Saturday, May 21, 2011

Rapturous Times

I believe it's today that's been slated for the Rapture.  Of course we're in a different time zone, so it may take a while.  But one must always beware of Julius Caesar's smugness---

The Ides of March are come....
Aye, Caesar, but not gone!


If, indeed, 144,000 or so extremely righteous people have been snatched up to heaven today, who are we to second-guess God?  I mean this is such a small percentage of the world's population that we might be forgiven for not noticing.  I mean, serial killers function unseen in our neighborhoods, nabbing victims and eating their livers ... and there's nary a blip on our radar.

What if all the truly righteous people in the world could be found amongst outcasts and the homeless, the unseen people who live at the periphery of society?  After all, many of them talk to God all the time and any army of psychiatrists won't convince them otherwise.  Didn't Jesus himself point out that the last should be first?

Is it possible that our friend the big American televangelical star has predicted the Rapture correctly, but arrogantly assumed that he was one of the raptured ... when he is simply too high-profile to qualify?  Pride cometh before a fall, does it not?

God works in mysterious ways.  That is a given.  "Invisibly" certainly qualifies as a "mysterious way."  Therefore it is entirely possible that the Rapture has taken place, that the real righteous, all living in total purity and utter obscurity in various hovels, caves and abandoned subway stations, have all left already for the great homeless shelter in the sky.  The rest of the world is of course now in hell, for what is hell but the absence of God?

Anyway, I'd like to believe that it came and it went, and that no one saw, and that a hundred years from now there'll be a few clues here and there to tell us happened ... a lightning scar on a tenement wall ... a wisp of cloud still clinging to the antenna on a skyscraper ... a smear of unconsumed manna on a dingy carpet ...

Of course, the Rev Camping could be wrong, and by midnight the rapturites might well be decamping.  But I don't want to abandon the idea of a divine sleight of hand.  I mean if a hunk of bread can simultaneously be the living body of a divine being, surely a normal-looking planet can also be an apocalyptic wasteland  in its spiritual essence.

I'm starting to convince even myself....

Tuesday, May 17, 2011

Scylla and Charybdis




To help my foreign friends understand what's happening in this country, I'm going translate the salient parts of these two campaign posters.  I believe that the choices of image and slogans sum up the opposing sensibilities quite well.

ABHISIT'S POSTER SAYS:
... go further forward with policies for the people
... convenient transportation
- 12 mass transit lines - high speed trains - quality buses, free for the handicapped, students, and seniors - uniform ticketing for trains, buses and boats

YINGLUCK'S POSTER SAYS
... I am ready to serve my brothers and sisters of the people

ABHISIT'S IMAGE:
... a man riding a great big engine into the future.  No enigma here.

YINGLUCK'S IMAGE:
... a woman.  Your sister, your cousin.  The expression is ambiguous: smiling but a little smug.

The blue poster is about precise targeting, clear promises and detailed programmes.  The red poster is about sibling relationships and sentiment.

There's a clear attempt to grab the populism agenda on both sides, and simultaneously a completely different approach to how to "do" populism.  The blue poster is about concrete things; the red one is about emotion alone.

Which direction are the two candidates looking in?  Although "right" is used in political parlance to symbolize conservatism, you will notice that Abhisit's body is turned to the left.  Yingluck's body language is leaning towards the right, but like Abihsit, she turns to face us, her potential voters.  I suspect that the directions that their bodies face hide a subtext.  In Abhisit's case it may be something like "You say I'm an elitist, but I'm more left than you think."  Yingluck's body, on the other hand, leans towards the right wing, as though populism could be a shield for autocracy - the very problem of which her brother has been accused.

Apart from their political connotations, left and right also have other meanings.  In graphology, for instance, a leftward slope tends to suggest a pull to the past, and right slant the future.  The arrow at the top of Abhisit's poster points rightward and the words speak of the future ... yet Abhisit stands in the other direction.  Could it be that they didn't have a trained image consultant who would immediately see that there might be a conflicting signal there?

Like the man himself, Abhisit's poster is thick with facts and figures to bolster his message.  Yingluck's is a Rorschach blot - you can see anything you want in it.  To appreciate Abhisit's poster, you must be able to read.  I believe that an illiterate person would, however, be able to get something out of Yingluck's.

Which approach will win?

One tends to think that vague and emotionally-charged slogans tend to carry the day, but to think that is often to underestimate people's intelligence.  So I suppose we shall simply have to see.

Bluebeard's Castle


In my novel Bluebeard's Castle, first serialized in The Nation 1990s, I satirized Bangkok in 90s and L.A. in the 90s.  One of the pivotal events in the novel is a production of Bartok's opera Bluebeard's Castle in Bangkok that features a chorus of reformed prostitutes directed by a high-society lady who turns out to be an insane serial killer.  As there is no chorus in the opera, they have to go through some convoluted staging to have the young ladies of the night appear.

Later I decided that the title was a little too on the nose and the book has been reissued as The Other City of Angels.  Indeed, while I'm in a huckstering mood I might as well add the link to purchase this book ... http://www.amazon.com/Other-City-Angels-S-Somtow/dp/0980014905/  Try it!  Who knows?  You too may want to grow up to be a transvestite serial killer.

