Mahler 6 Chichester Psalms Programme Booklet

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CONTENTS

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Concert Information

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About OMM

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Conductor Biography

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About VOS

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Programme Notes

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The Music Makers

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Voices of Singapore

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Listen to Us

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Our Donors

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Support Us

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Sat, 13 Jul 2024, 7.30 pm Esplanade Concert Hall Orchestra of the Music Makers Lü Shao-Chia, conductor Voices of Singapore Joel Cheong Hsin Ern, boy soprano Chong Wai Lun, chorus master BERNSTEIN – Chichester Psalms (18’) MAHLER – Symphony No. 6 (85’) Today’s performance lasts approximately 2 hours, including a 20-minute intermission.

Photographs and videos will be taken at the event, in which you may appear.

These may be published in OMM’s publicity channels and materials.

By attending the event, you consent to the use of these photographs and videos for the foregoing purposes.

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ORCHESTRA OF THE MUSIC MAKERS

“WE ARE THE MUSIC MAKERS, AND WE ARE THE DREAMERS OF DREAMS.”

— Arthur O’Shaughnessy, “Ode”

The Orchestra of the Music Makers (OMM) is a Singapore-based symphony orchestra established in 2008, comprising over 140 highly-trained volunteer musicians.

Although many have chosen careers outside of music, our musicians are dedicated to the high standards of music-making and community work which OMM stands for.

Under the mentorship of Chan Tze Law, a leading Singaporean conductor and ViceDean of the Yong Siew Toh Conservatory of Music, OMM has become an integral part of Singapore’s classical music scene and has gained international repute for presenting works of epic proportions, including the critically-acclaimed Singapore Premieres of Bernstein’s Mass, Wagner’s Das Rheingold and Die Walküre.

OMM was among the most active arts groups in Singapore during the COVID-19 pandemic, receiving the COVID-19 Resilience Certificate for organising a wide array of digital productions, live performances, and outreach events between August 2020 to December 2021. Recordings of these digital productions have also been featured at the Expo 2020 Dubai, as well as on the Singapore Airlines Inflight Entertainment System.

Highlights of OMM's 2024-25 season include performances with Lü Shao-Chia, Paul Huang, Stella Chen and Tito Muñoz.

Orchestra of the Music Makers Ltd. is supported by the National Arts Council under the Major Company Scheme for the period from 1 April 2022 to 31 March 2025.

Website: www.orchestra.sg Facebook: @orchmusicmakers Instagram: @omm.sg TikTok: @omm.sg LINKTREE

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LÜ SHAO-CHIA CONDUCTOR “Music director Shao-Chia Lü has brought the National Symphony Orchestra (Taiwan) to world-class status. The sound alone is a marvel—beauteous, richly rounded, perfectly balanced, at times of staggering power yet never forced or brash, the latter a quality found only to the world’s very greatest orchestras.” — der neue Merker Taiwanese conductor Lü Shao-Chia studied music first in Taipei, then at Indiana University and University of Music and Performing Arts, Vienna. He was awarded first prizes at the Besançon (France), Pedrotti (Italy) and Kondrashin (the Netherlands) conducting competitions.

Over the course of his career, Lü has served as the General Music Director of the Koblenz Theatre (1998-2001), the Staatsorchester Rheinische Philharmonie Koblenz (1998-2004) and the Staatsoper Hannover (2001-2006). He was also Chief Conductor of the South Denmark Philharmonic (2014-2017).

Lü’s engagements include Katja Kabanova and Tosca in Gothenburg; La fanciulla del West in Stuttgart; Eugene Onegin in Berlin; as well as Madama Butterfly, Tosca and La bohème in Sydney and Melbourne. He continues to appear regularly as guest conductor at several prominent opera houses across the globe, including Opera Australia, the English National Opera, the Theatre de la Monnaie, Den Norske Opera, the Gothenburg Opera, the Oper Frankfurt, Staatsoper Hamburg, Staatsoper Stuttgart, the Deutsche Oper and Komische Oper Berlin.

Alongside his opera activities, Lü is equally at home on concert podiums. He has worked frequently with many leading European orchestras such as the Royal Concertgebouw Orchestra in Amsterdam, Münchner Philharmoniker, SWR Stuttgart, Rundfunk Sinfonieorchester Berlin, the Oslo Philharmonic, the Swedish Radio Orchestra, the Göteborg Sinfoniker, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Orchestre National de France. In Asia, he has worked with the Hong Kong Philharmonic, NHK Symphony Orchestra, New Japan Philharmonic, Seoul Philharmonic, KBS Symphony Orchestra and leading orchestras in China.

