日星期二
再度拥车
如今仿佛已经没有了年轻时候对开车的兴趣了，但为了早晚接送太太上下班以及方便到超市购买日常用品等等，停止驾驶8年之后，半年前思前想后还是买了一部二手车。
虽然自己觉得各方面基本还算健康，但8 年前的身体状况和现在还是有些差别，毕竟岁月不饶人，尤其是视力方面，因此为了安全起见还特地去了一趟国大医院眼科部门做了眼睛检查。
再度开车上路，感觉和以往很不一样，首先要适应现在的车子种种（莫须有的？）先进科技电子操作以及找回久违了的驾驶感觉，同时，如今还要努力平心静气的面对越来越多无视交通安全或自身安全的脚车骑士以及行人。
另一方面，由于久不开车日久生疏也少了点昔日的自信，一开始就连以往轻而易举的 parking 也不能顺利完成，经常把车停得歪歪斜斜的，不免有点懊恼和挫折感。
再有就是新加坡这些年来道路的改变和增加，虽然有GPS导航系统，也要花点功夫去学习适应。最要命的是随着那些“与时并进”有增无减的交通规则以及随之而来的“严厉惩罚”（很少有人会明知故犯，但也很少有不知者不罪的运气？），一不小心或运气不好就会误入歧途而“中招”（譬如巴士专用道），破财之余也进一步加重了精神负担。
总之，有车有其愉快方便之处也有不愉快方便的时候，加上种种名目有增无减的收费以及有形无形的压力，如今开车和以往相比，除了不再轻松自在，也少了很多乐趣。
事已至此，无奈之余也只能阿Q一点装作旷达：既来之且安之？或（无奈的）活在当下吧！
7.4.2026
2026年3月26日星期四
登陆 Spotify!
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对于网络科技一向后知后觉，日前PAVANE 公司录音师高扬问起才一言惊醒梦中人 - 多年下来累积了那么多现成的各类作品录音为何不放上网去？虽然收益甚微（据说每1000个点听才有S$3-4 的收益？还要等100天后钱才会到账！）但推广分享的意义却很大，试想作品音频一旦上了各大串流平台就几乎是面向全世界！
也许万事起头难，在这方面作为一个新手，就犹如一次面对耐性煎熬的考验或修炼，总之，整个过程中所面对的困难真是一言难尽！举凡上载音频、填写电子表格（每一个音频都要个别填写各种不同有关繁琐资料）等等等等都要经过非常严格的审查审核，就有点像在应付一场考试，而“考官”要求严格得几乎没有人性？我甚至怀疑他们究竟是不是 AI 机器人？因为只要填写资料上载图片略微不合规格规范，也不管合不合情理都会被铁面无情的打回重做，没有商量的余地，也几乎没有一个音频能一举成功上载！
除此以外，有关方面还特别强调有关音频“封面”设计的重要性，还说这是给听众的第一印象，从市场角度也许比音乐本身还重要？！
为了省钱就自己来做。一开始不熟悉有关操作程序，也不清楚照片像素规格要求等等，于是无可避免的处处碰壁，但努力坚持下来，加上前一阵子上过一点 AI 入门课派上用场总算勉强过关，这里分享一些图像敬请指教。
几天下来，在线的作品音频已经有20个，都是一些短小精干平易近人的轻松音乐。谢谢高扬的指引，也感谢有关平台人员的专业协助！
欢迎各位朋友上网欣赏支持！谢谢谢谢！（请到 Spotify 搜寻 Phoon Yew Tien 户口）
26.3.2026
🎶 Now on Spotify! 🎶
For years I’ve been recording and collecting a wide range of musical works, yet it never occurred to me to share them online—until Pavane Company’s recording engineer, Gao Yang, gave me the nudge I needed. His simple question was a wake-up call: why not make these recordings available to the world?
Of course, the financial returns are modest (I hear it’s only S$3–4 per 1,000 streams, and payouts take months), but the real value lies in sharing and reaching listeners everywhere. Once music is on the major streaming platforms, it’s accessible globally.
Getting started wasn’t easy. Uploading audio, filling out endless forms, and meeting strict technical requirements felt like sitting for an exam with merciless examiners—sometimes I wondered if they were AI robots! Even the slightest deviation in file specs or cover design meant rejection and starting over.
Speaking of covers, the platforms emphasize how crucial they are—your first impression matters, perhaps even more than the music itself. To save costs, I designed them myself. At first, I stumbled through pixel requirements and formatting, but persistence (and a recent AI course I took) helped me push through.
After days of effort, I’m thrilled to share that 20 tracks are now live on Spotify. They’re short, lighthearted, and easy-listening pieces—music meant to bring a little joy to your day.
I’m grateful to Gao Yang for his guidance and to the platform staff for their professional support. And now, I warmly invite you to listen, enjoy, and support these works.
👉 Search for Phoon Yew Tien on Spotify. Thank you, thank you!
26 March 2026
2026年3月17日星期二
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