WELCOME TO SALUTE TO CINEMA
An unforgettable evening where music meets the magic of film.
Thank you for joining us for Salute to Cinema. Tonight’s performance is a tribute to the unforgettable film scores that have defined some of the greatest moments in cinema history. From sweeping epics to intimate dramas, these soundtracks have the power to transport us—and tonight, they’ll be brought to life on stage.
Taking the stage is the Tutan Festival Orchestra, joined by the exceptional voices of the KL City Opera Chorus, all under the direction of conductor Kevin Field. Together, they’ll guide you through a programme that spans sweeping romance, stirring drama, and edge-of-your-seat adventure.
Whether these melodies bring back memories or introduce you to something new, we hope tonight’s performance moves and inspires you.
Let the music roll—and let the movies play.
With Thanks,
The Tutan Entertainment Team
CONCERT PROGRAMME
Feat. Dr.Hyungi Kim – Violin Solo
Feat. KL City Opera Chorus
Feat. KL City Opera Chorus
INTERMISSION
20 minutes
Feat. Ivan Torres – Cello Solo
Feat. KL City Opera Chorus
Feat. KL City Opera Chorus
Feat. KL City Opera Chorus
ABOUT TUTAN ENTERTAINMENT
Elevating Music, Transforming Experiences
At Tutan Entertainment, we’re driven by a passion for sharing the beauty of orchestral music and creating experiences that resonate long after the final note. Our goal is to inspire and uplift through performances that bring symphonic masterpieces to life, thanks to the dedication and talent of our world-class musicians. We believe in making these moments accessible and meaningful for everyone, which is why we are committed to educational outreach and building genuine connections with our audience. With each performance, we strive to make orchestral music a shared and cherished journey.
Our Principles:
Excellence in Performance:
Prioritising artistic integrity, we showcase performers who epitomises the spirit of orchestral music, delivering experiences that linger in memory.
Innovative Spirit:
We reimagine classical music, merging tradition with innovation, exploring diverse collaborations, and transcending conventional boundaries.
Audience Engagement:
We’re passionate about fostering a love for classical music, offering insightful workshops and talks that deepen our audience’s connection to the compositions.
Immersive Experiences:
Our events are not just concerts but journeys. We combine visuals, technology, and unparalleled venues to craft captivating narratives.
Collaborative Spirit:
We champion teamwork, actively partnering with artists and organisations to propel classical and orchestral music into the future.
With your support, Tutan Entertainment is poised to inspire generations, keeping the timeless beauty of symphonic music alive and thriving in our modern world. Join us in this harmonious journey.
Get in Touch with Tutan Entertainment
We love connecting with our community and partners. Whether you have a question, feedback, or are interested in collaborating with us, we’re here to listen. Fill out the form below, and our team will get back to you promptly.
ABOUT KEVIN FIELD
Conductor Laureate
Kevin Field, a distinguished conductor, has showcased his talents with esteemed orchestras including the BBC Symphony, Malaysian Philharmonic, National Symphony Orchestra of Ireland, and the Royal Liverpool Philharmonic Orchestra. His collaborations with global artists are vast, spanning from jazz legends Chick Corea and Gary Burton to Chinese opera virtuoso ShuCheen Yu.
A graduate of the Royal Academy of Music, Kevin commenced his journey with the Bournemouth Symphony Orchestra, founding Kokoro, its contemporary ensemble. This venture saw him touring Europe and the USA extensively, leaving behind a rich discography. His percussion prowess also led him to engagements with the Royal Philharmonic Orchestra and the Orchestra of the Bolshoi Theatre, among others.
Kevin’s dedication to music education shone brightly during his tenure as Associate Conductor with the Malaysian Philharmonic Orchestra (1999-2014). There, he pioneered the Malaysian Philharmonic Youth Orchestra and received accolades for introducing over 180 contemporary pieces to Malaysia. Today, his commitment to music education continues as the Director of Academic and Artistic Development at Bentley Music Academy, serving over 750 budding musicians across all genres.
Having founded The Culture Exchange to foster cross-border artistic collaborations, Kevin remains a lifelong learner. In 2022, he achieved a Master’s in Creative Events Management from Falmouth University, solidifying his position as a pillar in the world of classical music.
Kevin Field appears courtesy of Bentley Music Academy
TUTAN FESTIVAL ORCHESTRA
Established in 2023, the Tutan Festival Orchestra is more than just an orchestra; it’s Malaysia’s beacon for classical and orchestral excellence. In a world where music constantly evolves, our orchestra is committed to shining a spotlight on timeless classical symphonies, ensuring they resonate with the modern Malaysian audience and beyond. We are passionate about presenting the grandeur of orchestral masterpieces to both new listeners and classical aficionados, weaving the age-old with the contemporary in a rich musical narrative.