Joking aside, we all felt that to get a Thai orchestra to play this incredible music, nothing like they had ever encountered, was an absolute thrill.  Despite the almost insurmountable obstacle of trying to get the acoustics of the newly refurbished National Theatre to work (in the end we had to mike the singers) the audience was mostly unaware of the pain we'd gone through.

I thought I would share the opera with you ... the whole thing, without any of the mistakes edited out ... because it was just such an experience for everyone and I wish more people could have been there and that we could have done more than one performance.

Monday, May 16, 2011

Why My Mother Ought to be PM

Madonna and Child Image of my dear Mama from about the year  1953
Now that the opposition has officially fielded Ms Shinawatra as its prime ministerial candidate, many of my friends have turned off the radar, assuming that this is a miscalculation of Sarah Palin-like proportions and that the election is more or less a joke from this point onward.  To dismiss this out of hand, however, would be a serious underestimation, and could be right up there with some people's underestimation of Cambodia.

It is true that on the one hand you have a highly educated, savvy politician with an articulate manner, high intelligence, and proven ability to navigate extremely Machiavellian waters, and on the other hand you have a young woman whose political track record is unknowable and who, by virtue of her relationship to the tainted ex-premier is bound to alienate half the community.

But to go from these statements to assuming that the election is already over is to ignore the tremendous power of sentiment.  Sentiment, not logic, is going to sway the balance in July.  And the idea of the first woman prime minister, the "breath of fresh air", is a powerful PR tool, not to mention the image of the little sister of the wronged, wounded Titan rushing to the rescue.  One may consider whether the current government has not moved further towards implementing the spirit of Thaksin's reform rhetoric than Thaksin's own government did, or other such arguable issues ... but will such finely tuned arguments hold up against the soap opera?  It is hard to say.

Personally I would love to see a woman in the position of P.M.  However, I don't imagine the current candidate would be my first choice.  After all, number one on my personal priority list would be the building of a proper opera house.

Therefore, I would like to suggest that my mother be nominated.

My dear mama has a more substantial history of being pitted against the current government than Ms Shinawatra.  After all, there is now a daily cartoon in Thai Rath which uses her TV show and its social climbing starlet to lampoon the government.   Her work has been the subject of a censorship debate.  My mother has had experience in the diplomatic corps - her husband was ambassador in a number of significant territories, and everyone knows that it's actually the ambassador's wife who does all the real work.  She's also produced a low-budget Hollywood movie, so she knows how to squeeze the most out of creative people.  She's translated my books into Thai, and therefore it's clear that she can deal with the intricacies of language.  She has an air of authority, a to-the-manor-born way about her, and is feared by all, from housemaids to cabinet ministers.  She calls privy counsellors by their nicknames.  I think this country would probably do a lot worse than to have her in the driver's seat.

And we'd have a proper opera house, too.

Paranoia

I can't access my own blog on this server, although other blogs on the same account, such as thedragonstones blog which advertises my forthcoming novel, are intact.

I can't imagine I have said anything worth censoring, so maybe it is just some weird glitch.

Could this be the long arm of Ms. Shinawatra, already exercising itself before the election has even been called?   Or someone in some ministry who has mistranslated something I said?   Or just a random glitch?

It seems I can write, but can it post?  And if posted, can anyone read it?

Paranoia reigns supreme this morning....

Sunday, May 15, 2011

Elections and Bulls

We have recently had the sacred ploughing ceremony, in which sacred white bulls predict the annual harvest by choosing between different concoctions of grain.

It's a lovely ceremony, though I doubt whether the cost of rice futures is much influenced by the bulls' predictions.

I wonder whether they could be trained, instead, to predict the result of an election?  The paper today says there are four real possible outcomes: a big win for the current government, a big win for the opposition, or a squeaker which will throw the balance of power to the little parties who will then tilt the balance either towards, or away from, the current batch of people.  The four possible results come with various levels of predicted protests by redshirts, yellowshirts, and the like.

The traditional barometer of Thai politics is the taxi driver, but I've not taken one in a month or so because I do have a driver.  I asked him who would win the election.  He is, after all, far more capable of an informed opinion than a bull, however sacred.  He said, "Oh, it's obvious.  No one will win, and everyone will be unhappy with the result."

My housekeeper, Pa Daeng, who I praised as a hero of the proletariat last year for making up her own mind and going off to a political rally, recently, while I was away for the weekend, sold the set of La Boheme to a scrap metal merchant and skipped town with a couple of my microwaves and an electric fan.  I am probably the only opera intendant in history to whom this has happened — I mean having an opera set sold off for scrap metal by his housekeeper — though I probably won't list it among the "hstory-making" achievements in my resume.

When the dragon's neck was delivered to Beirut instead of Bayreuth, I believe that Wagner made do with a neckless dragon.  I've had to make do with a messy house, slightly less inconvenient than a neckless dragon in the scheme of things.  Luckily, the set of La Boheme doesn't need to be used in some time so there's time to find an alternative.  Perhaps the next production of La Boheme will be set in one of the sets that we still have.  Bluebeard's Castle, for instance.  It would certainly be interesting to set La Boheme in Dracula's hangout, which that set was designed to imitate.

With the venerable Post and my driver both hedging their bets, it's tough for me to make any sort of prediction myself.  One can always hope, however, that all these politicians will grow up and start looking at the big picture.

Tuesday, May 10, 2011

What's in a Map?

