NTUSO Musica per Tutti Programme Booklet

MUSICA PER TUTTI 17.12.23 | 7:30pm

CONTENTS

3 PROGRAMME 4 FOREWORD 6 ABOUT NTUSO 7 OUR CONDUCTOR 8 OUR MUSIC DIRECTOR 9 OUR SOLOISTS 10 PROGRAMME NOTES 16 OUR MUSICIANS 18 PARTNERS AND SPONSORS 19 SPECIAL THANKS

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PROGRAMME

Sunday, 17 December 2023 Nanyang Auditorium 7:30pm

PERCUSSION ENSEMBL E Eric Rath Escape Artist Nathan Daughtrey Mercury Rising Hiroyuki Yamazawa Festive Song for the Future

WIND ENSEMBLE Antonin Dvorak American Strings Quartet arranged for Winds Quartet, Mvt. 1

STRING ENSEMBLE Antonio Vivaldi Concerto for Two Cellos

Low Boon How, Cello Soloist Hong Yixin, Cello Soloist

INTERMISSION 15 minutes

FULL ORCHESTRA Georges Bizet L’Arlesienne Suite No. 1

Hooi Yu Leong, Lyon, Music Director

Ludwig van Beethoven Symphony No. 5, IV Allegro Chan Wei Shing, Conductor

Concert duration: ~1hr 45mins 3

FOREWORD Dear esteemed guests, cherished friends, and beloved members of our community, A heartfelt welcome to the NTU CAC Symphony Orchestra's concert, "Musica per Tutti"!

Established in 2019, just before the onset of the COVID-19 pandemic, our orchestra traces its roots back to 1994 as the String Orchestra. Over the course of 25 years, we have evolved and grown, bravely expanding our soundscape and repertoire. While the road to maturity may be challenging and lengthy, we firmly believe it to be immensely rewarding and fulfilling.

This academic year marks the fifth anniversary of the NTU Symphony Orchestra since its inception. We reflect on our humble beginnings with gratitude and pride. We have witnessed substantial growth, progressing from a modest string section with only two members in the brass section to a fully-fledged orchestra. This journey has been enriched by the dedication and contributions of past and present members who established the orchestra's foundation and expanded its size, pushing the boundaries of both the ensemble and individual musicians.

Tonight, we invite you to anticipate an extensive musical repertoire. Our orchestra,

consisting

of

various

ensembles

such

as

percussion,

woodwinds, and strings, will guide us through distinct musical eras. From Vivaldi’s Baroque masterpiece, the Concerto for 2 Cellos, to Bizet’s L’arlesienne Suite from the Romantic era, our musicians have devoted countless hours of practice under the guidance of our conductor, Mr. Chan Wei Shing, to achieve greater technical virtuosity and musicality.

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FOREWORD We extend our heartfelt gratitude to all who have supported us over the years—especially the NTU Students' Affairs Office and NTU Cultural Activities Club for their unwavering support towards our programs, our sponsors for making this event possible, and NTU Symphonic Band, NTU Piano Ensemble, and NTU Chinese Orchestra for their invaluable assistance with logistics and instrument support. We also acknowledge our members, guest players, and our audience, for their dedication, passion for music, and for making our concerts meaningful.

As we conclude this first semester of the academic year, we hope that this concert will serve as a meaningful culmination of our collective efforts, offering a glimpse into what lies ahead in the coming semester.

Moreover, we hope it serves as a reminder of the iterative nature of music —each concert and musical experience shaping our growth. We invite you to sit back, relax, and join us on this musical journey. Your presence enriches this experience, and together, we make this journey all the more enchanting.

- NTUSO Committee 23/24

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ABOUT US

NTU CAC Symphony Orchestra (NTUSO) was established in September 2019 after its expansion from a string orchestra, marking our fifth anniversary.

