WEILL – Symphonic Nocturne from Lady in the Dark (17’)
BARBER – Violin Concerto (23’)
PROKOFIEV – Symphony No. 5 (45’)
This performance is funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY.
Today’s performance lasts approximately 1 hour and 45 minutes, 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.
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 Vice-Dean 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, Lang Lang 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 2025 to 31 March 2028.
Website: www.orchestra.sg
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Joshua Kangming Tan
A graduate of The Juilliard School and the Eastman School of Music (High Distinction), Joshua Kangming Tan was the 2nd Prize winner of the Dimitri Mitropoulos International Competition, and an awardee of numerous scholarships and awards. For an unprecedented two years running, his performances of Bernstein’s Mass and the opera Don Pasquale were selected as the best classical concert of the year 2018 and 2019 by the Straits Times. Also adept at working with film/ multimedia and music, Joshua is a Disney-approved conductor and gave the Asian premiere of Fantasia
Presently Principal Conductor of the Singapore National Youth Orchestra and Director of the Asia Virtuosi, he has served successful stints as Resident Conductor of the National Centre for the Performing Arts (NCPA) Beijing Orchestra, Principal Conductor of the Guiyang Symphony Orchestra and Associate Conductor of the Singapore Symphony Orchestra.
This is Joshua’s 9th appearance with OMM. Previous highlights include the Singapore Premieres of Bernstein’s (2018) and Wagner’s Das Rheingold (2023).
Stella Chen
American violinist Stella Chen garnered worldwide attention with her first-prize win at the 2019 Queen Elizabeth International Violin Competition, followed by the 2020 Avery Fisher Career Grant and 2020 Lincoln Center Emerging Artist Award.
Since then, Stella has appeared across North America, Europe, and Asia in concerto, recital, and chamber music performances. She recently made debuts with the New York Philharmonic, Chicago Symphony, Minnesota Orchestra, Israel Philharmonic, Chamber Orchestra of Europe, Baltimore Symphony, Belgian National Orchestra, and many others and appeared in concertos at the Vienna Musikverein, Concertgebouw Amsterdam, Berlin Philharmonie. In recital, recent appearances include Lincoln Center, Carnegie Hall, the Phillips Collection, Rockport Music Festival, and Nume Festival in Italy. She appears frequently with Chamber Music Society of Lincoln Center both in New York and on tour.
For her all-Schubert debut album, released in March of 2023 to critical acclaim on the Apple Music label Platoon, Stella was named the 2023 Young Artist of the Year at the Gramophone Awards.
Among the highlights of her busy 2024/25 season are debuts with orchestras such as the San Francisco, New World, and Toronto Symphonies, recitals throughout North America, Europe and Asia, and a major tour in China, where she opened the Shanghai Philharmonic’s season with the Barber Concerto.
Stella has appeared as a chamber musician in festivals including the Kronberg Academy, Moritzburg, Ravinia, Seattle Chamber Music, Perlman Music Program, Music@ Menlo, Bridgehampton, Rockport, and Sarasota. She returns to the Sarasota Music Festival as faculty in 2025.
She is the inaugural recipient of the Robert Levin Award from Harvard University, where she was inspired by Robert Levin himself. Teachers and mentors have included Donald Weilerstein, Itzhak Perlman, Miriam Fried, Li Lin, and Catherine Cho. She received her doctorate from the Juilliard School where she serves as a teaching assistant. She is also a Visiting Assistant Professor at the Shenandoah Conservatory and faculty at the annual Nume Festival and Academy in Cortona, Italy.
Stella plays the General Kyd 1720 Stradivarius, on generous loan from Dr. Ryuji Ueno and Rare Violins In Consortium, Artists and Benefactors Collaborative.
Programme Notes
KURT WEILL
(arr. ROBERT RUSSELL BENNETT)
Symphonic Nocturne from Lady in the Dark (1940)
Liza Elliot, a successful magazine editor, walks into a psychologist’s office seeking help. Each day, she is plagued by vivid, unsettling dreams. Worse, she is haunted by a persistent earworm — a tune playing in her head, whose source she cannot remember.
So begins the play-musical Lady in the Dark. As the story unfolds, we move between Liza’s waking life and dreams, until she finally recalls the origin of the tune: “My Ship”, a song from her childhood. In the process, she confronts long-repressed childhood memories, allowing her to reclaim her sense of self-worth.
First staged in 1941, Lady in the Dark was a three-way collaboration, with script by Moss Hart, lyrics by Ira Gershwin, and music by Kurt Weill. Weill, German by birth, had been a successful composer for the stage in his native country. But in 1933, he had to flee Nazi Germany, and began rebuilding his career in America. This musical was his first Broadway hit, re-establishing his reputation.
