Outside the Central Provident Fund Building, next to Maxwell Food Centre, stand three sculptures of “Samsui women”. Each time he passes by, Principal Conductor Quek Ling Kiong would pause, as if he could hear music about to emerge from them—this concert took shape from that very moment.

As the closing concert of the Singapore Chinese Orchestra’s 2025/26 season, “Metamorphosis”, this programme is also part of the “Cultural Titans” series, jointly presented with the Singapore Chinese Cultural Centre. The series centres on recipients of the Singapore Cultural Medallion, placing music in dialogue with other art forms. In this edition, Quek Ling Kiong turns to sculpture, focusing on four sculptors—Ng Eng Teng, Han Sai Por, Chng Seok Tin, and Chong Fah Cheong.

Since the establishment of the Cultural Medallion in 1979, relatively few recipients have come from the field of sculpture, yet their works have left a distinct imprint on the cityscape. Titan Sculptors traces these strands of public art, reanimating them in sound and allowing listeners to see the city anew—along with the path it has taken since nation-building began.

The concert opens with the first movement, “Vibrant Life,” from Liu Changyuan’s Light. While not tied to a specific sculpture, the work unfolds through a bright, steadily driving momentum that builds a sense of upward energy, reflecting the gradual flourishing of Singapore’s cultural life on the foundations of its early economic development.

Samsui Women pays tribute to the women from Guangdong’s Sanshui district who arrived in Singapore in the early 20th century. Through their labour, they helped shape the city in its formative years. Wang Chenwei’s score evokes the weight of their work through repeated motifs and firm rhythmic patterns, while drawing on folk idioms from Cantonese and Malay traditions. Their legacy in the construction industry endures in sites such as the Singapore Conference Hall, where tonight’s concert takes place.

Ng Eng Teng’s Mother and Child sculpture embodies themes of kinship, family, and nurture, while the musical work Winds of Affinity portrays the bond between teacher and student. Though different in subject, both address how a person is shaped and sustained through relationships. The two dizi unfold in dialogue, moving from independent lines toward an interdependent whole—another expression of yuan, or affinity.

Han Sai Por’s sculptures often take seeds, leaves, and other natural forms as their point of departure, drawing on her childhood experiences in the forest and extending into an ongoing concern for ecology and the environment. Symphonic Floras unfolds a series of images through shifts in timbre and structure: foliage swaying in the wind, a sudden tropical downpour, and the renewed growth that follows. The evolving layers of the music resonate with the organic processes embodied in Han’s sculptures.

Compassion resonates with Chng Seok Tin’s inner world. A visual artist who lost her sight, she repeatedly asked “why”, and created a print titled Why?, yet continued to respond to life through her art. The composer’s reflection— “time cannot be turned back; only love and faith endure”— echoes her return to the arts after trauma.

The only commissioned work in the programme is Koh Cheng Jin’s piece based on Chong Fah Cheong’s sculpture First Generation. Part of Chong’s “River Footprint” series, this group of bronze figures captures children leaping into the water, fixing a moment of kampong life as part of the city’s collective memory. The sculpture is not only a well-known Singapore landmark but has also been listed among the world’s thirteen most iconic sculptures.

The music opens with a warm, gently nostalgic tone, introducing children’s songs from the 1960s and 70s—melodies that point to a shared generational memory.

Crouching Tiger Concerto may at first seem out of place, yet it points to Singapore’s cultural landscape. The phrase “crouching tiger, hidden dragon” refers to a place that appears unassuming but harbours remarkable talent beneath the surface. From the early years of nation-building to today’s diverse cultural scene, Singapore has steadily nurtured a wealth of artists. Their presence takes form in the city itself—through sculptures quietly embedded in the urban landscape.

As the theme of this season, Metamorphosis not only gestures toward the classical roots of Chinese orchestral music but also reflects on the Republic’s 60th anniversary. Quek Ling Kiong hopes that audiences will encounter the depth of this tradition from a renewed perspective. As it completes the trilogy that began with Affinity and Seamless, Metamorphosis also marks the beginning of something new.