• Uchronia in C Major for voices and instrumental ensemble. Instrumentation: 1 baritone cum narrator, 1 soprano, 1 mezzo-soprano  (with 2 suspended cymbals), 1 alto flute,  1 English horn, 1 bass clarinet, 1 bassoon, 1 horn,  1 trumpet (with cup mute), 1 percussionist (on bass drum,  triangle, chimes and vibraphone with motor), 1 violin, 1 viola, 1 cello and 1 piano
  

• Duration: 22'
• In 1 movement
• Composed in 2014
• First performance: 09.11.14 The Conservatory New Music Ensemble Esplanade Recital Studio
• ISMN 979-0-9016519-8-2
• Parts: To rent the parts, please email <rc@robertcasteels.com>
• Downloadable scores for inspection:
  Travelogue_Score_final.pdf

The process of music composition is at times full of personal surprises. In Travelogue, the subject matter dictated not only the form but also led me to three decisions I took unwillingly and for the first-time in my entire creative life: to avoid any numerological framework or philosophical references (!), to subordinate sound entirely to the words I wrote (!!) and to compose in C Major (!!!). Alamak, have mercy upon my post-Webernian soul. It’s is purely coincidental that tonight's premiere bears the opus number 100. Travelogue is the imaginary narration of a Singaporean living on planet Mars returning home in 2065 for a one-day visit. He wanders and wonders. He keeps getting confused and lost in the Schubertian sense of a Wanderer. He wonders with bittersweet irony. The narration crosses historical periods, from a distant pass through the present towards a projected future, hence the subtitle ‘Uchronia’, a cheem word meaning a fictional period of time. All toponymic references are strictly veracious for which I acknowledge with gratitude the research of NUS geographer Victor Savage. I accept that the references and vernacular language can only be understood by true blood Singaporean’s, and seek the listeners’ indulgence that only fellow musicians would laugh with the musical jokes. After all, who is to say that everything needs to be fully understood at first hearing or seeing of a work of art? It was never the case in the past, so why should it be expected from living composers? The cellist and pianist, joined eventually towards the end of the piece by the soprano and mezzo-soprano, perform a melopoeia through which I invite performers and listeners to reflect on man’s relationship with nature.

Review

"A repeat performance is welcome, if anything to laugh at ourselves come SG50 or SG100. As it is, we just don't laugh enough"
Chang Tou Liang, Singapore