Lü was the Music Director of the National Symphony Orchestra (Taiwan) from 2010 to 2020 and continued to serve as Artistic Advisor of the orchestra until July 2021, where he was subsequently conferred the title of Conductor Emeritus. In 2022, he also received the National Culture Award from the Taiwanese Government, one of Taiwan’s highest creative honours, for his contributions to the local music industry.

“Der Dirigent Shao-Chia Lü ist ein Meister der Zwischentöne.” (Conductor Shao-Chia Lü is a master of nuance.) — Süddeutsche Zeitung 5

VOICES OF SINGAPORE

Voices of Singapore (VOS) is Singapore's largest singing organisation, dedicated to transforming lives through the power of music and choral singing. With over 20 diverse singing groups and more than 1,200 members, VOS engages in various projects and festivals, making a significant impact in the local arts scene.

As an arts charity, VOS combines artistic excellence with community outreach. The VOS State Choirs strive for the highest levels of choral performance, while community outreach choirs serve special needs individuals, the elderly, and at-risk children. Choral music at VOS fosters empowerment, connection, and a sense of belonging within a vibrant community.

Through its initiatives to inspire a Singing Singapore, VOS enhances arts appreciation and positively contributes to Singapore's cultural landscape.

CHONG WAI LUN CHORUS MASTER Trumpeter-turned-chorister Chong Wai Lun found his calling in serving the music and his fellow musicians as a conductor.

After studying at the Kodály Institute of the Liszt Ferenc Academy of Music (Hungary), he pursued his Master's Degree in choral conducting at the Royal Welsh College of Music & Drama in Cardiff, Wales (United Kingdom).

Upon his return to Singapore, Wai Lun was appointed the Music Director at the International Festival Chorus of Singapore (IFC) from 2015 to 2019. He currently dedicates his time to nurturing the choirs at Ahmad Ibrahim Secondary School and Temasek Secondary School.

At the Yong Siew Toh Conservatory of Music (YST), Wai Lun also studied orchestral conducting under the guidance of Jason Lai. Today, he is an adjunct faculty member at his alma mater, directing the YST Chamber Singers.

Wai Lun is also founder and choirmaster of the Symphonia Choralis, a professional freelance choir that collaborates extensively with the Metropolitan Festival Orchestra.

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FOREWORD Leonard Bernstein and Gustav Mahler epitomised the hybrid role of a conductor-composer — these two activities formed integral halves of their intensely creative music careers.

Both Mahler and Bernstein are regarded as two of the best conductors of the 20th century (albeit separated by two generations). From the podium, both actively championed lesserknown music. In fact it was Bernstein who led the revival of Mahler’s music in the 1960s. Aided by developments in audio and video technology, Bernstein exposed the world to Mahler’s music, paving the way for his widespread acceptance. Today, Mahler’s symphonies have become staples of the orchestral repertoire. But although many recordings have been made, Bernstein’s recording of Mahler’s Sixth still stands as one of the best available.

As a composer, Mahler is most famous for his ten symphonies (eleven if you include Das Lied von der Erde). Bernstein followed his footsteps, writing three symphonies of his own. But he also wrote several musicals, including the acclaimed West Side Story. Both composers had a knack for eclecticism. Not only did they synthesise classical traditions and vernacular music, both were also able to capture contradictory and contrasting moods in a single coherent whole — a characteristic on full display in both pieces tonight.

We hope you will have a wonderful experience this evening on these two musical journeys, both incredibly emotional, but leading to very different destinations.

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LEONARD BERNSTEIN (1918-1990)

CHICHESTER PSALMS (1965)

What is the first thing that comes to mind when you hear the name ‘Leonard Bernstein’?

If your answer is West Side Story, you would not be alone — when the Dean of Chichester Cathedral commissioned Chichester Psalms in 1965, he wrote to Bernstein, “Many of us would be very delighted if there was a hint of West Side Story about the music.”

However, Bernstein’s musical reputation rests on more than just Broadway. Beginning his career as a virtuoso pianist, he established himself as a celebrated conductor, composer, and author. He was also an immensely influential advocate for classical music, enthralling television audiences with educational programmes such as his Young People’s Concerts.

Bernstein’s compositional language was as versatile as his gifts. Many of his works display an eclectic sensibility, effortlessly mixing popular styles and classical traditions.

Chichester Psalms is a perfect example — a melting pot of jazz and Broadway influences, choral textures, and dissonant harmonies, crafted by an American composer working with a Hebrew text and writing for an English cathedral choir.

The First Movement begins with a terrific crash as the chorus exclaims “Urah, hanevel! ” ( “Awake, psaltery! ”). This angular five-note motif (with every note leaping in a different direction) appears throughout the Psalms in different guises. The rousing introduction is shot through with discordant harmonies, hammered out by percussion and brass.