Several of my friends overseas have asked me to "explain Cambodia."  As if she could be explained in the space of a couple of hundred words.  But certainly there is a lot of propaganda, prejudice, and preconception going on about an argument that appears to be about a relatively insignificant chunk of territory located on the very edge of a cliff upon which an arbitrary border appears to fall.

So what follows is a highly oversimplified overview for the benefit of those friends of mine abroad who have been sending me frantic emails.  They seem to think that there's something going on here akin to Iraq's invasion of Kuwait.

The only real expert on this subject is my dad, the only surviving member of a legal team that represented Thailand before the International Court almost half a century ago.  He's been on TV quite a lot lately, analysing the niceties of the legal situation at length.  My dear mama has also jumped into the fray, publishing a book that also "explains all" of the legalistic morass in layman's terms.  An interesting adjunct to the confusion is that Thailand's Prime Minister has publicly stated that my father agrees completely with his own position on the issue ... a declaration with which my father has taken issue.

My mother's book is being launched on Thursday, but every indication is that it will sell out before the launch and have to go back to press.  Bravo to her!

Almost all of this discussion has been in Thai, whereas Cambodia has been first out of the gate on the international front; I think that certain prejudicial attitudes in Thai society towards Cambodia and Cambodians in general may have caused Thailand to underestimate the impact of Cambodia's PR skills.  Something I hear a lot is "But surely those farangs realize that Cambodians always lie."  This sort of bias isn't, in the end, very helpful to one's own case.

I think that to understand this conflict one must appreciate that the little bit of land under dispute is not the main issue and in a sense, isn't even the issue at all.  There are in fact centuries of angst underlying all this and there is really nothing that can be done about the piece of land that will really assuage the underlying angst.  I think we have to step back and consider much more fundamental issues such as: What is a country?  What is an ethnic identity?  What is a culture? and we cannot ignore the biggest elephant in the room: colonialism —  France and Britain, and the damage inflicted on the Southeast Asian peoples in terms of their sense of who they are, who they think they are, and who they think they ought to become.

For much of the last 800 years or so, the history of Southeast Asia has been one of a group of city-states, each trying to expand its hegemony over as many other city-states as possible. At different times, different city-states were in the ascendancy.  Control of what is now Cambodia was, during the nineteenth century, hotly argued over by Siam and Vietnam ... But the notion of there being "countries" in the region, each one consisting largely of a homogenous people sharing a culture and language, would have been an alien idea in those times. Even in Europe, this idea is not terribly old.

King Rama IV had studied Britain and France very thoroughly, and he understood that for Siam to be able to hold its own, it too must be a "country" in the sense that Britain and France conceived the word.  Britain and France had "empires", and it therefore followed that there was a "Siamese Empire" as well, one that encompassed many ethnic groups and many cultures.  The very idea of Siam, therefore, was forged in the image of a western nation, and the fact that this idea of "a nation" existed made it much more difficult for Britain and France to simply draw a line through the middle of Siam and split it in two.

They could, however, and did, come charging in with their big guns and demand territorial concessions ... pieces of this "empire" ... because, as a junior "empire" in its own right, Siam presumably had possessions and could hand them over in order to protect its own sovereignty and integrity as a nation.  Around 1906, it did hand over some territories to France and Britain.  Essentially, at gunpoint.

One of those possessions was a very large chunk of what is now Cambodia, including such important locations as Angkor Wat.  The French attached a map delineating the new border, which, through incompetent surveying, did not agree with the actual text of its treaty.  The treaty clearly stated that the waterline was the new border; on the map, a slip of the pen sliced off the edge of one particular cliff, stranding the temple in Cambodia.  But Siam signed.  When your survival is at issue, you do what you have to do.

Now, during the Second World War, the Japanese occupied Southeast Asia and Siam did what most countries do when threatened by superior force of arms: it collaborated.  As a reward, its borders were miraculously restored to pre-1906.  So during the war, those territories were in Siam again.  Indeed, as a child I knew a number of people who had grown up in what is now Cambodia, who never felt that the places they lived in were anything other than Thai.  After the war, the territories were not returned to the people of those territories ... they were returned to their colonial owners.  Thus, Angkor Wat was now in France again.   When independence came, France and Britain did not return any territories to Siam.  These territories were nowimagined to be "countries" in the western sense, and as such, they were born as countries for the first time.  But their borders were not based on any logic of culture or ethnicity — purely on the boundaries of whatever Britain and France had been able to steal before.

The little temple on the cliff's edge is therefore a symbol.  It stands for everything that the people of the region have suffered not only at the hands of colonial powers but also at each other's hands.  As a symbol, it's much more than a patch of dirt with an ancient building on it.

The International Court's ruling was an extremely narrow one, pleasing no one and heavily favoring the colonial status quo.   Thailand was excoriated for not objecting to the map in the first place, though how one can object with a bunch of cannon pointed at one I do not know.  The little ledge was to be part of Cambodia, but at the same time the court refused to rule on the validity of the map even though the map clearly disagreed with the treaty, and the court also allowed for all sorts of loopholes for future rulings should "further facts come to light".

Why does Cambodia care so much about this ledge?  Because the temple is built in an architectural style, and belongs to a historical epoch, in which the Khmer culture held sway over a far greater territory than today's Cambodia.  In that sense, it is a "Khmer temple" they say, and Cambodia is the land of the Khmers.   By the same token of course you could say that Hadrian's Wall is a Roman artifact, and therefore England should be in Italy.

