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Sound Recording (Musical)
File Details:
3878 KB, 1 sound recording (4.06 min.) audio/x-wav
In seven movements, this is an extended song cycle written early in Leong’s career. The writing here is mostly tonal, with conventional harmonic progressions. Narrative in style, the story unfolds with the solo baritone describing the journey ahead. His cantabile melody is supported by a busier accompaniment, whose thicker texture adds gravity and warmth to the voice part. The expansive tranquility of this opening movement “Blow the Sea Breezes” nevertheless belies the excitement and expectation of the holiday campers. “The Coach Ride” is a moto perpetuo movement. The voices are pitted in imitation against each other whilst the accompaniment provides undulating momentum to the work. The following movement “The Camp Site” is a study of contrasts. Leong juxtaposes 3/4 against 2/4 and horizontal passages alternate with vertically sonic ones. The arresting dactylic rhythm (long short-short) in bars 115-16 and 155-56, with chorus and piano in unison, accentuates the vertical construct and contrasting tonality of the passages. Further textural contrast is also evident in Leong’s scoring of solo baritone versus chorus. In the fifth movement “In Youthful Spirit” the dactylic rhythm gives emphasis to the underlying mood of the campers. Articulatory markings and short repetitive motives, coupled with quaint melodic turns also underscore the jollity of the campers. Here once again, unison singing is pitted against linear passages for variety and contrast of texture. The final movement “Au Revoir” recalls the moto perpetuo piano accompaniment to depict the return home by coach. Throughout Holiday Camp, Leong gives the pianist a more active involvement in the initiating of rhythms, melodies, and in mood setting. Though the piano writing can be awkward, there is a greater sense of purpose when tasked to provide counter melodies or rhythmic and melodic opposition to the voices.
This digital copy (c) National Library Board Singapore 2007. The original work (c) Leong Yoon Pin 1969.