A shout from the chorus then kicks off the main part of the movement: a jaunty, sometimes boisterous dance in a lopsided, irregular rhythm.

The Second Movement begins more serenely with a song of thanksgiving by a solo boy soprano. First accompanied by harps, the boy soprano is later joined by female voices and strings. However, they are rudely interrupted by violent shouts from the men, and a frenetic passage ensues as the chorus mutters “Why do the nations rage? ”. Amidst this, the boy’s song tries to reassert itself (and briefly succeeds!). But the movement ultimately ends in anxiety; the orchestra brings back the muttering, and the music is cut short by a violent thud.

This restlessness continues into the Third Movement with a harrowing rendition of the five-note motif. Eventually, the anguish is 9

overtaken by a tender prayer with a lilting, lullaby-like rhythm. The prayer unfolds and blossoms, as different voices and instruments sing in overlapping counterpoint.

At the end, a quartet of solo voices ushers in what Bernstein called a “prayer for peace ” — the five-note motif, now transfigured into a hushed, a cappella chorale. In the final bars, the orchestra intones the motif distantly one last time, resolving on an “Amen ”.

Even without understanding Hebrew, a listener can instantly experience the grand awakening in the first movement, the contrast between serenity and war in the second, and the yearning and resolution in the third.

Bernstein keenly conveys emotions that transcend the text — a testament not just to his compositional gifts, but also to the universality of music.

TEXT AND TRANSLATION

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PSALM 108 VERSE 2: Urah, hanevel, v’chinor!

A-irah shah.ar!

Awake, psaltery and harp: I will rouse the dawn!

PSALM 100, ENTIRE: Hariu l’Adonai kol haarets.

Iv’du et Adonai b’simh.a.

Bo-u l’fanav bir’nanah.

D’u ki Adonai Hu Elohim.

Hu asanu, v’lo anah.nu.

Amo v’tson mar’ito.

Bo-u sh’arav b’todah, H.atseirotav bit’hilah, Hodu lo, bar’chu sh’mo.

Ki tov Adonai, l’olam h.as’do.

V’ad dor vador emunato.

Make a joyful noise unto the Lord all ye lands.

Serve the Lord with gladness.

Come before His presence with singing.

Know ye that the Lord, He is God. It is He that hath made us, and not we ourselves.

We are His people and the sheep of His pasture.

Enter into His gates with thanksgiving, And into His courts with praise.

Be thankful unto Him, and bless His name For the Lord is good, His mercy is everlasting, And His truth endureth to all generations.

PSALM 23, ENTIRE: Adonai ro-i, lo eh.sar.

Bin’ot deshe yarbitseini, Al mei m’nuh.ot y’nah.aleini, Naf’shi y’shovev, Yan’h.eini b’ma’aglei tsedek, L’ma’an sh’mo.

Gam ki eilech B’gei tsalmavet, Lo ira ra, Ki Atah imadi.

Shiv’t’cha umishan’techa Hemah y’nah.amuni.

The Lord is my shepherd, I shall not want.

He maketh me to lie down in green pastures, He leadeth me beside the still waters, He restoreth my soul, He leadeth me in the paths of righteousness, For his name’s sake.

Yea, though I walk Through the valley of the shadow of death, I will fear no evil, For Thou art with me.

Thy rod and Thy staff They comfort me.

Ta’aroch l’fanai shulchan Neged tsor’rai Dishanta vashemen roshi Cosi r’vayah.

Ach tov vah.esed Yird’funi kol y’mei h.ayai, V’shav’ti b’veit Adonai L’orech yamim.

Thou preparest a table before me In the presence of mine enemies, Thou anointest my head with oil, My cup runneth over.

Surely goodness and mercy Shall follow me all the days of my life, And I will dwell in the house of the Lord Forever.

PSALM 2, VERSES 1–4: Lamah rag’shu goyim Ul’umim yeh’gu rik?

Yit’yats’vu malchei erets, V’roznim nos’du yah.ad Al Adonai v’al m’shih.o.

N’natkah et mos’roteimo, V’nashlichah mimenu avoteimo.

Yoshev bashamayim Yis’h.ak, Adonai Yil’ag lamo!

Why do the nations rage, And the people imagine a vain thing?

The kings of the earth set themselves, And the rulers take counsel together Against the Lord and against His anointed.

Saying, let us break their bonds asunder, And cast away their cords from us.

He that sitteth in the heavens Shall laugh, and the Lord Shall have them in derision!

PSALM 131, ENTIRE: Adonai, Adonai, Lo gavah libi, V’lo ramu einai, V’lo hilachti Big’dolot uv’niflaot Mimeni.

Im lo Shiviti V’domam’ti, Naf’shi k’gamul alei imo, Kagamul alai naf’shi.