And why does Thailand care so much?  Is it not the same reason that England clung to Calais for centuries?  So much territory has been swallowed up ... this little piece, so tantalizingly accessible (and so difficult to access from the Cambodian side) has come to stand for the entire loss.  It is bitterness and anger over having had so much snatched away at gunpoint.  Getting this little piece of land would seem to finally close up the gaping wound left by France.

In both cases, the final issue is not the land, but face.  As long as these feelings run so deep, and as long as we don't even bother to acknowledge the ancient causes of this quarrel, it will never really matter who actually possesses that ledge.  Only the resentment will matter.   None of the usual solutions: political, legal, or military, can really satisfy everyone.

I can imagine a solution.  It's an artist's vision of a way out, therefore, and probably could never happen, but I propose it anyway.   It is to do away completely with all borders within the region.  There are some who would read the above solution as simply an underhanded way to restore the Siamese Empire to its former size and beyond, but really the concept of "empire" is a bit passé by now, isn't it?

Rather, I mean it would be nice to have a Greater Southeast Asia in which the various regions retain their identity and culture, but citizens travel freely and governments work jointly to preserve all historical sites no matter which region they're located in.  In which people acknowledge that the past is a shared past.  In time, people should no longer care what country things are in, and begin to think regionally ... and, eventually, globally.

No doubt we will have all destroyed ourselves before the advent of such a utopia.

Saturday, April 30, 2011

I'm Back ... I think....


I have disappeared from the universe of blogging for over a month.  This was not intentional; I'm just doing much more than I should be doing, and I'm frequently on the verge of collapse these days. But a miracle has occurred of sorts ... a technical problem with the National Theatre forces me to postpone the opening of our new production of Mae Naak ... so I actually "almost" have free time for a day or two.

The big question, therefore, is whether I should discuss art ... or politics?  Or the politics of the arts world?  Or the art of politics?  Or that ever-present elephant in the room, Cambodia?

We just put on Bartok's opera Bluebeard's Castle, which is one of the cornerstones of twentieth-century opera, by the skin of our teeth.  You have not lived until you have conducted a Bartok opera whilst mouthing the entire text to the diva in Hungarian.  Despite the nightmarish aspects of putting this production on, however, it turned out to be one of the most artistically satisfying evenings of my career.

I realized today that I don't have a "bucket list" of operas I want to conduct before I die, and that if I did have such a list, conducting a performance of Bluebeard's Castle would definitely be on it, so I can cross it off before even having written it down.  I was wondering what the rest of my operatic bucket list would consist of and I think I can narrow it down to about half a dozen, more or less in order ...  1. Wozzeck.  2. Elektra.  3. The Rest of the Ring Cycle.  4.  Otello.   5.  Tristan.  6. King Priam.  It is of course a personal and idiosyncratic list, but there it is....

If I manage to blog again tomorrow, I'll decide at that point whether to discuss something controversial or something safe....

Friday, March 18, 2011

The Sinfonietta is One Year Old....