Our commitment reaches far beyond the concert hall’s grandeur. TFO’s orchestral melodies are crafted to enchant audiences from every corner of the globe. With each note played and every masterpiece performed, we aspire to transport listeners into a realm of profound emotion, kindling a deeper admiration for the timeless beauty of orchestral arts.
Music is our medium, community our canvas. Beyond live performances, the Tutan Festival Orchestra dedicates itself to enriching Malaysian communities. Through educational drives, community outreach, and artist incubation initiatives, we don’t just play music; we nurture the budding talents of tomorrow. Our partnerships with schools, local art groups, and community hubs ensure that classical tunes resonate in every corner, inspiring love for the arts and fortifying societal bonds.
Tutan Festival Orchestra
Violin 1
- Hyungi Kim**
- Philip Jeremy Law Tze Siangn
- Woon Sze Chiann
- Andrea Sim
- Kyvie Tan
- Melanie Ooi Yong Li
- Kylie Tan
- Carl Tew
- Nur Izwani Binti Ismail
- Esther Lee Xian Ni
- Anthea Foong
- Delaney Ng Yen Xuan
- Chiah Jing Yuan
- Ian Yoon Zhao-Xuan
Violin 2
- Mabel Wong*
- Joanne Aw
- Hai Lin
- Ashraaf Shahiran bin Abdul Karim
- Gerald Ng Kea Chye
- Tan Yu Tian
- Lim Shau Ming
- Ashley Lai Jing Xuan
- Yi Yao
- Yi En
- Chew Evangeline
- Ng Jing Ying
- Jasher Ng Jie Tong
- Braydon Wong Jun Rui
- Ong Liyen
- Zaiff Sharqil
Viola
- Angela Lou Chai Hong*
- Choi Shi Wei (Cheryl)
- Dylan Lai Jun-Yi
- Lee Kok Leong
- Jared Ng Yen Tze
- Ling Li Yen
- Wei Yi
- Beverly Tan Zhen
- Terence Ong Chin Hooi
Cello
- Ivan Torres*
- Grace Tan Jia En
- Eugene Chong
- Ryan Lim
- Hen Lit Ming
- Melany Yoon Ying Hui
- Aidil Khaizir bin kamarudin
- Tariq Zikri bin Zulkifli
- Aaron Yoon Wei Ren
- Gideon Kong Min Jyn
- Jack tew Jie Hong
- Adam Rayyan Ahmad Nazri
Double Bass
- Oh Beng Yew*
- Mohd Azizi Bin Azman
- Wan Marina Binti Mohd Zaini
- Yong Yoon May
- Kok Keng Onn
- Lee Teck Keong
- Desarie Tan Jing
Flute
- Foo Chie Haur*
- Chai Yem Voon
- Chiu Peng Chong
Clarinet
- Fong Yee Seong*
- Alex Tsok Kian Hung
- Lim Yong Jia
Oboe
- Wong Cheong Lum*
- Tan Jie Er
- Yong How Keen
Bassoon
- Midori Suzuki*
- Loh Jun Yang
Horn
- Kim Vyacheslav*
- Woon Sze Ting
- Mohd Faris bin Romzy
- Sim Chee Ghee
Trumpet
- Khairul Anwar Bin Zulkifly Tony*
- Norikhman Bin Mohd Zakaria
- Woon Sze Sheng
- Wong Sze Yen (Kay)
Trombone
- Chia Pei Jing*
- Lim Jie Ren
- Khoo Min Khai
Tuba
- Pang Hung Yi
Timpani
- Chia Cheng Kok
Percussion
- Yon Nian Shee*
- Ian Chow
- Cheh Jing Wan
- Ong Li Yang
- Lim Lai Hock
Piano
- Soon Kun Ming*
- Jennifer Lee Jia Juan
Harp
- Bryan Lee Kit Meng*
- Wong Hou Jing
- Enleen Ong
Note:
** Concertmaster
* Section Principal
KUALA LUMPUR CITY OPERA CHORUS
Formed in 2012 and officially incorporated in 2015, the Kuala Lumpur City Opera (KLCO) Chorus is a vibrant ensemble of 40 to 50 dedicated singers who form the backbone of KLCO’s artistic vision. Over the years, the Chorus has distinguished itself through compelling performances in fully staged operas, gala concerts, and outreach programmes.