Yah.el Yis’rael el Adonai Me’atah v’ad olam.

Lord, Lord, My heart is not haughty, Nor mine eyes lofty, Neither do I exercise myself In great matters or in things Too wonderful for me.

Surely I have calmed And quieted myself, As a child that is weaned of his mother, My soul is even as a weaned child.

Let Israel hope in the Lord From henceforth and forever.

PSALM 133, VERSE 1: Hineh mah tov, Umah naim, Shevet ah.im Gam yah.ad.

Behold how good, And how pleasant it is, For brethren to dwell Together in unity.

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GUSTAV MAHLER (1870-1911)

SYMPHONY NO. 6 (1903-04)

Today, Gustav Mahler is primarily known as a composer of large-scale symphonies, performed regularly by the world’s greatest orchestras. In his own lifetime however, he was primarily known as a top international conductor, while his compositions were considered mostly incomprehensible.

The complexity of his works stemmed from his philosophy that a symphony was not a mere piece of music. For Mahler, it was a larger-than-life, deeply personal artistic statement that should reflect ‘the whole world’. To realise this vision, Mahler drew inspiration not only from symphonic masterpieces of the past, but also folk music and everyday life, all while incorporating the latest innovations and developments made by his contemporaries. He distilled these diverse influences and took them to their logical conclusions, but always left his unmistakably personal imprint. Mahler includes grim marches, scenic explorations, victorious celebrations and despondent moments — often fleetingly, sometimes even simultaneously.

Today, we’ve become used to many things competing for our attention, and Mahler’s contrasting moods may not feel so jarring.

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But Mahler’s contemporaries were baffled — most felt that he should stick to conducting and not compose.

With his first five symphonies, Mahler experienced his fair share of rare successes (with the Second) and failures (with most of the others). What is common to all five is that they end happily or triumphantly, with spirituality and faith playing a large role in them. For the Sixth, Mahler instead drew inspiration from the great theatrical genre of the Ancient Greeks and Shakespeare — the tragedy. Featuring the protagonist’s heroic but often futile attempts to escape fate, the genre includes classics like Oedipus Rex and Romeo and Juliet, and also modern examples like The Great Gatsby, Sweeney Todd, and Wagner’s Ring cycle.

Mahler wrote this Symphony over two summers from 1903–04 at the height of his career as celebrity director of the Vienna Court Opera (now State Opera). He had also recently become a young father of two daughters. Musicologists over the decades have tried to understand what compelled Mahler, at the height of his creative powers and with a happy family life, to be drawn towards the tragedy. Wild theories abound.

The most popular myth is that he ‘foretold’ his fate through the Symphony, with the three hammer blows in the finale representing three devastating incidents to come — the year after the Symphony’s premiere, he was forced to step down from the Opera, his eldest daughter died, and he was diagnosed with an incurable heart ailment.

Like every great tragedy, Mahler’s Sixth Symphony traces an immense arc, bringing the listener through the ups and downs of life: joy and love, struggles against fate, and inevitable defeat. It was also one of his most personal symphonies.

As his wife recounted, “not one of his works came as directly from his inmost heart as this…” — clearly seen in its overtly emotional content, sarcastic utterances, and moments of wonder.

“After he had drafted the first movement, he came down from the wood to tell me he had tried to express me in a theme. ‘Whether I’ve succeeded, I don’t know; but you’ll have to put up with it.’ This is the great soaring theme of the first movement of the Sixth Symphony. In the Scherzo, he represented unrhythmical games of the two little children, tottering in zigzags over the sand. Ominously, the childish voices became more and more tragic, and at the end died out in a whimper. In the last movement, he described himself and his downfall, or as he later said, his hero: ‘It is the hero, on whom falls three blows of fate, the last of which fells him as a tree is felled.’

Those were his words. Not one of his works came as directly from his inmost heart as this…”

— Alma Mahler’s recount of the Symphony’s genesis

The striving against fate begins immediately.

The First Movement opens with a pounding, relentless march which constantly breaks into skittish running figurations. As the march grinds to a halt, a rattling snare drum ushers in the “fate motif” or motto (a recurring motif) — a militaristic rhythm pounded by the timpani, together with a bright major chord which sours into minor. This motto permeates not only the First Movement, but the Symphony as a whole. After a hushed chorale, we are introduced to a “great soaring theme ” representing Mahler’s wife, Alma — the first real moment of joy.

Portrait of Alma Mahler

After the opening is repeated, the themes begin to coalesce. The Alma theme is subsumed by the marching rhythm, and the music continues to drive forward, punctuated with maniacal trills and clattering xylophones.