It was an incredible experiment — a bold journey into undiscovered territory — both for the kids and for their director.  The concept was simple enough: to find the brightest, most musical, most committed young musicians in Thailand, and to plunge them into total immersion.  The Sinfonietta kids were going to be fed to saturation on the classical style, a style which had not, up to now, been systematically taught in Thailand’s music schools.  They were not going to learn a movement here and a movement there, but were going to absorb entire repertories, and they were going to be asked to play in a radically new way — surrendering themselves completely to the passion, the drama, and the precisely articulated textures of the classical period.
It was tough.  There were casualties — a few very fine young musicians couldn’t take the heat and retreated to youth groups with a more easy-going schedule.  There was also harsh criticism.  But the ones who have been with us for this exciting first year of Si Si’s history have become a closely-knit family.  They know that they will be playing together for the rest of their lives.  Their grasp of the classical style has become instinct, the drama second nature.  
The Sinfonietta spent time on the road this year, playing twice in Korat and twice more in Hua Hin.  Members of the group played Bach in the market in Korat, an exremely moving event as it may well have been the first time this music was ever heard live in that location.  
They also played a wonderful concert to help raise money for the city of Bangkok after its recent troubles, the Together We Can concert ... and many events for kids, many of whom had never heard classical music before.  
And in a little while, the reality show and the line of CDs is going to be launched.  The sky is the limit for these remarkable young people.
****
My assistant, the incredible Mr. X., asked members of the Sinfonietta to comment about the first year and so I'm reprinting all the comments that came in ... this is in Thai, I'm afraid ....
****
Strings
เจ violin : เวลาที่ผ่านไปทำให้เห็นได้ชัดว่าเราสามารถมาได้ไกลขนาดไหน ความสามัคคี ความรัก ความผูกพันธ์ ที่เราร่วมกันใส่ลงไปในดนตรี ต้องบอกเลยว่าประทับใจกับวงนี้มากๆ ทั้งนี้ต้องขอขอบคุณอ.สมเถา กับ พี่พิซซ่ามากๆด้วยครับ ที่ชี้แนะพวกเราไปในทางที่ถูกต้อง
ทอป violin : ในเวลาหนึ่งปีที่ผ่านมา ผมได้เล่นคอนเสิร์ตร่วมกับวงสยามซินฟอเนียตต้ามาหลายครั้ง และทุกๆครั้งที่เล่นผมจะรู้สึกว่าได้รับความรู้ใหม่ๆอยู่เสมอ ไม่ว่าจะเป็นจากอาจาร์ยสมเถา อาจาร์ยทฤษฎี หรือ เพื่อนๆและพี่ๆในวง
ผม รู้สึกว่าวงเราเป็นวงที่ทุกคนเข้าถึงกันได้ และอยู่กันอย่างเป็นกันเอง ซึ่งเป็นสิ่งที่ทำให้เราแตกต่าง ทั้งนี้ทั้งนั้น ผมขอขอบคุณทุกๆคนในวงที่คอยให้ความช่วยเหลือที่ดีมาโดยตลอด
ซัน violin: วงนี้มีอะไรหลายอย่างที่วงอื่นไม่มี ประทับใจมากตั้งแต่เข้ามาซ้อมในครั้งแรก ทุกคนเข้ากันได้หมด เหมือนพี่เหมือนน้อง มีความสุขทุกครั้งที่ได้เล่นกับวงนี้ ผมขอขอบคุณอาจารย์ทุกท่าน ไม่ว่าจะเป็นอาจารย์สมเถา พี่ซ่า แล้วก็พี่นาว ที่ช่วยสอนผมในหลายๆอย่างและได้ให้โอกาสผมได้เข้ามาเล่นในวงนี้ครับ  
แป้ง  violin : ก็ขอบคุณสำหรับโอกาสและประสบการณ์อะไรเยอะแยะเลยขอบคุณพี่ๆหลายๆคนที่คอยช่วยแป้งมาตลอดค่ะ 
แบงค์ Violin : ความประทับใจของวงSiSi มีความเป็นกันเองของนักดนตรีทุกๆคนรวมถึงอาจารย์สมเถา พี่พิซซ่า และพี่นาว ทุกคนเอาใจใส่พวกเรามากและมีความสนุกและความสุขตลอดเวลาที่ได้ไปเล่นวงนี้ ได้รับความรู้มากมายผมยอมเสียเวลา 3 ชั่วโมงในการซ้อมวงSi Si เพราะผมได้รับความรู้ประสบการณ์ที่หาจากวงอื่นไม่ได้
จูเนียร์ Viola : รู้สึกดีที่ได้อยู่วงนี้ เป้นวงที่ดีมากๆ ได้รับความรู้และความบันเทิงมากมาย จุฟๆ sisi
โพส viola : รู้สึกมีความสุขมากที่ได้มาร่วมเล่นกับวงนี้ วงนี้เหมือนพี่เหมือนน้อง ครอบครัว ขอบคุณอาจารย์สมเถาและอาจารย์ทฤษฎี ที่คอยสั่งสอน และอาจารย์พงศธร ที่คอยรักและห่วงใย คอยตักเตือน มาตลอดมากกว่า 1 ปี ขอบคุณเพื่อนๆ พี่ๆทุกคนที่เล่นดนตรีด้วยกัน ฮาด้วยกัน ช่างมีความสุข
วิลลี่ cello : ของคุณอ.สมเถาที่ทำให้พวกเราทุกคนมาเจอกัน ขอบคุณอ.ที่ทำให้อนาคตของพวกเรามาได้ถึงขนาดนี้ ไม่ว่าผมจะไปอยู่ที่ไหนก็ตาม ไม่ว่าผมจะไปได้ไกลขนาดไหน ผมจะไม่มีวันลืมบุญคุณของอ.
เอ็กซ์ cello: ขอบคุณ Siam Sinfonietta ที่สร้างสรรค์งานดนตรีที่เป็นดนตรีจริงๆ ขอบคุณอาจารย์สมเถา พี่นาว พี่พิซซ่า พี่จิง น้องเจ วิลลี่ ฟรุค บูม และเพื่อนๆ พี่ๆทุกคน ที่ทำให้ผมมีแรงบันดาลใจในการเล่นดนตรีมากขึ้นกว่าเดิม ขอบคุณทุกกิจกรรมค่ายดนตรีที่มีมาอยู่บ่อยๆสนุกมากๆเลยครับผม ตั้งใจฝึกซ้อมเพื่อวงและตัวเอง ขอบคุณสำหรับทุกโอกาสที่ได้ผ่านเข้ามาโดยมีทุกคนเป็นผู้หยิบยื่นให้ ขอให้ siam sinfonietta เป็นวงออเคสตร้าที่สร้างสรรค์เสียงดนตรีที่มีคุณภาพจริงต่อไป รักทุกคนใน siam sinfonietta
ฟรุค cello : ขอบคุณวงนี้มากๆ ขอบคุณอาจารย์สมเถา  ขอบคุณพี่นาวมากๆ ตั้งแต่สมัยก่อนผมเล่นเชลโล่ไม่ได้เรื่องเลย เล่นมานิดนึง ก็มาออดิชั่น ขอบคุณอาจารย์สมเถาที่ให้โอกาส ขอบคุณไมสโตร ทฤษฎีที่เลี้ยงข้าว ขอบคุณวิลลี่ที่ช่วยให้ผมมีกำลังใจจะพัฒนาฝีมือ ขอบคุณทุกๆ คนในวง Siam Sinfonietta วงนี้ทำให้ผมพัฒนามากๆ 1 ปีที่ผ่านมาทำให้ผมได้อะไรเยอะแยะเลยครับ
โอม cello : หนึ่งปีที่ผ่านมามันเยอะมาก มากไม่รู้จะเขียนลงไปยังไงดี =_=" รู้แต่ว่ามีความสุขมากๆ ที่อยู่วงนี้ ทุกครั้งที่ซ้อม ทุกครั้งที่ได้่เล่นดนตรีกับน้องๆพี่ๆเพื่อนๆ...จนแทบลืมไปเลยว่าแก่ขนาดไหน แล้ว 555+"
ปลื้ม cello : ประมับใจหลายอย่างเลยประทับใจอาจารย์ ว๊ากก!!เก่งมากเลย -0- จริงๆแล้วก็มีความสุขสุดๆได้อยู่ในวงนี้อบอุ่นดีเหมือนครอบครัวเดียวกันเลย คุยกันได้ทุกเรื่อง อยากอยู่วงนี้ไปนานๆๆ เลย ภูมิใจมากๆได้อยู่วงนี้ ขอบคุณอาจารย์ มากๆที่ทำให้ทุกคนมีความสุข จะตั้งใจซ้อมให้มากกว่านี้ครับ