For its time, Lady in the Dark was startlingly modern with its fashionable subject matter, psychoanalysis. Unfortunately, those theories are somewhat discredited today, and a shrewd viewer might notice outdated ideas of psychology and gender in the play-musical.
But another (still relevant) innovation was the use of music to signal the fantastical realm. The only scenes accompanied by music are three extended dream sequences; the remaining scenes in the waking-world
only have spoken dialogue. Each dream sequence paints a great dramatic arc with a vast range of music: atmospheric ambiences, rowdy choruses, bluesy ballads, tender songs, and more. Weill himself described them as “one-act operas”.
The Symphonic Nocturne performed today is an orchestral medley arranged by Robert Russell Bennett. The medley skilfully weaves Weill’s music into a continuous dreamscape. Even without words, the arrangement preserves the play-musical’s structure, allowing us to follow Liza’s journey of self-discovery.
The Symphonic Nocturne opens with flutes and bassoons gently humming the earworm stuck in Liza’s mind. The earworm drifts in and out of focus, before a soaring, yearning melody takes over. This starts the first dream sequence, the Glamour Dream, featuring the upbeat show-tune “Girl of the Moment”. But these fantasies of fame evaporate as the earworm returns.
Next, we slide into the hazy harmonies of the Marriage Dream. A bolero emerges, with its incessant tambourine rhythm in the background, before morphing into a bittersweet song, “This is New”. Amidst shimmering orchestral wash, the horns triumphantly announce the earworm — this is Liza’s imaginary marriage. But subconsciously, Liza rejects this union, and the moment is shattered by the militaristic return of the bolero.
Amidst this indecisiveness, we are pulled into the Circus Dream, a carnival scene with bright brass fanfares and off-kilter
dances. Abruptly, it shifts gears into a bluesy, big band swing. This is Liza’s song, “The Saga of Jenny”, where she tries to explain her indecisiveness to the circus ringmaster. Although there are no lyrics in Bennett’s arrangement, he retains the narrative drive and contrasting stanzas.
At its climax, “The Saga of Jenny” abruptly fizzles away. The flutes begin humming the earworm again, but this time, Liza remembers its source — it blossoms into the full song “My Ship”, bringing the Symphonic Nocturne to a luminous close.
KURT WEILL FOUNDATION
The Kurt Weill Foundation, Inc. promotes and perpetuates the legacies of Kurt Weill and Lotte Lenya by encouraging an appreciation of Weill’s music through support of performances, recordings, and scholarship, and by fostering an understanding of Weill’s and Lenya’s lives and work within diverse cultural contexts. It administers the Weill-Lenya Research Center, a Grant and Collaborative Initiative Program, the Lotte Lenya Competition, the Julius Rudel/Kurt Weill Conducting Fellowship, the Harold Prince/Kurt Weill Directing Fellowship, the Kurt Weill Prize for scholarship in music theater, and publishes the Kurt Weill Edition and the Kurt Weill Newsletter. Building upon the legacies of both Weill and Lenya, the Foundation nurtures talent, particularly in the creation, performance, and study of musical theater in its various manifestations and media. Since 2012, the Kurt Weill Foundation has administered the musical and literary estate of composer Marc Blitzstein.
www.kwf.org
Programme Notes
Violin Concerto (1939)
The origin of Barber’s Violin Concerto has become quite the infamous tale. Commissioned by wealthy businessman Samuel Simeon Fels, the concerto was to be premiered by Iso Briselli, a friend of Barber’s from the Curtis Institute. Delayed by the onset of the Second World War, Barber delivered the first two movements slightly late in October 1939, but Briselli seemed disappointed that they were “a bit too easy”. Troubles only worsened after Barber sent in the third movement. Accounts differ, but Briselli is said to have found it either too technically difficult, or musically unsatisfying. Whatever his reasons were, he disavowed the work, and it was premiered in 1941 by a different violinist, Albert Spalding.
Briselli was not entirely wrong regarding the first two movements: they certainly are not filled with virtuosic pyrotechnics as some other concertos are. However, the solo violinist is still very much frontand-centre, singing melodies over lush orchestral backing, and sometimes stepping forward for recitative-like soliloquies. One might even be inclined to draw a connection between Barber’s vocal training at Curtis and his effortlessly flowing melodies and lyrical style.