Beyond KLCO’s own productions, the Chorus has also been invited to perform in La Traviata presented by Korean company MOV Asia and Carmen by the Singapore Lyric Opera. It has also collaborated with esteemed international institutions such as Teatro Regio di Parma and the Rossini Festival, further cementing its growing presence in the regional operatic scene.
Recent highlights include Broadway & Beyond (July 2024) with the Tutan Festival Orchestra—featuring soloists from within the Chorus—and a high-energy showcase in Symphonic Rock. The Chorus plays a vital role in KLCO’s mission to promote Western opera in Malaysia and is an integral part of an award-winning company that has received five Boh Cameronian Arts Awards for productions such as L’elisir d’amore (2014), Madama Butterfly (2018), A Grand Night of Opera (2022), and Opera Sì! La Bohèmia (2024), to name a few.
In 2018, the Chorus made its debut at the Malaysian Choral Eisteddfod (MCE) International Choral Festival and was awarded Gold Status, marking a proud achievement in its choral journey beyond the opera stage.
For Salute to Cinema, the KLCO Chorus brings its signature musical excellence, theatrical flair, and rich ensemble harmony to a celebration of iconic film scores—honouring the enduring power of music in cinematic storytelling.
Chorusmaster - Chi Hoe Mak
Chi Hoe Mak enjoys a varied career as an award-winning choral conductor, singer, adjudicator and clinician. He is Artistic Director of Young Choral Academy, Artistic Director of Penang Philharmonic Chorus and Resident Chorus Master for Kuala Lumpur City Opera. With his choirs, he has won numerous prizes at several international competitions and work as a singer, adjudicator and clinician have taken him to China, France, Germany, Hong Kong, Indonesia, Ireland, Italy, Japan, Philippines, Russia, Singapore, Spain, Sri Lanka, Vietnam, UK and throughout Malaysia.
A graduate from the Royal Birmingham Conservatoire in the UK, Chi Hoe received two Master of Music degrees in Voice and Choral Conducting, both with Distinctions and was named one of Birmingham’s ‘New Generation Artists’ in 2008. He won all the major conducting prizes including the 2009 and 2010 Michael Beech Conducting Awards and the prestigious Principal’s Prize for ‘outstanding contribution to the musical life at the institution’.
Chi Hoe was the first Asian conducting fellow with the London Symphony Chorus in 2010 which launched his conducting career in the UK. He was appointed Resident Chorus Master at the Royal Birmingham Conservatoire from 2009 – 2012 and made his UK festival debut in 2011 as Chorus Master for the Lichfield Festival Chorus where his work received much critical acclaim.
Chi Hoe is co-founder of the Malaysian Choral Eisteddfod (MCE) and is a member of the International Federation for Choral Music (IFCM) Asia Pacific Choral Council and received his Honorary Membership of the Royal Birmingham Conservatoire in recognition for his outstanding contribution to his profession.
KL City Opera Chorus
Chorusmaster
- Chi Hoe Mak
Soprano 1
- Christine Oh Jiyoung
- Grace Soon Chia Yong
- Rachel Ray Liu
- Renna Kim
- Saori Suzuki
- Sharon Tang Ruo Qian
- Tay Mi Shyuan
- Tan Pyen
- Wan Zhen
- Zoey Lee
Soprano 2
- Ee Shin Yen
- Grace Loo
- Helen Long
- Maira Addin
- Natalie Makulin
- Nur Amirah binti Abd Razal
- Yap Jo Vee
- Tee Yi Man
Alto
- Celine Chew
- Christine Cheng
- Erika Ling
- Jan Yuen
- Janelle Lee
- Jessica Azure
- Joey Ching Yong Khee
- Karyn Ong
- Natellie Chee
- Nandipa Dlamini
- Nina Wong De Ling
- Sharon Kaur
- Tan Keat Shuang
- Wong Min Xin
- Wong Siew Munn
Tenor
- Andrew Lai
- Benjamin Khong Tze Keong
- Brandon Chiah
- Isa Zamiri
- Jason Yeoh
- Jonathan Ling
- Leonard Wong Zhi Duan
- Shafiq Hafizi
Bass
- Aiman Yusof
- Aldwin Lee
- Brian Cheong
- Dang Zheng, Karl
- Fais Azrin
- Johnet Teow
- Joshua Andy Chong
- Logan Chai
- Qahar Aqilah
- Wayne Lau
- Wayne Yeap
- Wynn Way Sean Ch’ng
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PROGRAMME NOTES
20th Century Fox Fanfare | Alfred Newman (1933)
One of the most recognisable pieces of music in cinema history, the “20th Century Fox Fanfare” was composed by Alfred Newman (1900–1970), a legendary American film composer and conductor. Newman was one of the founders of the Hollywood sound and served as head of music at 20th Century Fox for more than two decades. Over the course of his career, he received an astonishing 45 Academy Award nominations and won 9 Oscars, making him the most awarded composer in Oscar history.