NTUSO aims to promote excellence and enrichment in classical music and to provide а platform for students to learn and perform a wider repertoire of music. With a combined strength of over 70 active members NTUSO, our affiliations continue to grow and thrive every year. Currently under the baton of our passionate conductor, Mr. Chan Wei Shing, the orchestra rehearses symphonic repertoire to perform in our bi-annual concerts and ad-hoc performance opportunities, such as TEDXNTU, NTU and LKC convocations and The Grandeur of Christmas at Paragon. Additionally, exclusive enrichment opportunities are provided to members, including but not limited to masterclasses and chamber coaching - honing the musicianship and leadership initiative of our zealous members.

NTUSO is committed to a holistic approach to both internal and external networking and collaboration. Through our efforts, we have established partnerships with various organisations such as the National Gallery to provide exclusive performance collaborations for our members, as well as volunteering and networking experience with the Singapore Symphony Orchestra in certain events such as the SSO Babies Proms and VCH Open House.

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MR CHAN WEI SHING Conductor

Chan Wei Shing, born to a musical family, started learning the piano at the age of eight and the cello at ten, with Mrs. H. llano (Former sub-principal, SSO). In 1985, he won the First Prize in two categories of the National Music Competition the Cello Open and the Chamber Music category.

Since then Mr Chan has been involved in many concerts and opera productions such as Die Fledermaus and La Traviata, and also Young Musicians Concerts. As principal cellist of the Singapore Youth Orchestra then, he was also selected as soloist in 1985 and in 1988 for the orchestra's tour to Australia.

Besides playing in orchestras, Mr Chan played in many concerts and festivals such as the Vienna Festival Wecks, Bad Aussed Music Festival Wecks. Holland Music Session, and Brahms Music Weeks, among others. He has also participated in masterclasses with renowned cellists like William Pleeth, Phillipe Müller, Tsuyoshi Tsutsumi, Wolfgang Bottcher, Valentin Erban, and Ivan Montigetti.

Since his return to Singapore, Mr Chan has been performing regularly.

He has been involved in many chamber concerts in Asia including a trio performance with pianist Pascal Roger in the Singapore Arts Festival with the Singapore Dance Theatre, and CD recordings of works from Tsao Chieh and Poon Yew Tien.

In 1988, Mr Chan studied at the University of Music in Vienna with Prof. Angelika May for two years, as a result of winning the scholarship from the former Cultural Formation and the Lee Formation. Then he went on to the University of Music in Graz to study with Prof. Rudolf Leopold. Here in 1996. he was awarded the Master Degree of Arts majoring in Cello Performance.

In 2009, Mr Chan was appointed the Music Director of The Millennial Orchestra.

The orchestra hopes to feature local talents and composers which will include works by Dr. Kelly Tang, Dr. Er Yen Chwen, and many more. Among orchestra works, Mr Chan also conducted operas by Donizetti, Purcell, J. Strauss, B. Britten, Monteverdi, and Music Director of The New Opera Singapore.

During his study at Graz University, Mr Chan was appointed principal cellist of the University Orchestra and University Opera Orchestra where he played in many concerts and operas. He was also chosen to represent the university in the exchange program with many different Academies and Universities in Europe.

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HOOI YU LEONG, LYON Music Director

Lyon is a Year 2 undergraduate student at Nanyang Technological University (NTU) in the School of Electrical and Electronics Engineering. His musical journey began with the Violin before subsequently picking up the Viola at 13 in the Kids’ Philharmonic Orchestra. At the very same year, he also picked up the Euphonium in New Town Secondary School Concert Band where he subsequently took up the role of Band Major/Student Conductor. In 2016, he was selected to participate in a Student Conductors’ conducting workshop, led

by Mr Seow Yibin and Norwegian conductor, Prof. Bjørn Sagstad in the Wind Bands Association of Singapore (WBAS) Youth Band Festival 2016. Upon graduation from secondary school, he continued his musical journey in Yishun Innova Junior College Symphonic Band and took up the role of Student Conductor, leading the band in various school-based performances.