Suddenly, as though breaking into the eye of the storm, an eerie stillness comes over the music. Distant cowbells are heard, which Mahler described as “the last terrestrial sounds penetrating into the remote solitude of mountain peaks”. But just as we settle into an oasis of proper serenity, the peace is dashed by the reappearance of the march, harsher than before. Ultimately, the Alma theme emerges victorious, bringing the movement to a triumphant end.

The Scherzo abruptly drags us back to the relentless pounding of the opening, complete with the trills and xylophone. This immediate contrast was Mahler’s original idea — later on, he swapped the order of the inner movements, placing the calmer Andante between the first movement and Scherzo.

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The pounding first section gives way to “unrhythmical games ” of children, marked altväterisch ( “old-fashioned ”, but literally “grandfatherly ”) which stutters and limps with extra ‘wrong’ beats. These two sections alternate throughout, with each iteration more grotesque than the last. By the end, the children’s dance is completely downtrodden, fading out in a whisper.

The Andante provides some respite, opening with a gentle lullaby, accompanied by lilting motifs. Within this tranquil mood, the harmonies shift and glisten, recalling the major-minor gesture of the motto.

As the lullaby fades, a more pressing, elegylike theme is introduced. As these two contrasting moods meld together, it almost culminates in melancholic heartbreak, but the lullaby-theme surges in, now strong and confident “with great feeling ”. Gradually, the music relaxes, and the Andante fades into quietness.

The Finale emerges from this silence, but it is far from tranquil. Instead, a wash of cymbals, tremolos, and harps usher in a chilly, twilight soundscape — straight out of a sci-fi or horror soundtrack. An outburst of the motto rhythm fades into a menacing theme intoned by solo tuba. The motto reappears several times throughout the finale, often interrupting a climax in the music. In fact, the whole Finale is Sisyphean in nature.

Again and again, it builds and strives towards a destination, only to be knocked down just before it arrives. After being thrust back into the twilight soundscape, the first great ascent begins. Initially militaristic, the ascent transforms, becoming yearning and sweeping. However, it is never resolved properly. At its peak, a literal hammer blow lands, and the music careens into chaos, setting off threatening brass declamations and fevered running figurations.

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After a brief moment of respite, a new battle-like section ensues. As its incessant rhythms fade, a different kind of build-up begins: a stately procession which grows and intensifies. Yet again, a second hammer blow falls at its peak, throwing us back into chaos.

The tension continues to escalate, but even this is cut short — with an echoing tam-tam strike, we are pulled back to the twilight soundscape from the opening.

A calmer mood emerges, with low bells tolling in the distance together with the cowbells from the first movement. As we exit this quiet section, the music begins its final, longest climb. Motifs from across the Symphony are combined, with the distinctive motto rhythm pounded out from time to time.

But this final struggle is just as ill-fated; the tam-tam drags us into the twilight soundscape for the last time (originally, Mahler included a third hammer strike here as the final blow which “fells [the hero] ”). In these dying moments, the brasses breathe a funeral-like chorale. Just as the music is about to fade into nothingness, the motto theme crashes in violently to end the piece.

But this time, there is no bright major chord, only the devastating minor.

Programme notes by Christopher Cheong and Isaac Tah

PAUL HUANG plays

Tchaikovsky VIOLIN CONCERTO

Sat, 7 Sep 2024, 7.30pm Sun, 8 Sep 2024, 4pm SOTA Concert Hall WAGNER Overture to The Flying Dutchman TCHAIKOVSKY Violin Concerto in D major TCHAIKOVSKY Romeo and Juliet Overture-Fantasy GERSHWIN (arr. BENNETT) Porgy and Bess: A Symphonic Picture

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www.orchestra.sg

The Singapore Premiere of Das Rheingold, 2023. (Photo by Yong Junyi)

THE MUSIC MAKERS MUSIC DIRECTOR Chan Tze Law

ASSOCIATE CONDUCTOR Seow Yibin

VIOLINS Chan Yoong Han CONCERTMASTER Zhao Tian PRINCIPAL SECOND VIOLIN Wilford Goh ASSOCIATE PRINCIPAL Joanne Tseng ASSOCIATE PRINCIPAL Kimberlyn Wu ASSOCIATE PRINCIPAL Nicole Chan Chloe Chee Kayler Chu Chui Yingqi Chloe Goh Nathanael Goh Placida Ho Regan Ho Ho Yin Shan Esther Lam Jaslyn Lee Pauline Lee Ariel Lim Loi Si Xian Gloria Loo Estee Ng Preston Ng Keith Ong Poh Jer Lin Chester Tan Natalie Tan Tan Xue Hui Joanne Teo Josiah Teo Gary Teoh Saenghaengfah Tosakul Adele Wee Teryl Zhao Zheng Kai

