What You’ll Hear at Wei Phi | Narongrit Dhamabutra (1962)

Sinfonia Sundaica (Symphony No. 10) – World Premiere

background

One of Thailand’s leading composers, Narongrit Dhamabutra trained initially in his native Thailand and received a doctorate in composition from the University of Michigan. His works have been performed and commissioned by major orchestras in Thailand, Asia, United States, Europe, and Australia. Many of his major works, including the one heard here are inspired by the culture and landscape of Thailand. He also incorporates Thai music and musical instruments—as in multiple concertos for ranat-ek, a large Thai xylophone, and orchestra. In 2008, Narongrit Dhamabutra was named a Silpathorn Artist, a prestigious award from Thailand’s Ministry of Culture. He currently serves as professor of composition at Chulalongkorn University, and is an associate fellow of the Royal Society of Thailand.

What You’ll hear

The Sinfonia Sundaica is divided into six interconnected sections, beginning with The Last Ice Age: tense, largely static music. A nervous rhythm from the strings signals the beginning of Migration, a perfect musical depiction of human migration into the vast plain of Sundaica, hesitant at first, but later, as the musical texture thickens, in an overwhelming wave. Siam River refers to the great Chao Phraya River that ends in the sea at modern Bangkok. The river’s enormous and fertile delta and floodplain gave birth to some of the earliest civilizations of southeast Asia. In this section, short distinctly aquatic solos from woodwinds and strings gradually accumulate into a powerful, rolling river. This region has been occupied by humans, and by our hominid ancestors, for nearly two million years. One piece of evidence for this is the amazing cave paintings that survive on the Indonesian island of Sulawesi, dated to over 40,000 years ago. Cave Painting, a set of angular solos above a slow-moving string background, conveys the mystery of these anonymous ancient artists. The texture thins abruptly for Asian Savannah, as whirling breezes swirl across the now-submerged flatland of Sundaica. A march-like theme brings to mind extinct megafauna striding across the landscape. An initial hush, leading into a brassy finale represents The Dawn of Civilizations The piece closes with a quieter epilogue.

Additional Notes from the composer

Sinfonia Sundaica for orchestra is Narongrit Dhamabutra’s tenth symphony. The piece is approximately 16 minutes long and is structured as a program symphony that, while descriptive, distinctly applies the sonata form. The symphony’s concept is the presentation of Sundaland or Sundaica, an ancient, large landmass that existed in Southeast Asia during the Ice Age when sea levels were lower. The title Sinfonia Sundaica thus directly references this region, which included the Malay Peninsula, Borneo, Sumatra, Java, the Gulf of Thailand, and parts of the South China Sea. Sinfonia Sundaica is composed of six continuous sections that depict this ancient land:

• The Last Ice Age: Depicts the Ice Age with a desolate and mysterious atmosphere. The main melody (Theme 1), consisting of four notes, is introduced in this section.
• Migrations: Depicts the migration of ancient humans into the region, utilizing ostinato and introducing the second theme.
• Siam River: Describes a large river that once flowed through Sundaica, with an interplay of woodwinds depicting the river’s expansion.
• Cave Paintings: Reflects the discovery of cave paintings in the region, featuring a mysterious atmosphere created by the woodwinds.
• Asian Savanna: Features two main musical concepts: running notes in the strings contrasted with dotted rhythms from the low brass, depicting the diverse animals of the savanna.
• The Dawn of Civilizations: Blends diverse Southeast Asian sounds, including stone xylophones, gongs, piphat music from Thailand, and mahorathuek drums. The music builds to a climax before concluding softly with Theme 1.

In composing Sinfonia Sundaica, the composer integrated Southeast Asian music materials into a more abstract and subjective interpretation rather than using folk materials directly. The work combines traditional elements with Western contemporary sound to create a unique and powerful musical voice. The composer expresses gratitude to the Weidner Philharmonic at the University of Wisconsin-Green Bay and Michael Alexander for commissioning the Sinfonia Sundaica and for the opportunity to World Premiere the work in Green Bay.