The fanfare was commissioned by Fox Film Corporation shortly before it merged with Twentieth Century Pictures to become 20th Century-Fox. After the merger, the music became the official studio logo theme and has since been heard at the start of countless films.
By the mid-to-late 1970s, the use of the 20th Century Fox fanfare had significantly declined. However, filmmaker George Lucas enjoyed both the logo and Newman’s music so much that he insisted it be used before the release of his new film, Star Wars. This decision helped revive the fanfare’s visibility and legacy.
When composer John Williams signed on to score Star Wars: Episode IV – A New Hope, he made a deliberate choice to compose the now-iconic Main Title in the same key as Alfred Newman’s fanfare. Williams has said that it was meant as a natural musical extension of the fanfare, creating a seamless transition between studio logo and film score. For many fans and film music scholars, the 20th Century Fanfare and the Star Wars theme are now inseparably linked.
Other notable works by Alfred Newman:
- Wuthering Heights (1939)
- The Song of Bernadette (1943)
- All About Eve (1950)
- The Seven Year Itch (1955)
- The Diary of Anne Frank (1959)
- How the West Was Won (1962)
- The Greatest Story Ever Told (1965)
What to listen for: Bold, regal brass harmonies that build toward a triumphant cadence — the perfect curtain-raiser for epic cinema.
Fun Fact: Alfred Newman was the patriarch of one of Hollywood’s most famous musical dynasties. His sons, Thomas Newman (The Shawshank Redemption, Finding Nemo) and Randy Newman (Toy Story, Monsters, Inc.), both became acclaimed film composers in their own right, continuing his legacy across generations.
The Sea Hawk | Erich Korngold (1940)
A child prodigy from Austria, Erich Wolfgang Korngold (1897–1957) was hailed as a musical genius from a young age. He made his name in classical music before turning to film scoring in Hollywood, where he became one of the first composers to bring full symphonic music to the silver screen.
The Sea Hawk is a rousing pirate adventure film released in 1940, starring Errol Flynn as the dashing Captain Geoffrey Thorpe. It’s filled with high-seas action, romance, and daring escapes — and Korngold’s score matches the excitement beat for beat.
His music sounds like something out of a grand opera: full orchestra, big emotions, and melodies that sweep you along with the story. From blazing brass to tender strings, Korngold uses every section of the orchestra to tell the tale. This was film music that didn’t just accompany the action — it elevated it.
Other notable works by Korngold:
- Captain Blood (1935)
- The Prince and the Pauper (1937)
- The Adventures of Robin Hood (1938)
- The Private Lives of Elizabeth and Essex (1939)
- Kings Row (1942)
- Between Two Worlds (1944)
He also composed acclaimed concert works, including his Violin Concerto in D Major, which is still performed by major orchestras today.
What to listen for: Stirring brass themes that evoke bravery and heroism, lyrical string passages that hint at romance, and bold musical shifts that mirror sword fights, sea chases, and moments of suspense. It’s a musical rollercoaster with all the flair of old Hollywood.
Fun Fact: Steven Spielberg once said Korngold was the first to make music “as important a character as the people in the film.”
Image Source: Wikipedia
Gladiator Suite | Hans Zimmer (2000)
Arranged by Fedor Vrtacnik
German composer Hans Zimmer (b. 1957) is one of the most influential and sought-after film composers of the modern era. With a style that blends electronic music, classical orchestration, and experimental textures, Zimmer has shaped the sound of contemporary cinema.
His score for Gladiator, directed by Ridley Scott, was a defining moment in his career. Working closely with Australian vocalist Lisa Gerrard, Zimmer created a score that captured the brutality of the Roman arena, the tragedy of loss, and the dream of peace. The music shifts from thunderous percussion and aggressive motifs to moments of haunting beauty, often underscored by Gerrard’s ethereal voice. The result is a deeply emotional and powerful score that feels ancient yet modern.
Zimmer used innovative sound design alongside traditional instruments, including taiko drums, duduk, and solo cello, to create a unique musical landscape. Tracks like “Now We Are Free” and “The Battle” became iconic not just in the film world, but in trailers, commercials, and even sporting events.