As he embarked on his undergraduate journey at NTU, he joined NTUSO and served as the Viola Principal in his first year, and is now the current Music Director of NTUSO. Under the guidance of Mr Chan Wei Shing, conductor of NTU Symphony Orchestra, as well as his previous Band Directors Mr Patrick Neo and Mr Mohamad Rasull, Lyon continues to level up his skills in conducting and rehearsal leadership, in his pursuit of bringing out the best in the fellow musicians in NTUSO. As a passionate musician himself, he plays in various bands and orchestras in his free time such as Tanglin Symphony Orchestra, Asian Cultural Symphony Orchestra and New Gen Wind Symphony.

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LOW BOON HOW Cello Soloist

Meet Boon How, a cellist with a musical journey that began in 2008 and has since blossomed into a remarkable story of dedication and accomplishment. Boon How proudly holds an ABRSM Grade 8 Distinction, showcasing not only his technical proficiency but also his genuine love for the craft.

Boon How has lent his talents to established orchestras such as the Singapore National Youth Orchestra and the Asian Cultural Symphony Orchestra, enchanting audiences with his soulful performances. Beyond the traditional stage, he has actively participated in diverse events like Sing50, OMM-Camp, and the Singapore Raffles International Music Festival.

His dedication to chamber music was notably recognized with a Gold award at the Raffles Music Festival in the chamber category.

HONG YIXIN Cello Soloist

Allocated an instrument twice her size in primary school, Yixin innocently embarked on her journey with the cello. Entering university, Yixin expanded her musical engagement in NTUSO, contributing to projects like CRES<endo, and coordinating the orchestra's inaugural concert, CODA: New Horizons in May 2022 beyond her responsibilities as Treasurer. Later as Cello and Bass Principal, she further showcases her leadership and orchestral skills.

Yixin has also reached out to the wider music scene, presenting diverse genres in venues including Esplanade Theatres and Singapore Conference Hall, and lent her talents to communities like Cheng San Chinese Orchestra and Tanglin Symphony Orchestra. From Christmas at Paragon to Resonates With at the National Gallery of Singapore, she enchanted audiences with her captivating expression.

With much gratitude, Yixin's journey stands as a testament to her unwavering dedication, consummate artistry, and profound connection to the timeless beauty of the cello's melody.

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PERCUSSION ENSEMBLE

Eric Rath

Nathan Daughtrey

Escape Artist

Mercury Rising

Escape Artist was composed in 2009 by Eric Rath, an American percussionist and composer.

Featuring several unique percussion instruments such as the marimba, glockenspiel, and xylophone, Rath incorporated a lively, syncopated, and groovy rhythm in this compositionwhich will be sure to keep you on the edge of your seat!

Composed by American composer Nathan Daughtrey back in 2005, this piece is a fugue that gives all percussionist players the opportunity to shine as they each take on a pivotal roll (role, get it?). Daughtrey explores rhythmic complexity and a wide range of timbres in this piece, creating an immersive and dynamic musical experience.

Hiroyuki Yamazawa Festive Song for the Future Festive Song for the Future” was composed back in 2014 by Japanese percussionist and composer Hiroyuki Yamazawa.

Yamazawa was moved by the ``unusual'' four years the then firstyear university students of 2011 had gone through due to the Tohoku Earthquake. Hence he composed this piece featuring solo percussion as a commemorative gift for them on the day of their graduation in 2014.

This piece emphasises the importance of “bonds”. Hiroyuki has hopes that the students will live their lives without forgetting the various hardships they have overcome with their friends. The English title of this piece has the same meaning as ``A song celebrating the future.''

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American Strings Quartet arr. for Winds Quartet I. Allegro ma non troppo Antonín Dvořák's String Quartet No. 12 in F Major, Op. 96, known as the American String Quartet, represents the composer's deep dive into American folk influences during his stay in the United States. In this wind ensemble adaptation, the original composition is reimagined, enriching it with the distinctive timbres and textures of wind instruments while remaining true to the essence of Dvořák's creation and the American musical landscape.

The second theme, emerging in A major, maintains its pentatonic character but incorporates ornamental melismatic elements reminiscent of Gypsy or Czech musical styles. The movement then ventures into a development section, characterized by heightened harmonic complexity and an intensified tempo, introducing a more dramatic tonal palette.