The first movement begins with exactly one of these lyrical themes, introduced by the solo violin. Later, the clarinets introduce a lighter, dance-like second theme. Throughout, violin and orchestra are intertwined in dialogue, the orchestra often responding like gentle ripples in the soloist’s wake. At the movement’s climax, the dance-like theme is transformed into a brass fanfare, before broadening and returning us to the first theme, now clothed in grandeur of the full orchestra. After a recapitulation of the themes, the
orchestra collapses in agitation. The violin plays a brief cadenza, and the movement fades away with a thudding timpani in the background.
The second movement begins with just the orchestra, developing a gentle melody, first sung by the oboe in its delicate upper register, then passed around the orchestra. Out of this, the solo violin emerges as though stirring from sleep. But this seems to awaken a painful memory, as the violin introduces a descending melody, punctuated by interjections from the brass. As the two melodies are woven together, the mood shifts imperceptibly from optimistic to mourning and back, sometimes even within the same phrase. This is complemented by a wide palette of tone colours — the rich, lower register of the solo violin, its tender upper register, and the full variety of instruments in the orchestra.
If Briselli said the first two movements were “too easy”, the third movement must have been Barber’s retort. After a brief timpani roll, the soloist launches into quicksilver running triplets. From start to finish, they will play these fleet-footed figurations almost non-stop. Around this, the orchestra sparkles and dances with angular melodic shapes and bouncing rhythmic accompaniment. Quite aptly, Barber described this as a perpetuum mobile (literally, “perpetual motion”) — even when the soloist gets the occasional (wellearned) break, the orchestra takes over the running triplets instead. In the final moments, solo violin and trumpet echo and overlap phrases, creating a Doppler-like effect. Then, like a sprinter rounding the final bend, the solo violinist switches gears into semiquavers, bursting to the end of the concerto.
Symphony No. 5 (1944)
Sergei Prokofiev, no stranger to the trials of war, composed his Fifth Symphony in the summer of 1944, amidst the ongoing Second World War. While the world was engulfed in conflict, he opted not to reflect the destruction of war but instead expressed “the greatness of the human spirit”. Thus, the Fifth Symphony is filled with moments of warmth and measured optimism. But ultimately it has the same wartime origins as other works by contemporaries like Shostakovich and Khachaturian; Prokofiev does not shy away from using militaristic rhythms, bold brass writing, and generous use of the percussion battery as reminders of the war.
The premiere, conducted by Prokofiev himself on 13 January 1945 in Moscow, was famously interrupted by celebratory cannon fire, marking the Soviet advance into Nazi Germany. This moment was both historic and symbolic, showing the resilience and renewal that the music inside brought as contrasted with the conflict outside. Tragically, this would be the last time Prokofiev conducted one of his own works. A fall shortly after the premiere left him with a concussion that he never fully recovered from, and his creative output was further constricted when the Soviet authorities denounced his music for “formalist” tendencies, branding it ideologically inappropriate. Although this time period was the beginning of a long decline in Prokofiev’s health and freedom, the Fifth Symphony remains a towering affirmation of the human spirit.
The symphony opens with a lush and languid Andante. A broad and noble melody from the flute and bassoon (incidentally, the same pair of instruments that starts Weill’s Symphonic Nocturne)
sets a tone of seriousness and grandeur, almost like a public statement of sorts. This theme serves as the backbone of the entire movement, growing in size and breadth, and passed around different sections of the orchestra. Midway through this movement, the music becomes agitated, with energetic rhythmic figures and a bold brass figure moving it forward. Nevertheless, amid all this intensity, the music nevertheless maintains a sense of poise. As the movement closes, the music slowly unwinds in a twisted but ultimately triumphant ending.
The second movement contrasts the nobility of the first movement with an energetic and spiky Allegro marcato, underpinned by an incessant, motoric rhythm. Prokofiev employs the wind and brass sections to throw in playful jabs and animated syncopations, giving the music a cheeky, sarcastic tone, similar to his Romeo and Juliet ballet, which was written around the same period. The trio section in comparison is more reminiscent of a dance, with fluttering woodwinds. Eventually, the motoric first section returns, haltingly at first, but then building in intensity, like a machine spinning back up into action. This all ends abruptly, as if Prokofiev is telling the audience“that’s enough”.
The third movement switches things up with an elegiac Adagio. Opening with a dark and mysterious musical line, it salvages musical material from Prokofiev’s score for a short film “The Queen of Spades”, which was unfortunately never released due to Soviet censorship. An intense lament appears in the middle section, before being taken over by a funeral march. Driven by dotted rhythms, the music crashes into a massive, almost
Programme Notes
horrific, climax. But the original melody returns intact, as if ignorant of what just occurred, before gradually fading into silence.