Other notable works by Hans Zimmer:
- Inception (2010)
- The Lion King (1994)
- Interstellar (2014)
- The Dark Knight Trilogy (2005–2012)
- Dune (2021)
- Pirates of the Caribbean Series (2003–2017)
What to listen for: The contrast between Zimmer’s forceful battle cues and the lyrical, dreamlike themes that evoke Maximus’ memories and yearning. It’s a score that lingers — full of power, pain, and hope.
Fun Fact: The score was nominated for an Oscar but controversially lost to Crouching Tiger, Hidden Dragon. However, it remains one of the most influential and recognisable scores of the 21st century.
The Godfather Suite | Nino Rota (1972)
Italian composer Nino Rota (1911–1979) is best known for his unforgettable melodies and long-standing collaborations with directors like Federico Fellini and Francis Ford Coppola. His music blends classical training with a gift for lyrical, emotionally rich themes that can evoke everything from nostalgia to menace.
His score for The Godfather is one of the most iconic in film history. The haunting waltz-like main theme immediately conjures the world of the Corleone family — a world of tradition, family loyalty, and the quiet menace of organised crime. Rota’s music adds emotional depth and tragic weight to a story already filled with moral complexity.
Though deceptively simple, the score uses repeated motifs and subtle instrumentation to mirror the film’s themes of fate, power, and loss. It doesn’t rely on bombast — instead, it draws listeners in with a kind of dark intimacy.
Other notable works by Nino Rota:
- War and Peace (1956)
- La Dolce Vita (1960)
- The Godfather Part II (1974) – Academy Award-winning score
- 8½ (1963)
- A Midsummer Night’s Dream (1964)
- Romeo and Juliet (1968)
- Death on the Nile (1978)
What to listen for: The mournful trumpet solo that opens the theme, the use of the strings to evoke Sicilian heritage, and the gentle, circling melody that feels at once beautiful and unsettling.
Fun Fact: Rota’s score for The Godfather was initially disqualified from Oscar contention because he had reused material from an earlier film. However, he won the Academy Award for The Godfather Part II, securing his place in film music history.
Image Source: Wikipedia
Schindler's List | John Williams (1993)
Feat. Dr Hyungi Kim – Violin Solo
American composer John Williams (b. 1932) is one of the most celebrated and prolific film composers in history, known for crafting unforgettable themes that have become cultural touchstones. With more than 50 Academy Award nominations, he has defined the sound of modern Hollywood through his work on Star Wars, Jaws, Indiana Jones, and more.
Schindler’s List marked a significant departure from Williams’ blockbuster scores, showing his remarkable versatility and emotional depth. The film, which tells the story of Oskar Schindler and the Jewish lives he helped save during the Holocaust, demanded a score of restraint, reverence, and deep empathy.
Williams originally declined the project, telling director Steven Spielberg, “You need a better composer than I am.” Spielberg replied, “I know. But they’re all dead.” The result was a haunting, minimalist score that communicates sorrow, dignity, and resilience with quiet power. It is widely regarded as one of the most moving film scores ever written.
The soul of the piece lies in its unforgettable violin solo, which will be performed tonight by Dr. Hyungi Kim. Her performance brings a human voice to the music’s expression of loss and remembrance.
Other notable works by John Williams:
- Star Wars Series (1977–present)
- Jaws (1975)
- E.T. the Extra-Terrestrial (1982)
- Indiana Jones Series (1981–present)
- Harry Potter (2001–2004)
What to listen for: The spare, mournful violin line, full of restrained emotion; subtle accompaniment from the strings that enhance the sense of fragility and mourning; and the poignant silences between the notes that are just as powerful as the music itself.
Fun Fact: The solo violin part was originally performed by the renowned Itzhak Perlman. His collaboration with Williams added a layer of intimacy and authenticity that helped the score transcend the film itself. Interestingly, Williams said he wept after watching the first cut of the film and felt overwhelmed by the task — yet he completed the full score in just four weeks.
Vertigo Suite | Bernard Hermann (1958)
Bernard Herrmann (1911–1975) was a pioneer in film music, known for his psychological intensity and masterful use of orchestral colour. He is best remembered for his collaborations with director Alfred Hitchcock, which produced some of the most innovative and emotionally charged scores in cinema history.
Vertigo, widely regarded as one of Hitchcock’s greatest films, was brought to life by Herrmann’s swirling, hypnotic score. The music plays an essential role in conveying the protagonist’s obsession, emotional instability, and descent into illusion. With its dreamlike, circling motifs and aching romanticism, the Vertigo score has become a masterclass in psychological storytelling through music.