This heightened development eventually culminates in a fugato section, seamlessly leading into the recapitulation, where familiar themes are revisited and reinvigorated. The adaptation seeks to preserve the original spirit of Dvořák's work while leveraging the distinct capabilities of wind instruments to present a fresh musical experience for the audience.

The first movement, Allegro ma non troppo, introduces a pentatonic opening theme (see below), initially played by the viola in the original quartet but now translated to the bassoon in the wind ensemble. This motif is accompanied by a steadfast F major chord, establishing a sense of simplicity and openness that persists for the initial 12 measures, embracing harmonic stability. As the movement progresses, it transitions into a bridge, evolving harmonically while retaining a triadic and uncomplicated musical essence.

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WIND ENSEMBLE

Antonin Dvořák (1841-1904)

STRING ENSEMBLE

Antonio Vivaldi (1678-1741) Concerto for 2 Cellos in G Minor, RV 531* I. Allegro II. Adagio III. Allegro The Vivaldi Concerto for 2 Cellos is a

Movement II: Adagio, a marked

unique musical composition from

tranquility unfolds as the two solo

the 1720s, showcasing Vivaldi's

cellists, alongside the continuo cellist,

exceptional talent in crafting a

form a trio. This trio configuration

concerto for two cellos, string

enhances the sonorous depth of the

orchestra, and basso continuo. This

low-range notes, adding a unique

stands as Vivaldi's sole concerto

layer of harmony and intimacy to the

dedicated to two cellos.

piece.

Movement I: Allegro, deviates from

Movement III: Allegro, commences

the conventional instrumental

with lively and catchy offbeat

ritornello, allowing the two solo

syncopations within the orchestra,

cellists to take the stage

setting an invigorating tone. The solo

immediately. They engage in a

cellists then enter, engaging in

virtuosic interchange, each echoing

musical acrobatics, showcasing their

the other in rapid succession,

technical dexterity and musical

establishing their prowess. An

finesse. Notably, this movement

interesting aspect is the absence of

includes a captivating fugal section

the upper strings initially,

initiated by the second cello, further

emphasizing the spotlight on the

highlighting the collaborative and

soloists.

virtuosic nature of this concerto.

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L'Arlésienne Suite No.1 I. Prélude II. Minuet III. Adagietto IV. Carillon Georges Bizet, a luminary of the Romantic era in French music, composed the vibrant L'Arlésienne Suites, vividly capturing the essence of southern France. Suite No. 1 paints a musical tapestry of love, passion, and the resilient human spirit, offering a glimpse into Provençal culture.

Movement I: Prélude The spirited Prélude, infused with the energetic theme of "March of the Kings" from Epiphany carol, sets the tone. This lively motif cascades through the orchestra, inviting us on a captivating journey. The Prélude seamlessly weaves themes associated with L'Innocent and Frédéri, introducing the heroes and their narrative.

Movement II: Minuet The Minuet, a classic dance style gracefully emerges, encapsulating the spirit of traditional folk dances from the region.

Delightful melodies and playful rhythms echo the lively, rustic ambiance of Provençal celebrations. Bizet's skillful orchestration shines through, elegantly blending different orchestra sections and infusing a pastoral charm.

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FULL ORCHESTRA

Georges Bizet (1838-1875)

FULL ORCHESTRA

Movement III: Adagietto In the third movement, Adagietto, a delicate and introspective interlude is revealed, expressing the emotional nuances of love.

Initially scored for a muted string quartet in the incidental version, the suite version expands this to the whole string section (except basses), still muted.

Movement IV: Carillon The final movement, Carillon, marks a lively and celebratory ending reminiscent of the joyful tolling of bells across the Provençal scenery. It exudes a dynamic and rhythmic character, much like a bustling village square, encapsulating the spirited essence of communal festivities. The lively interaction of musical themes and the dynamic orchestral arrangement add a lively and exuberant touch to conclude the suite on a delightful note.

