The predecessor of Toa Payoh Guitar Club (TPGC) was formed in March 1974 under the Young People’s Service (English) Section of the Toa Payoh Branch Library by a group of talented youths under the guidance of the library officer-in-charge, Ms Anuar, Hedwig Elizabeth. It was then known as the Toa Payoh Branch Library Music Club.
The 1970s
The main activity in those days was singing accompanied by a mixture of musical instruments, often strumming a guitar. They appeared on television on many occasions. The music played was diverse, ranging from the piano to the guitar, as most members were proficient in at least one musical instrument. However, the Club was disbanded in mid-1977 following conflicts among the members regarding the direction the Club wanted to head.
In early 1978, a new Club was reformed with a new direction: the Toa Payoh Branch Library Guitar Ensemble, which had just 18 members. The Club began to reach out to a broader audience when the first public concert was held in the Library’s auditorium in August 1977. The concert, which had “Guitar Voices” as its theme, attracted many to join the Club.
The ‘SHARE’ concert was introduced in 1979. The concept was to share and promote guitar interests among the general public and allow our members to present their skills. Since then, the ‘SHARE’ concert has become an essential annual event for the Club.
The 1980s
In the early 1980s, members participated in competitions, notably the Yamaha Guitar Festival, which Yamaha Music School organised. In the Classical (Open) session, our team of six guitars presented a high-tempo Latin piece, Besame Mucho. It captures the imaginations of the presiding judges against other more professional ensembles with highly classical pieces, including one from the Yamaha Guitar Orchestra consisting of guitar instructors. The judges on the spot decided to award our group an Encouragement Award, as the top three places were already awarded. It was the only such award the Yamaha Guitar Festival had ever facilitated.
It accumulated that in 1984, the club members won the top three awards in the Classical (Open) section and Pop (Open) section section. Our members also won the silver award for the non-classical singing section. The member who won the gold award with his self-arranged medley of 3 Western Country songs in the Solo section was privileged to represent Singapore as part of the rewards of his Gold Award in Japan for the World Popular Song Festival, organised by Yamaha Music Foundation.
Subsequently, our Club also participated in many other events in later years, such as SIA’s 40th Anniversary Celebrations, the People’s Association Cultural Show, 100 Guitars of Singapore, and the Singapore Festival of Arts.
In 1984, the global economy was terrible, and Singapore was affected. The Singapore Ministry of Finance then reduced its annual budget to the Singapore National Library. Toa Payoh Branch Library, to sustain itself within a lower budget, in 1986, requested the Club to look for other facilities as we are considered part of the performing arts, while the Library allowed literacy clubs to continue in the library.
In March 1986, the Club left the Toa Payoh Branch Library as the promotion of music and culture was passed on to other government agencies. It was a dark period of uncertainty as the Club moved from temporary facilities to facilities between days and months. The club frequently practised in members’ residences, the Police Academy, and Changi Airport.
Finally, in early 1987, after some discussions with the People’s Association, the Club took the proposal to be housed in Tanglin Community Centre. At the time, it was an old, depleted building waiting to be torn down because the kampong around the area had been relocated, houses had been demolished, and nobody came to visit the community centre. Across the road, a huge car park was built for the newly introduced CBD Restricted Zones park-and-ride scheme. It was a difficult location for our members as transport and food were very inconvenient. Many of our members come from the far end of Singapore, and 5 day work week was not a norm then.
During this time, the senior members understood that the club’s legal challenges became more severe as it was no longer under the umbrella of the National Library. So, the club looked into a Constitution based on our past years’ experiences and registered with the Registry of Societies. Much thought went into the official name we had chosen. The temptation was to have the club identified and named as a national-level organisation. In December 1987, the club was officially registered as the Toa Payoh Guitar Club (TPGC).
The Club began a new chapter as an independent organization with a legally binding Constitution, formalized membership categories, and an officially elected and empowered management committee to run it. In some ways, it was “business as usual,” as the Club had been managed with the same procedures and expectations since its inception.
The 1990s – 2000s
In 1991, Tangin CC raised significant funds to build a new centre. In 1994, the newly completed centre was named Tanglin Community Club, which aligns with Singaporeans’ general aspiration to identify with middle-income society. Unfortunately, a new expectation from the new management of the Centre was bestowed upon our Club. We were asked to be part of the Community Club and managed by them, which we did not accept as we wanted to continue as a stand-alone Club primarily because our goals were not in line with the Centre’s, so we had to move out of the facility.