Although it received little attention upon its initial release, both the film and its score have grown significantly in reputation. Today, Vertigo frequently tops lists of the greatest films ever made — and Herrmann’s score is now celebrated as one of the most powerful and influential in film history.
Other notable works by Bernard Herrmann:
- Citizen Kane (1941)
- The Day the Earth Stood Still (1951)
- North by Northwest (1959)
- Psycho (1960)
- Taxi Driver (1976)
What to listen for: The gently spiralling string lines that mirror the film’s themes of obsession and dizziness; the lush, almost Wagnerian harmonies that swell and retreat; and the slow, haunting build of tension that seems to circle endlessly without release.
Fun Fact: Herrmann used a musical structure known as an “endless spiral” — where the harmonies constantly shift without ever fully resolving — to mirror the film’s motif of vertigo. The result is music that feels suspended in a dreamlike trance, drawing the listener deeper into the character’s unstable world.
Image Source: Wikipedia
Interstellar | Hans Zimmer (2014)
Feat. KL City Opera Chorus
Known for pushing the boundaries of what film music can sound like, Hans Zimmer took a bold and intimate approach with his score for Interstellar, directed by Christopher Nolan. Unlike his more aggressive or action-driven works, this score is quiet, philosophical, and deeply emotional.
Zimmer composed much of the score without knowing the full plot of the film. Nolan simply told him the story was about a father and a child — and Zimmer responded by writing music that reflects the universal themes of love, time, and sacrifice.
The orchestration for Interstellar is striking. At its core is a massive pipe organ, recorded at Temple Church in London, chosen for its profound, almost cosmic acoustics. Zimmer blended this with a chamber-sized string ensemble, piano, and electronic textures to create a sound world that feels both ancient and futuristic. The ticking clocks that underscore several scenes were created using recordings of Christopher Nolan’s own watch, adding another layer of intimacy to the sonic design.
Zimmer’s minimalistic approach — using repeating patterns, sustained harmonies, and gradual buildups — creates a sense of timelessness. The music mirrors the film’s themes of space and relativity: it feels infinite, suspended, and emotionally overwhelming.
Other notable works by Hans Zimmer:
- The Thin Red Line (1998)
- The Last Samurai (2003)
- The Holiday (2006)
- Sherlock Holmes (2009)
- Man of Steel (2013)
What to listen for: The soaring, cathedral-like resonance of the organ; the soft repetition of piano and strings that seem to stretch and fold like time itself; and the emotional swell that never quite resolves, echoing the film’s journey through space and memory.
Fun Fact: To create a truly immersive experience, Zimmer and Nolan worked closely on the sound mix. In some theatres, the music was intentionally pushed to the forefront — even louder than the dialogue — to emphasise emotion over exposition. It sparked debate, but Zimmer called it “one of the most daring things we’ve done.”
Image Source: flickr
Duel of Fates | John Williams (1999)
Feat. KL City Opera Chorus
Few film composers have shaped cinematic soundscapes as profoundly as John Williams. His work on the Star Wars saga redefined what a film score could achieve — not merely enhancing the visual experience but becoming an essential part of the storytelling itself. From the bold brass of the original Main Title to the sweeping themes of characters like Leia, Yoda, and Rey, Williams built an entire musical universe that continues to influence generations.
With Duel of the Fates, written for Episode I: The Phantom Menace, Williams introduced a bold, operatic voice into the franchise. It marked the first time a full choir was used in a Star Wars score, chanting dramatic text in Sanskrit. The music was designed to elevate the climactic lightsaber battle between Qui-Gon Jinn, Obi-Wan Kenobi, and Darth Maul — and it did so with mythic intensity.
The cue fuses relentless string rhythms, aggressive brass stabs, and ominous choral layers to create a piece that feels like fate itself unfolding. The Sanskrit lyrics were chosen not for their literal meaning but for their phonetic power — adding an ancient, spiritual weight to the music.
Duel of the Fates didn’t just accompany an action scene; it transformed it into a ritual, a turning point in galactic history. The track became so iconic that its musical DNA echoed through later instalments, reinforcing emotional stakes in everything from political confrontations to duels of destiny.
Other notable works by John Williams:
- Close Encounters of the Third Kind (1977)
- Jurassic Park (1993)
- Memoirs of a Geisha (2005)
- War Horse (2011)
- Lincoln (2012)
What to listen for: The rapid-fire string ostinatos that drive the energy forward; the layered choral phrasing that rises and falls like waves of tension; and the brass fanfares that break through the texture like bursts of fate intervening.