The fourth movement seemingly returns us to the stately mood of the first movement; in fact, the opening theme reappears in the cellos. However, the true character of the movement quickly emerges with an impish clarinet solo akin to a folk dance. As the movement continues, the music becomes more complex and increasingly ambiguous. What started out as a joyful finale begins to feel unstable, with wild scales, sudden tempo changes and unexpected harmonies. This culminates in a discordant coda, resembling a raucous ‘jamboree’, with wild, mechanical laughter. The effect is ambiguous: is this a true celebration, or merely a satire of one?
Programme notes by Isaac Tah (Weill and Barber); and Joshua Tan (Prokofiev)
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
Kimberlyn Wu ASSOCIATE PRINCIPAL
Ang Dun Jie
Ang Zien Xu
Chanz Boo
Chantal Chan
Nicole Chan
Jacob Cheng
Tina Gao
Justine Goh
Erica Lee
Jaslyn Lee
Pauline Lee
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Loi Si Xian
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Keith Ong
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Joshua Chong
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Aaron Soh
Oliver Tan
Samuel Tan
Toh Xue Qian
CELLO
James Ng PRINCIPAL
Trinh Ha Linh ASSOCIATE PRINCIPAL
Rio Liu
Charis Low
Edward Neo
Stanley Ngai
Isaac Tah
Tang Ya Yun
Shavaun Toh
Wong Yi Kai
DOUBLE BASS
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Hyoseok Lee
Lee Mian Jun
Alvin Liew
Alwyn Loy
Kevin Seah
Fredrick Suwandi
FLUTE
Jasper Goh PRINCIPAL
Matthew Tan
PICCOLO
Alvin Chan
OBOE
Seow Yibin PRINCIPAL
John Fung
Quek Jun Rui
ENGLISH HORN
Quek Jun Rui
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E-FLAT CLARINET
Li Xin
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Kee Rui Han PRINCIPAL
Tan Kuo Cheang
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Lim Tee Heong
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Bryan Chong PRINCIPAL
Harsharon Kaur
Lim Shi Zheng
Ong Hwee Ling
Jared Sanders
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Lim An Chun PRINCIPAL
Lee Jinjun ASSOCIATE PRINCIPAL
David Marley
Joshua Tan
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Toh Chang Hui
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Charmaine Teo PRINCIPAL
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Lim Xing Hong PRINCIPAL
PERCUSSION
Thaddeus Chung PRINCIPAL
Gordon Tan ASSOCIATE PRINCIPAL
Christian Daniel Ragay Borres
Isabel Chin
Wong Ting Feng
OMM Board and Management
BOARD OF DIRECTORS
BOARD OF DIRECTORS
Lee Guan Wei Daniel CHAIRMAN
Assoc. Prof Chan Tze Law
Christopher Cheong
Susan Loh
Jesher Loi
Sanjiv Malhotra
Edward Neo
Toh Xue Qian
Prof Bernard Tan ADVISOR
MANAGEMENT
ARTISTIC DEVELOPMENT
Michael Huang HEAD
Lee Jinjun
Fredrick Suwandi
Joshua Tan
Oliver Tan
Isaac Tah
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Isaac Tah HEAD
Ang Zien Xu
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Skyler Goh
Shi Jia Ao
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Chanz Boo
Nathanael Goh
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Joshua Tan
Josiah Teo
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Rayner Tan
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Skyler Goh
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Isaac Tah
Joshua Tan
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Lee Yuru
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Isaac Tah
Joshua Tan
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Calvin Dai
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Lam Hoyan
Estee Ng
ARTIST HIGHLIGHTS
Yo-Yo Ma, Julia Hagen, Chloe Chua, Leonidas Kavakos, Daniel Lozakovich, Bertrand Chamayou, Eric Lu, Sayaka Shoji, Simon Trpčeski, Yeol Eum Son and Sergei Nakariakov with conductors Han-Na Chang, Joe Hisaishi, Mikhail Pletnev, Masaaki Suzuki and Kahchun Wong.
PROGRAMME HIGHLIGHTS
An Alpine Symphony, The Planets (with a new Earth), Pictures at an Exhibition in two orchestrations, New World Symphony, Scheherazade, Saint-Saëns’s Organ Symphony, and masterpieces by Mahler, Nielsen, Shostakovich and Tchaikovsky.
FEATURING SINGAPORE'S
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Hans Graf Quantedge Music Director
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Concert Season
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GOLD MEDALIST
2013 Fourteenth Van Cliburn
International Piano Competition
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THURSDAY 12 JUNE 2025 | 8PM
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