In Singapore’s largest inclusive orchestra, a single breath cues the music

When Ms Siti Sakinah Zainal sits at the piano, fingers poised on its keys, she begins not by looking at the conductor’s purple baton, but by listening intently.

She focuses on the sound of his slow, measured breath, amplified through his microphone. On cue, she starts Georges Bizet’s Carmen Suite No.1, launching the rest of the over 80-strong orchestra.

Born seeing only some light and shadows, the conductor’s breath is among the cues guiding Ms Sakinah through the music as a blind pianist. She started playing the piano at six.

“A musician once asked how can I start (a song) if I cannot see. Excuse me! (Some) people think we (always) need help with music, but that’s wrong,” the 29-year old administrative assistant says.

As the sole pianist of The Purple Symphony (TPS), Singapore’s largest inclusive orchestra, she performs alongside musicians with and without disabilities aged 11 to 79. Around half of its members are persons with disabilities.

Started in 2015 by the Central Singapore Community Development Council (CDC), TPS blends Asian and Western instruments from five key musical sections: Strings (Plucked), Strings (Bow), Wind, Percussion and Choir.

More than 80 members of TPS’ over 120-strong ensemble thrilled audiences at its second full orchestra performance overseas in Kuala Lumpur on Nov 26.

The group rehearsed weekly since September to prepare for the concert at the over 800-seat Dewan Filharmonik Petronas concert hall, in a performance presented by Temasek Foundation, Raja Zarith Sofiah of Johor Foundation and the Central Singapore CDC.

They were invited by the Queen of Malaysia Raja Zarith Sofiah, who hosted their first overseas concert in Johor Bahru in 2023.

“Fusion sound has become our signature and (reflects) inclusiveness,” says TPS’ artistic director and founding member Quek Ling Kiong, 58. He is also Singapore Chinese Orchestra’s (SCO) principal conductor.

“We (welcome) different instruments and talents,” says Mr Quek.

Through TPS, Ms Sakinah has grown close with percussionist Nurul Natasya, 27, and flutist Lawrence Gabriel Villar Angel, 21, who are also blind.

They meet weekly outside rehearsals, bonding over their shared experiences and love of music, meals and walks islandwide.

Ms Sakinah, a self-taught pianist, joined TPS in 2017. She was previously a solo pianist and prefers the orchestra’s fuller sound and fun, supportive community.

Mr Angel, a music undergraduate at the Nanyang Academy of Fine Arts, and Ms Nurul, a waitress at a dine-in-the-dark restaurant, often guide Ms Sakinah in music theory.

Double bass player Joyce Goh, 17, is the trio’s close friend and among the volunteer musicians playing alongside musicians with disabilities. These volunteers form nearly half the ensemble.

Ms Goh, a student, joined the orchestra in 2017 after watching rehearsals where her mother interpreted sign language for a deaf percussionist.

“Inclusivity doesn’t just mean talking about wanting to involve people of all abilities, but truly knowing them, showing real care, learning how we can help and how they can help us too,” says Ms Goh. “(Playing here) made me more empathetic.”

Her two brothers also came on board: Jordan, 12, joined as a French horn player in 2024; Jonathan, 20, previously played the clarinet.

Weekly rehearsals at the Jalan Besar Community Centre unfold in a supportive setting, with volunteer musicians and musicians with disabilities seated alternately. Instructors move among them, playing notes or guiding with cues.

Families record sessions for home practice and keepsake, share snacks during breaks, and build a supportive parent community.

Thirty-six caregivers accompanied the orchestra to Kuala Lumpur.

Among the caregivers is Mrs Michelle Teo, 62, who attends nearly every rehearsal to watch her daughter, Bronwyn Teo, 24.

Ms Bronwyn Teo, who is on the autism spectrum, had no prior musical training and learnt the traditional Chinese flute dizi after joining TPS in 2016.

“She really persevered; I think that helps her in life too,” Mrs Teo says.

Patience is key in the pursuit of musical excellence, Mr Quek says.

“We have to build confidence and support to show they’re talented. They’re talented not because they’re special, but (when) they’re talented and special on top of that, it’s the talent that shines,” he adds.

Musicians with vision loss, he says, memorise the music so precisely that they know their own and others’ parts.

Ms Nurul used to braille her scores, but now commits them to memory.

Nearing a performance, Ms Sakinah listens to rehearsal recordings and practices alongside the musical instrument digital interface, the songs’ digital rendition for precise practice, daily before and after work.

Mr Angel, whose parents discovered his perfect pitch at four, wants to be viewed simply as a good musician, and not a blind musician who can play.

“Without The Purple Symphony, I won’t really have an orchestra opportunity. Let’s face it, (many) other orchestras (may) not accept us yet,” he says.

As their music fills the hall, the trio’s talent and grit challenge the boundaries. Their music, they say, stands alongside, and even surpasses, many who can see.