Fun Fact: The Sanskrit lyrics sung by the choir are actually a phonetic translation of a Celtic poem by the 13th-century mystic Taliesin. Williams chose the language for its vocal timbre and mystical aura rather than meaning, creating a sound that feels timeless and ritualistic. The lyrics include phrases like:
“Korah Matah Korah Rahtahmah” “Yoodhah Korah Mah-tah Korah”
Though the words don’t translate directly, their texture and rhythm contribute to the ancient and mythic quality of the scene.
E.T Adventures on Earth | John Williams (1982)
When director Steven Spielberg completed E.T. the Extra-Terrestrial, he turned to his long-time collaborator John Williams to give voice to the film’s heart. The result was one of the most emotionally resonant and imaginative film scores ever written — and the track Adventures on Earth is its crowning achievement.
This 10-minute symphonic suite encapsulates the wonder, excitement, and childlike sincerity of the entire film. It underscores key sequences such as the thrilling bicycle chase and E.T.’s final departure, weaving themes of innocence and farewell into a musical journey that mirrors the emotional arc of the story.
Williams’ orchestration is masterful here. Sweeping strings, fluttering woodwinds, warm brass, and shimmering percussion combine to evoke everything from the thrill of discovery to the ache of goodbye. It’s symphonic storytelling at its best — no dialogue necessary.
Famously, when Williams conducted the final cue while watching the film, Spielberg asked him to stop and instead cut the picture to fit the music — a rare and powerful gesture of trust that speaks volumes about the emotional integrity of the score.
Other notable works by John Williams:
- Superman (1978)
- Home Alone (1990)
- Hook (1991)
- Saving Private Ryan (1998)
- A.I. Artificial Intelligence (2001)
What to listen for: The soaring theme that builds slowly, echoing both E.T.’s alien wonder and the children’s sense of freedom; the tempo shifts that drive the bike chase; and the poignant strings in the final minutes that never fail to stir emotion — even after repeated listens.
Fun Fact: During the now-iconic bike flight scene, Williams’ music hits such a transcendent emotional peak that Spielberg re-edited the film around the score — not the other way around. It’s one of the few times in film history the picture was cut to serve the music.
Eternal Vow from Crouching Tiger Hidden Dragon | Tan Dun (2000)
Featuring the Ivan Torres – Cello Solo
Eternal Vow is one of the main musical themes from Ang Lee’s Crouching Tiger, Hidden Dragon, a film known for combining beautiful storytelling with martial arts action. The music was composed by Tan Dun, a groundbreaking Chinese composer who often blends the sounds of traditional Chinese music with the style of Western orchestras.
This piece tells a quiet but powerful story — one about love, duty, and longing. Originally performed by world-famous cellist Yo-Yo Ma, the melody feels like someone speaking without words — soft, emotional, and full of feeling. The cello is the star here, gently supported by the orchestra as it expresses heartbreak, silence, and hope.
Tan Dun is known for experimenting with unusual instruments like water bowls and stones, but in Eternal Vow, he takes a more delicate approach. The music moves slowly and thoughtfully, just like the emotional journey of the film’s characters.
Other notable works by Tan Dun:
- Don’t Cry, Nanking (1995)
- Fallen (1998)
- Hero (2002)
What to listen for: The slow, sad cello melody that feels like it’s speaking directly to you; the blend of Chinese-style notes with a Western-style orchestra; and the overall calm, thoughtful sound that makes you stop and reflect.
Fun Fact: The Crouching Tiger, Hidden Dragon soundtrack won both the Academy Award for Best Original Score and a Grammy Award. Its success introduced millions to the blend of East-West musical storytelling and made Tan Dun a household name.
Image Source: Wikipedia
The Nightmare Before Christmas Medley | Danny Elfman (1993)
Arranged by Ong Yong Hang & Chee Hui Hui (2018) and reimagined with SATB and re-orchestrated by Kevin Field 2025
Feat. KL City Opera Chorus
Tim Burton’s The Nightmare Before Christmas is more than a holiday film — it’s a cult classic that blends spooky Halloween charm with festive Christmas joy. At the heart of this unusual blend is composer Danny Elfman, who not only wrote the music but also provided the singing voice for the main character, Jack Skellington.
Elfman’s score is filled with theatrical flair, unexpected harmonies, and playful rhythms. The medley performed tonight features some of the film’s most iconic songs, including This Is Halloween, What’s This?, and Sally’s Song. Each piece captures a different mood — from the eerie excitement of Halloween Town to Jack’s wide-eyed wonder at the discovery of Christmas.
What makes this music so distinctive is Elfman’s unique style: a mix of classical, jazz, and pop influences, all wrapped in a slightly twisted sense of humour. It’s whimsical, emotional, and darkly delightful — just like the film itself.