Woodwind
ต้น Flute : เป็นการรวมตัวของวงออเคสตร้าที่ดีมาก ผมประทับใจมากที่ได้เล่นร่วมกับวงนี้ ได้ฝึกซ้อม ได้หัดสิ่งใหม่ๆ เป็นสิ่งที่ทุกคนที่เล่นดนตรีควรได้เล่นกัน และวงนี้ก็เล่นและพัฒนามาอย่างต่อเนื่อง ภูมิใจที่ได้อยู่วงนี้ครับ
น้องโบ flute :  ''การที่เป็นสมาชิกวงSiam Sinfoniettaทำให้ได้ประสบการณ์และความรู้ใหม่ๆมากมาย ขอขอบคุณอาจารย์สมเถาและพี่ทฤษฎี รวมถึงเพื่อนๆพี่ๆน้องๆในวงสำหรับเรื่องราวดีๆที่มีต่อกัน''
นิค flute : 1 ปีที่ผ่านมา หลายๆคนรวมทั้งตัวผมเองก็(เชื่อว่า..)จะพัฒนาขึ้นสิ่งที่ได้เรียนรู้จากความ ผิดพลาดของตัวผมเองและเพื่อนๆคนอื่น ได้เป็นกรณีศึกษามาเป็นความรู้ในการปรับใช้ในการเล่นรวมวงกับเพื่อนๆ ซึ่งสิ่งที่ได้คือประสบการณ์ที่ดีและทำให้เราได้พัฒนาตนเองให้ดีขึ้น สำหรับตัวผมแล้วประสบการณ์ในการเล่นวงของผมยังถือว่ามีน้อยเมื่อเทียบกับ เพื่อนๆคนอื่นๆในวงเพราะโอกาสในการได้เข้าร่วมเล่นในวงออเครสตร้านั้นหาได้ ยาก นอกจากได้ไปร่วมเข้าค่ายดนตรีต่างๆและวงนี้เองเป็นวงที่ทำให้ผมได้ทั้งเรียน รู้และฝีกหัดการเล่นในวงออเครสตร้าอย่างจริงจังและได้แสดงความสามารถอย่าง เต็มที่ สิ่งที่ได้จากวงนี้นอกจากมิตรภาพที่ดีกับเพื่อนๆแล้ว ความรู้ในการเล่นวงที่อาจารย์และรุ่นพี่ได้ถ่ายทอดมานั้นเป็นสิ่งที่ได้ เรียนรู้จากการทดลองปฏิบัติจริง การศึกษาบทเพลง การทำงานร่วมกับผู้อื่น การยอมรับและเคารพซึ่งกันและกัน ฯลฯทั้งหมดนี้ทำให้ผมได้รับรู้ว่ามันเป็นส่วนหนึ่งในการเล่นดนตรีออกมาให้ดี ได้ อย่างไรก็ตามผมก็ต้องเรียนรู้เพิ่มเติม และผมเชื่อว่าวงนี้ จะเป็นวงที่สามารถผลิตนักดนตรีที่ดีและมีความรู้ความสามารถซึ่่งเป็นกำลัง หลักในหมู่นักดนตรีรุ่นต่อไปในอนาคตได้ ผมต้องขอขอบพระคุณอาจารย์ พี่ๆทุกคน เพื่อนๆ ที่ยอมรับในตัวผม และให้โอกาสผมได้ขึ้นแสดงและผมหวังเป็นอย่างยิ่งว่าจะไม่ทำให้ทุกคนผิดหวัง และจะทำให้ดีขึ้นเรื่อยๆครับ