Lavinia Chu Constantin Duisberg Sharon Ham Koh Liong Tiek Zachary Lau Charis Low Edward Neo Isaac Tah Tang Ya Yun Joel Tay Tobias Teo

VIOLA Wang Dandan PRINCIPAL May Loh ASSOCIATE PRINCIPAL Shannon Chan Christopher Cheong Joan Fun Skyler Goh Elizabeth Ip Lam Hoyan Claudia Loo Jayson Loo Nathalie Nguyen Aaron Soh Jonan Tan Samuel Tan Oliver Tan Toh Xue Qian CELLO James Ng PRINCIPAL Trinh Ha Linh ASSOCIATE PRINCIPAL Rachael Chan Choo Vee Shen 18

DOUBLE BASS Chia Ying Yin PRINCIPAL Julian Li ASSOCIATE PRINCIPAL Hyoseok Lee Lee Mian Jun Lee Zi Xuan Li Jiaying Alvin Liew Alwyn Loy Kevin Seah FLUTE Cheryl Lim PRINCIPAL Alvin Chan Rachel Ho Kelsey Tan PICCOLO Alvin Chan Rachel Ho Natalie Ngai OBOE Tay Kai Tze PRINCIPAL Chan Chen Ng Wei Xiang Quek Jun Rui Seow Yibin ENGLISH HORN Seow Yibin ASSOCIATE PRINCIPAL Quek Jun Rui CLARINET Benjamin Wong PRINCIPAL Chua Jay Roon Natalie Gail Miao Kaiwen E-FLAT CLARINET Miao Kaiwen BASS CLARINET Desmond Chow

BASSOON Lu Meng PRINCIPAL Li Rui Dan Lim Tee Heong Shi Jia Ao CONTRABASSOON Kee Rui Han FRENCH HORN Xavier Tan PRINCIPAL Bryan Chong ASSOCIATE PRINCIPAL Hoang Van Hoc ASSOCIATE PRINCIPAL Nigel Leong ASSOCIATE PRINCIPAL Joey Gao Harsharon Kaur Andrew Jonathan Lee Lee Yan Liang Ong Hwee Ling TRUMPET Lau Wen Rong PRINCIPAL Lee Jinjun ASSOCIATE PRINCIPAL Koh Mi Yo Lim Jit Xin Alvin Quek Muhammad Raimi TROMBONE Don Kow PRINCIPAL Hendrik Kwek ASSOCIATE PRINCIPAL Benjamin Lim BASS TROMBONE Aldwyn Tan TUBA Tan Yao Cong PRINCIPAL HARP Karen Tay PRINCIPAL Chloe Lam Kaitlyn Tan Renee Yadav CELESTA Ng Yun Wen TIMPANI Joachim Lim PRINCIPAL Cheong Kah Yiong ASSOCIATE PRINCIPAL PERCUSSION Derek Koh PRINCIPAL Rei Lim ASSOCIATE PRINCIPAL Keyon Toh Isabel Chin Tan Sheng Rong Wong Ting Feng

OMM BOARD AND MANAGEMENT BOARD OF DIRECTORS Lee Guan Wei Daniel CHAIRMAN Jenny Ang Assoc. Prof Chan Tze Law Christopher Cheong Susan Loh Jesher Loi Sanjiv Malhotra Toh Xue Qian Prof Bernard Tan ADVISOR

MANAGEMENT TEAM PROGRAMMES

DEVELOPMENT

CORPORATE SERVICES

ARTISTIC DEVELOPMENT Christopher Cheong HEAD Nathanael Goh Michael Huang Lee Jinjun Fredrick Suwandi Oliver Tan Isaac Tah

SPONSORSHIP Edward Neo HEAD Christopher Cheong Kenny Ooi Rayner Tan

FINANCE Neo Wei Qing HEAD Edward Neo Shi Jia Ao

HUMAN RESOURCE Ang Zien Xu Nathanael Goh Lee Jinjun Lee Yuru Rei Lim Jayson Loo Estee Ng Fredrick Suwandi Kelsey Tan Josiah Teo Kimberlyn Wu COMMUNITY ENGAGEMENT Isaac Tah HEAD Ang Zien Xu Natasha Lee Shi Jia Ao

BRANDING & MARKETING Michael Huang HEAD Chan Chen Chua Jay Roon Chloe Goh Elizabeth Ip Josiah Teo

AUDIENCE EXPERIENCE Rayner Tan HEAD Lam Hoyan Estee Ng Jorim Sim

LIBRARY & LOGISTICS Wu Tianhao HEAD Lee Jinjun Rei Lim Edward Neo Muhammad Bin Roslee Isaac Tah Joshua Tan Tan Yao Cong TECHNOLOGY Chay Choong HEAD Lam Yun En Tasya Rukmana