Other notable works by Danny Elfman:
- Beetlejuice (1988)
- Batman (1989)
- Edward Scissorhands (1990)
- Spider-Man (2002)
- Wednesday (2022)
What to listen for: The bouncy rhythms of This Is Halloween, the magical sparkle of What’s This?, and the gentle emotion of Sally’s Song. You’ll hear shifts in mood and tone that make the music feel like a storybook.
Fun Fact: Danny Elfman was originally only supposed to write the music for The Nightmare Before Christmas, but after struggling to find the right voice for Jack Skellington, director Tim Burton asked Elfman to step in. Elfman’s emotional connection to the character made his performance unforgettable.
Over the Rainbow from The Wizard of Oz (1939)
Composed by Harold Arlen, lyrics by E.Y. Harburg
Arranged by Fedor Vrtacnik
Feat. KL City Opera Chorus
The song Over the Rainbow is one of the most beloved and enduring melodies in film history. Composed by Harold Arlen with lyrics by E.Y. Harburg, it became an instant classic when it was first sung by Judy Garland in The Wizard of Oz.
The music begins simply — a gentle upward leap in the melody that echoes the hopeful longing at the heart of the song. The lyrics speak to the desire for a better place, somewhere beyond the challenges of everyday life. It’s not just a song for children; it resonates with anyone who’s ever dreamed of something more.
Though The Wizard of Oz was released over 80 years ago, this song has lived on through generations — recorded by artists from Ella Fitzgerald to Israel Kamakawiwoʻole. It’s often performed at pivotal moments of reflection, remembrance, or hope.
Other notable works by Harold Arlen:
- Stormy Weather (1933)
- That Old Black Magic (1942)
- Come Rain or Come Shine (1946)
- Get Happy (1950)
What to listen for: The tender opening leap, the rising melody that soars like a dream taking flight, and the quiet optimism that runs throughout the song. It’s a simple tune, but its emotional depth is timeless.
Fun Fact: Over the Rainbow was nearly cut from the film after a test screening, but producers were persuaded to keep it in. It went on to win the Academy Award for Best Original Song and has been recorded by over 1,000 artists since.
Image Source: Wikipedia
Mary Poppins Medley (1964)
Composed by Richard M. Sherman and Robert B. Sherman
Arranged by David Woodcock
Feat. KL City Opera Chorus
Few film scores have captured the spirit of whimsy and heart as perfectly as the music of Mary Poppins. Written by the legendary songwriting duo Richard M. Sherman and Robert B. Sherman, the score blends catchy melodies with sincere emotion, creating a musical world that is both magical and grounded in family values.
The Sherman Brothers were pioneers of the golden age of Disney music, and Mary Poppins stands as their crowning achievement. They wrote an astounding fourteen songs for the film, and their work was instrumental in the movie’s critical and commercial success. The seamless integration of songs into the narrative helped evolve the genre of the movie musical, setting a new precedent for how music could drive character development and story progression.
This medley features some of the film’s most memorable tunes — including A Spoonful of Sugar, Chim Chim Cher-ee, Feed the Birds, and Supercalifragilisticexpialidocious. Each song captures a different side of Mary Poppins: her playful wit, her quiet compassion, and her ability to make the mundane feel extraordinary.
The orchestration combines elements of British music hall traditions, classical motifs, and modern Broadway influences. The result is a vibrant, emotionally rich score that brings both nostalgia and delight to audiences of all ages.
The Sherman Brothers’ music was essential to the success of Mary Poppins, earning them two Academy Awards — one for Best Original Song (Chim Chim Cher-ee) and one for Best Original Score. Their work on the film helped set a new standard for musical storytelling in cinema and secured their place in the pantheon of great American songwriters.
Other notable works by the Sherman Brothers:
- Winnie the Pooh and the Honey Tree (1966)
- The Jungle Book (1967)
- Chitty Chitty Bang Bang (1968)
- The Aristocats (1970)
- Bedknobs and Broomsticks (1971)
What to listen for: The joyful energy of Supercalifragilisticexpialidocious, the heartfelt warmth of Feed the Birds, the cheery bounce of A Spoonful of Sugar, and the bittersweet charm of Chim Chim Cher-ee. The medley brings a range of emotions, tied together by unforgettable melodies.
Fun Fact: Walt Disney once said that Feed the Birds was his favourite song ever written. He would often ask the Sherman Brothers to play it for him on Friday afternoons at the studio, saying simply, “Play it for me.”
Image Source: Wikipedia
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