Brass
โด้ French Horn : รู้สึกว่าได้ประโยชน์จากวงนี้มากมาย เช่น ประสบการณ์, ความรู้ความเข้าใจในบทเพลง, ได้มีสังคมด้านดนตรีเพิ่มมากขึ้น อีกทั้งยังรู้สึกสนุกที่จะได้เล่นดนตรีอีกด้วย
จิง French Horn : พี่ก็ประทับใจวงนี้มากๆอย่างแรกเลยก็คือทุกคนในวงเริ่มต้นจากความตั้งใจที่ มาร่วมเล่นร่วมซ้อมกันแบบมีวินัยนะดูเป็นมืออาชีพเวลาซ้อมเราก็ตั้งใจกัน จริงๆใช่มั้ยคือทุกคนอยากมาเล่น งานที่ออกมาทุกครั้งพี่ก็เลยรู้สึกดีทุกครั้งเวลาเราไม่ได้ซ้อมทุกคนก็เฮฮา เป็นกันเอง ทำให้พวกเราสนิทกันไงเลยยิ่งมีความสุขและยังได้ความรู้จาก อ.สมเถาและ พี่พิซซ่าอีกเยอะมาก
ผู้จัดการวง
พี่นาว Bass(ผู้จัดการวง) : ตลอดเวลาที่ผ่านมา ทุกคนทำงานหนักและตั้งใจกันมามาก พี่เชื่อว่าน้องๆทุกคน "อยู่ได้" มิใช่ "ได้อยู่" เพราะกาลเวลาพิสูจน์ให้เราเห็นแล้วว่า คนที่"อยู่ไม่ได้" จะไม่ได้อยู่ ขอขอบคุณน้องๆทุกคนที่ร่วมงานกันมาใน1ปีนี้ และขออภัยหากพี่ต้องเหวี่ยง ต้องด่า ต้องประชด ต้องบังคับ ต้องบังคับใช้กฎอย่างเข้มงวดในบางครั้ง แต่ทุกอย่างพี่เชื่อว่าน้องๆเข้าใจว่า เรื่องที่พี่บังคับให้ทำ มันเป็นเรื่องที่ควรทำและเป็นเรื่องที่ผู้เจริญแล้วเขาทำกัน ในปีต่อๆไปอยากเห็นทุกคนรักกันให้มากขึ้น สุดท้ายนี้ขอบอกว่า พี่รักทุกคน รักอาจารย์ และพร้อมจะทำตามแนวความคิดของอาจารย์เพื่อให้ได้มายังจุดหมายที่ชัดเจนดัง ที่อาจารย์ต้องการ พยายามกันต่อไปนะครับ Siam Sinfonietta เราจะไม่มีคู่แข่งเพราะเราไม่ได้แข่งกับใคร เราแข่งกับตัวเองเพื่อให้คนอื่นยอมรับ และเมื่อวันนั้นมาถึงทุกคนจะยอมรับเราโดยไม่มีข้อโต้แย่ง ขอให้ทุกๆคนสนุกกับการซ้อมและเล่นดนตรี ขอบคุณมากครับ

Tuesday, March 1, 2011

Thoughts About My Teachers

Started more than five weeks ago, on teacher's day....

Today is Teachers' Day in Thailand, when it is traditional for Thais to present their teachers with flower garlands and to thank them for handing on the gift of learning.  So one of the kids in the Sinfonietta told me today that I was the best teacher he ever had.  Which is probably true, not to boast or anything, because I do have two qualities that can make an inspiring teacher: (a) I know a lot (some would say "everything" but that would be a monstrous exaggeration) and (b) I love nothing more than to share what I know.

I received these two gifts from two teachers without whom I could never have achieved any of what I've done in my life, and today I would like to talk about these two people.

During my childhood, the person who did more than anyone else to make me who I am was a teacher named "Noonie".  Her real name was M.R. Smansnid Svasti.  And this is how it happened.

In the 1960s, I came back to Thailand from an early childhood spent in Europe, and after only a few days in a Thai school, I was kicked out for ripping the teacher's dress in a fit of pique.  It was really frustration not only about the language problem (I couldn't yet speak Thai) but also at the formulaic techniques of Thai education at the time.  So my parents sent me to a British school, the Bangkok PNEU, which at the time was operating without a license.  It was an attempt to create a British-system school in what was, at the time, the middle of nowhere, without a real curriculum and few textbooks ... and the school building was actually a rented private home, the house of film star Amara Asvanond.

Noonie was a member of the Thai aristocracy whose family had followed King Rama VII when he left Thailand for Britain after the political confusion of the 1930s.  She was a wild maverick; in a sense she was a "hippie" long before such existed.  In the 1960s she had just returned from England and was full of passion about many things.  (Later she would become known as an important environmental activist.)  She seemed to us to be quite mad, but her madness hid an exceptional grasp of the world's underlying realities.

Because there was no curriculum, we were allowed to study whatever was in the school storeroom.  There were 40 copies of Shakespeare's King John, so that was the first Shakespeare play we read in depth.  We ransacked the storeroom again and got Euripides.  I produced my first play, a mishmash of all three Greek tragedians' Electras, minus the depth but plus a barrel of gore -- no messengers relaying offstage violence for me!  Played the leading role, too, though I forgot my own lines.  Noonie was also a fine musician, at one point sightreading a string quartet I'd composed at the piano.

The most important thing I learned from her, however, was how to handle shit.

You see, in my play, many of the characters wore masks, which we made ourselves from papier-maché. The airmailed editions of European papers, on wafer-thin paper stock for cheap mailing, made great raw material. Noonie taught us to make clay face masks and to mould the papier-mâché to the clay.  However, the weather in Bangkok being what it is, the mass of wet paper soon started to rot and smell very bad.  I didn't want to get into the stinky mess and I demurred from helping to make those masks.

It was then that Noonie taught me one of the most important life lessons.  She said, "If you're going to create great art, it's not enough to have your head in the sky.  You also have to have your hands in the dirt."