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VOS CHORUS CHORUSMASTER Chong Wai Lun BOY SOPRANO Joel Cheong Hsin Ern SOPRANO Apple Joyce So Caerissa Tung CinQin Ho Diana Narbutaite Estelle Ng Evelyn Puah Ginny Soh Zhi Ni Gwendolyn Wong Isabel Yee Zi Qi Jessy Ng Jewelle Woo Jolene Cheong Karen Kwok Kelly Kiew Wen Yi Kristina Fassi Kurnia Kusumaningrum Laura Wang Liudmila Kokoulina Loh Wai Sim Low Ai Ling Nicole Lee Kah Hui Priscilla Lim Shireen Sanbhnani Tan Jing Yi (Kennigrace) Teo Zi Yi Wang Hua Xinyan Yang ALTO Agnes Tjandranegara Alisa Pan Andrea Tan Anna-Maria Haas Arielle Leung Chan Xi Chin Xuan Ning Cindy Chua Tsin Li Cornelia Wong Dorcas Low Geannie Er Germaine Leong Hannah Adams Jasmine Lam Josephine Sim Joyce Ang Katelyn Guo Krystin Foo Lim Bee Na Liu Yanjun 20

Melisa Leung Ong Wei Ling Pamela Phua Sophie Ng Jing Yi Sureeporn Ho Tabitha Chong Tan Shiao Yeh Tay Hwee Ling Maurine Tsakok Yeoh Jeok Eng TENOR Bryan Ho Chan Yong Jun Daniel Goh Derrick Kam Enoch Chong Fu Hanqing Ho Teng Seng Jerome Lau Jerome Ng Jeroven Marquez Johann Wong Hui Hann Jon Loh Kenneth Chan Lam Jia Jin Malcolm Lim Michael Angelo Reuel Theseira Shane Seah Wilson Tai Yan Jin Zhu Yulin BASS Adam Lee Andrew Ng Caleb Liu Choo Yong Han, Luka Collier Ow Elliot Koh Graham Evans Jaspar Lor Johannes Tan Nicholas Goh On Tai Jim Quek Chiow Lin Charlie See Thong Hwee Sing Yu Xuan Tan Kok Ho Yen Phang Zachary Wong

22 & 23 AUG 2024 7.30pm, Esplanade Concert Hall

CARMINA BURANA

SINGAPORE AND MELBOURNE SYMPHONY ORCHESTRAS IN CONCERT Singapore and Melbourne Symphony Orchestras Singapore and Melbourne Symphony Choruses Singapore Symphony Children’s Choir Jaime Martín conductor Warren Trevelyan-Jones Chorus Director (MSO) Eudenice Palaruan Choral Director (SSC/SSYC) Wong Lai Foon Choirmaster (SSCC) Siobhan Stagg soprano Andrew Goodawin tenor Christopher Tonkin baritone MARIA GRENFELL Fanfare for a City DE FALLA Three Dances from The Three-Cornered Hat STRAVINSKY The Firebird Suite ORFF Carmina Burana

Tickets from $28

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CONCORDIA QUARTET’S MALAYSIA TOUR HOMECOMING CONCERT

ROMANTIC TRAVELOGUES 27 July 2024 Saturday 7:30pm Yong Siew Toh Conservatory Concert Hall, NUS Tickets via BookMyShow $38/$28 www.resoundcollective.org

Edward Tan, violin Kim Kyu Ri, violin Martin Peh, viola Lin Juan, cello

Guest musician:

Andrew Filmer viola

Franz Schubert String Quartet in C minor, D.703 (String Quartet No.12, Quartettsatz) Antonín Dvořák String Quintet No. 3 in E flat major, Op. 97, B180 Felix Mendelssohn String Quartet in E Minor, Op. 44, No. 2 Presented by

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OUR DONORS (2021-2024) $25,000 and above Anonymous (4) Lionel Choi Qi Jian Shiv Puri Will Oswald $10,000 and above Aileen Tang Arts Junior Montessori LLP Chua Siew Eng Goh Yew Lin JCCI Singapore Foundation Joshua Tan Lee Foundation Michelle Liem Mind the Gap 200 - Mental Health Fund Rohet Tolani Wilson Ho $5,000 and above Chiang Zhan Xiang Choo Chiau Beng Christopher Cheong David Lim Jen Hong Dr June and Peter Sheren Fabian Jee Francis Tan Han Jiak Siew Ignatius Wang Jennie Tan Whye Chin Kan Shook Wah msm-productions Ng Pei Sian Winston Kwek $1,000 and above Anonymous (5) Abigail Sin Adriene Cheong Ai Ee Ling Alwyn Loy Alyce Chong Chyi Yiing Aw Ling Hui Adeline Carol Goh Chay Choong Cheah Sui Ling Chikako Sasaki Christina Cheong Foong Yim Dandan Wang Darrell Chan David and Catherine Zemans Dominic Khoo Kong Weng Dr Mandy Zhang and Mr Philip Chang Elizabeth Fong Ei Lie Hanbaobao Pte Ltd Ian Rickword James Poole Jeremy Tan Yu Jie Julia Raiskin Kenneth Chan Kay Shan Kenny Ooi