Fortunately, in 1996, we had two opportunities to consider settling down for our regular weekly practice. We had Cheng San Community Club and Toa Payoh Central Community Club. Cheng San CC was ideal, with an MRT station across the road and a vast food choice. The difficulty was that we had to complete with an active Lion Dance Troupe for facilities. Toa Payoh CCC was an easy choice as the National Library, where our roots began, is just across the road.
The Club continued to expand its ensemble repertoire, and the types of music played included classical, Latin American, and Popular Favorites. Members who led the ensemble as conductors transcribed many of the ensemble pieces. The annual SHARE concert was presented once or even twice each year.
As members matured in age, marriage within the group became common. With their continued interest in guitar, a few parents encouraged their children to learn to play the instrument. This led to the forming of a Children’s Guitar Group within the Club for those aged 5 to 10. It was indeed the pride of the Club as the membership came a full circle.
The Club also led in reaching out to other guitar organizations in Singapore from the universities, polytechnics, junior colleges and secondary schools. Appearances at each other’s performance events increased, and this active level of engagement prompted the Club to organize the ‘Singapore Guitarists Network’ (SGN) event. The first SGN was organised in October 2003 at the Library@Esplanade. This was followed by the second SGN event in November 2005, where many guitar organizations and personalities came together and played.
As the senior members planned more SGN events, the concept evolved to have a more substantial group of personnel to manage this direction and give the event more significant support and recognition. With this, the Club seconded a group of external well-known public figures who are also established guitarists to the position of Honorary Members of the Club in 2006. Honorary Members included Alex Abisheganaden, Ernest Kwok, Bertrand, Han Volta and Billy. Alex was later appointed as the Patron of TPGC.
Thomas Liew, an established guitarist, donated two guitars. The Club took the opportunity to call for an auction for the guitars. The Club hoped to purchase some of the Niibori guitars we hear so much about with revenue from a couple of concerts and the auctioned income. Fortunately, Billy’s friends, who wish to remain anonymous, donated a considerable amount in the name of bidding for the two guitars. The Club was able to fulfil the objective of acquiring the Niibori guitars, which are now part of the Club’s proud assets.
Alex Abisheganaden was conferred the Cultural Medallion in 1988 for his excellence in promoting the guitar in the performing arts in Singapore. He was very accommodating when TPGC proposed to assist him in organising a grand concert 2007 with funds from the Medallion Award. It started with his pet dream of 1,000 guitars but later developed into the ASEAN Serenade concert on July 5, 2008, at the Esplanade Concert Hall. Alex, very excited with the Children’s Guitar group, arranged and conducted a piece for the children to perform during the ASEAN Serenade concert. Kevin Loh, the guitar maestro, then a member of the Children Guitar group, also performed a duet piece in the concert.
The concert expenses were more than Alex’s Medallion award, which TPGC managed separately from the Club’s account. Alex had appointed an external event organiser to make all the necessary arrangements and ticketing. As Alex was the conductor of the GENUS Niibori Ensemble, a group he built in 1981, the ensemble was allowed to present some fantastic pieces. The outcome was that TPGC wasn’t given any proper recognition; instead, the exercises almost broke the Club up due to some internal factors combined with questions regarding the management of Alex’s Medallion fund, and the effect is still felt today. It was at a time when the Club had reached its peak, with many profoundly skilled members building the core ensemble.
Today
TPGC promotes sharing interests in the guitar and its music, and the main avenue is via the guitar ensemble. Members help each other by sharing tips and techniques for playing the individual parts, working out the various sections of the pieces, and combining them to play as an ensemble. From these interactions anchored on the group ensemble, many interests and performing groups sprouted as members explored various music genres together.
With this diversity, TPGC continues to present the SHARE concerts and organizes many guitar-related activities for members, including the Music Camp, In-House Guitar Competition, Entertainment Time (our mini informal concerts), Workshops, Masterclass and joint performances with other guitar groups. Often, we receive invitations to perform at various music or cultural events.
Besides playing the guitar, members organize social activities to enhance their interactions. From new members’ Orientation, ‘Rest & Relax’ outings and get-togethers to our Annual Camp, members have many opportunities to bond as a cohesive music organization.