And this is an important truth I try to live by every day.

Next time I will talk about the other teacher who changed my life, Michael Meredith at Eton.

Only when I am through with the "good things" will I address (and I have been requested to by many) the latest round of political tomfoolery that is threatening the beautiful house of cards that is this country....

Friday, January 14, 2011

Remembering the Magic

When I was a child, my two great-aunts, wives of King Rama VI, were still very much alive.  We would often go and visit them on a Sunday afternoon.  They had many stories to tell about life at court —some of them quite scurrilous by today's standards — but most of all they told of a time devoted to music and drama and poetry, where every day someone was putting on a production at court.

In 2001 when I composed the opera Madana it was to help in the restoration of one of King Rama VI's palaces in Bangkok which had seen many uses since the WW II and was now part of a hospital.  When I saw my great-aunt's royal bedchamber converted into a radiology lab, it was a very strange feeling, as the doors still had the stained-glass images of roses from the play Madanabada which King Rama VI dedicated to my great-aunt Praphai (HM Queen Indrasakdisachi.)

Ten years later we were invited to bring the kids of the Siam Sinfonietta to another palace that was a residence of my great-aunt, the seaside palace of Mrigadayavan in Hua Hin.  When we arrived I had the opportunity to stroll through the "women's quarters" which would in those days have been absolutely forbidden to any male except the king himself, and to see the room she slept in, including a pink dress she once wore, laid out, the mosquito netting spread over her bed, and a wedding photograph on the dressing-table.  It was a very strange feeling; I could hear her voice in my head.  The last time I ever spoke to her was at the funeral of my great-great-aunt, Indrasakdisachi's mother.  In the midst of that spectacle Her Majesty my great-aunt said about me, "Watch out for that kid.  He's not afraid of anyone!"


Imagining her as a young woman in the baby-blue painted room wearing the pink flapper dress, I remembered the stories she and her sister, Phra Sucharitsuda the royal consort, used to tell me.  Suddenly the palace was not an empty place but full of the sounds and colors of the 1920s.

The concert took place in a royal hall that was open to the garden.  There was a balcony where the king used to sit to watch the proceedings - often his own plays being performed with my great-aunts as some of the key players.

So when we performed, when we rehearsed in that hall, it was like reliving that era.  I think the feeling of magic infected all the kids as well.  The Mrigadayavan Palace people put us up in some beautiful seaside cottages right there on the estate and there was swimming and beach play every morning.

On the Saturday the kids played a Haydn, Rossini and Mozart programme ... sadly, the flute player's father passed away during the weekend and he had to run back to Bangkok.  The concert was well attended and afterwards we had some wonderful rehearsal time to start getting into "Peter and the Wolf" and Mozart's 39th Symphony.

The next day we had a splendid mini-concert at another royal residence, the Chom Dong Villa which was a former home of HM Queen Rambhai Bharni, who was queen during the reign of Rama VII.

 The concert was accompanied by a lovely pizza dinner served from Chom Dong's huge outdoor pizza oven.  Celebs there including Patravadi the well known Grand Dame of avant-garde theatre accompanied by the kids from the school she has founded for brilliant young theatre arts teenagers.



There were also about 50 kids from another local school who completely new to classical music, and that was fun as well.

These are the kinds of events that make all this angst I go through worth while.

Wednesday, January 12, 2011

An Unravelling Scandal

I've been in bed with an assortment of drugs (painkillers mostly) for the last three days; CARMEN was a tremendous strain, but it was really the Amanpuri that finished me off.  However, in retrospect the Amanpuri fiasco seems more comedic than tragic.  Even though it seems abundantly clear that my currently being laid up with dengue fever is a direct result of the trip to Phuket.


On the other hand, the Bundit scandal, which started off as something mildly amusing, is now turning into a global can of worms.  The letter which Klaus Heymann sent me evoked responses within a matter of hours.  A young Thai opera fan named Parkorn, for instance, wrote: "I have compared "Royalty-Free" Let The Bright Seraphim with the recording from Joan Sutherland - The Art of the Prima Donna, a studio recording with Francesco Molinari-Pradelli conducting the Royal Opera House Orchestra. Exact match."


Surely these can't all be misunderstandings, errors in software, or simple cases of mistaken identity.  It's clear that, though his intentions might have been innocent enough, K Bundit's crafty marketing ploy was tragically flawed because his source was flawed.  Far from being a major player in the classical compilation sweepstakes, it turns out he is not even a major a player in the resultant piracy scandal.


I do hope he follows my advice, which is to remove any even remotely suspect items from the market until the matter is cleared up.  Unfortunately that would entail taking the entire compilation series off the market.  That would be the safest thing to do.  There are plenty of performances that CAN be licensed for compilations from sources that are not suspect.  It shouldn't take long to assemble an equally impressive compilation from such sources -- or, with a bit of investment, to record them himself with a decent orchestra.  Bulgaria and Czech Republic are good sources if he'd like to make his own recordings with orchestras that can be deemed "international", and they are as cheap as the Bangkok Symphony.  


Thailand is always being accused of being a haven for piracy. It would be a shame if one of Thailand's best known artistic figures became a piracy "poster boy" ... especially if he had no intention of using material that might not have been legally obtained.


In my next blog I will talk only of positive things :)