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Khoo Kim Geok Jacqueline Koh Tien Gui Kuik Sing Beng Lee Guan Wei Daniel Lena Ching Lim Tanguy Yuteck Low Sin Leng Loy Kaixun Jeremy Ng Ruenn Sheng Pang Peter Yu Hin Raveen Joseph Mathew Raymond Robert Sim Weipien Revival Vintage Jewels & Objects Robert Tomlin Sophie Ana binti Mohamed Harith Kassim Tatsu Works Pte Ltd Thuraisingam Sellathurai Vincent Ong Xinan Liu Yeo Wei Ping Patricia Zhao Tian Up to $1,000 Anonymous (17) Aik Keong Neo Alvin Wang Hanxiong Amane Chu Yi Min Ang Xueqi Angel Phuay Li Ting Angela Koh Angela Lim Ai Lian Anne Elise Rifkin-Graboi Bai Yizhuo Bennett Carol Lim Phek Nai Chan Wai Leong Chea Ruei-E Chester Tan Chew Sutat Chia Chee Boon Chin Mei Kuan Chuan Hiang Teng Chung Phuong Dinh Claude Ludlow Cristina Bargan Deanna Wong Jia-Wei Dennis Khoo Derek Lim Dian Marissa Sumadi Diana Diana Silva Fym Summer Gerald Wang Goh Chay Hiang Gwyneth Choo Han Soon Lang Heng Boey Hong Ho Yee Choo Samantha Ho Yin Shan Huey Lin Teo Ivan Demodov James Leanne Kerry

James Ng Teck Chuan Janice Leong Yoke Leng Jaslyn Lee Jason Jess Jessie Ong Jia Jia Joanne Goh John Lillard Jumabhoy Iqbal Justina Leong Jing Wen Kenny Wong Kenrick Lam Khee Zi Ling Kiat Kee Ng Kim Huat Soh Koh Wei Ying Ann Kok Soke Wai (Guo Shu Hui) Kong Yee Mun Konstantin Spirin Kwan Wei Meng William Lai Car Man Lai Jun Zhen Lai Kum Chow Lalvani Jetu Jacques Taru Lauren and Mr Marvs Lee Boon Yew Lee Guo Lee Jee Soo Lee Sue-Ann Lee Tse Liang Lee Yu Hong Leslie Tan Leung Hui Qi, Selena Lewis Jennifer Theresa Li Jiaying Lim Ang Tee Lim Huey Yuee Lim Mei Jean Lim Swee Boey Lim You Zhen Liong Khoon Kiat Loh Shih Ying Loh Zheng Jie Benedict Long Shi Ying Lydea Gn Wei En Lynn Ho Margaret Chew Sing Seng Markey Pauline Anastasia Michael Huang Michelle Tan Shimin Nadia Adjani Soerjanto Nathanael Goh Neoh Swee Beng Nicholas Cheng Chee Keen Oi Way Lee Ong Su Pin Ong Yen May Pearly Ma Li-Pinn Peggy Kek Peh Xiang Hong Peter Yap Wan Shern Putu Sanjaya Setiawan Raphaela Koenig

Rayner Tan Renyi Richard Lee Seng Hoon Sam Chee Chong Sarah Goh Seiko Ushijima Sharon Teo Woon Ching Shen Xichen Shiqi Siddharth Biswas Siew Kee Lau Soo Ping Lim Sun Haichun Suwandi Leo Tan Phuay Miang Tan Sze Meng Sara Tan Wei Jie Kelvin Tan You Wei Ted Toth Teo Hwee Ping Teo Mei Yin Olivia Teo Wei Lin Tetsu Serizawa Vadapalli Raju Valarie Koh Villangca Anna Lynn Jacinto Vincent Wang Wang Chen Chung Winson Lay Chee Loong Winston Kwek Wong Man Di Amanda Wong Mee Fong Wong Yick Mun Edmund Wong Yoon Foong Xia Hongwei Yan Jia Yin Yap Yuling Eunice Yew Wan Qing

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Orchestra of the Music Makers Ltd. (UEN: 201002361G) is an Institution of a Public Character (IPC) and donations are eligible for 2.5 times tax deduction.

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