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Symphony No. 5 in C minor, Op. 67 IV. Allegro

Symphony No. 5 in C minor, Op. 67, known as the Fate Symphony, is a masterpiece by Ludwig van Beethoven composed between 1804 and 1808. It stands as a cornerstone of classical music and is frequently performed, celebrated for its iconic motifs.

Movement IV: Allegro The fourth movement, Allegro, breaks into the vibrant key of C major, defying the conventional expectation of a C minor symphony to conclude in the same key.

"Many assert that every minor piece must end in the minor. Nego! ...Joy follows sorrow, sunshine—rain."

The triumphant finale, following an unusual variant of sonata form, surprises with a dominant cadence before a quiet reprise of the "horn theme" from the scherzo movement. The recapitulation is introduced by a crescendo emerging from the last bars of the interpolated scherzo section, mirroring the movement's opening.

This finale boasts an extensive coda, compressing the main themes of the movement temporally. The tempo accelerates to presto towards the end, culminating in a powerful 29-bar C major chord played fortissimo, marking the conclusion of this symphonic triumph.

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FULL ORCHESTRA

Ludwig Van Beethoven (1770-1827)

OUR MUSICIANS First Violin

Viola

Ong Yi Lecia CONCERTMASTER Ang Zien Xu # Celestine Sheum Rui Li # Kiersten Yeo Shu Xian * Merwin Tham Weng Yahn Park Yongmin Raymond Tio # Shawn Lim Keng Yong # Tezuka Ayane

Lee Hon Ray PRINCIPAL Angela Liu Qiyu # Chua Jia Xuan Hooi Yu Leong, Lyon * Justin Teo Jin Yuan # Justin Wong Ng Ze Wei # Yap Xin Rou

Second Violin

Hong Yixin PRINCIPAL Choi Jae Uk Eileen Paw Lee Ley Mun # Low Boon How Timothy Ho Xian Yang * Ye Seow Hui *

Cello

Steffie Tan Ling En PRINCIPAL Lam Xin Rui, Esther * Lim Carmen Lim Chuan Kai Nicholas Matheus Calvin Lokadjaja Park Shinyoung Sharmeela Banu D/O Shah Jehan * Tan Zining, Elise Teng Wen Zhe # Wang Yuchen

Legend *: Committee members #: Guest players 16

Double Bass Alexsalma Herbert # Claire Lim Roo Yee # Kezia Ng Tay Eng Ning Megan

OUR MUSICIANS Piccolo

Horn

Joseph Tan Wei En

Flute

Mohamed Fazli Bin Mohd Yazid Topaz Tan

Fu Pingyu Tan En Ci *

Trumpet

Thalhah Bin Mohd Sharif #

Jamie Athalya PRINCIPAL Tan Zheng Da Jared Timothy Tay #

Oboe

Trombone

Oboe / Cor Anglais

Chong Kai An, Kenneth Lucas Lim Cheng Li Malcolm Tan Jinhui #

Liu Xiaotao

Clarinet Chen Lingyue PRINCIPAL Natasha Cassandra Cecilia Monteiro #

Percussion Alicia The Chen Weiyi # Goh Jun Heng Lam Yuki Lee Jia Xian * Martina * Sherlyn Poh Sng Siew Leng

Alto Saxophone Masagca Merwyn Louie Dumasis #

Bassoon Mark Wen Strange Wong Khai Heng

Keyboard Ng Ze Wei #

Legend *: Committee members #: Guest players 17

OUR PARTNERS & SPONSORS

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SPECIAL THANKS Front of house

Sia Juling Soh Kai Mun

Stage Manager

Chen Yijie

Stage Crew

Teng Pei Si Adele Fu Xuan Cindy Soh Kai Mun

Instructors

Chan Wei Shing Chikako Sasaki Goh Eng Hong Vincent Hazizi Jaafar Jessie, Ye Zhi Lau Wen Rong Lim Yin Huang Eric

Editorial & Design

Lam Xin Rui Esther Lee Yi Jing

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