Beethoven Triple Concerto In C

LAN SHUI Music Director

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Beethoven Triple Concerto In C 10 November 2017 Esplanade Concert Hall Performing Home of the SSO Sponsored by

Andrew Litton, conductor/piano Igor Yuzefovich, violin Ng Pei-Sian, cello

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I N S P I R E D .

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ME S S AG E F R OM C onra d C e n t e nni a l S inga p ore Conrad Centennial Singapore is pleased to present Conrad Classics 2017, in collaboration with the prestigious Singapore Symphony Orchestra (SSO). In this evening’s special programme “Beethoven Triple Concerto in C”, be inspired by the heroism and optimism in Copland’s Third, popularly known as “America’s Great Symphony”. SSO Principal Guest Conductor Andrew Litton doubles up as solo pianist, partnering Concertmaster Igor Yuzefovich and Principal Cello Ng Pei-Sian for the chamber-like Triple Concerto in C by Beethoven.

We will always stay committed to our mission in contributing to the vibrancy of the arts in Singapore. Through our ‘Travel with Purpose’ initiative, we are dedicated to creating shared value for our partners, strengthening communities and celebrating cultures. By supporting various arts initiatives and talents across Asia Pacific, Conrad Centennial Singapore hopes to develop new audiences through artistic inspiration and enrich the lives of our communities and in doing so, inspire more organisations and individuals to lend their support in further shaping Singapore’s vision to be a distinctive global city for the arts.

Music is a gift for all of us to share, and Conrad Centennial Singapore is deeply honoured and privileged to be in this long-term collaboration with the SSO. Together, we are inspired to create many more wonderful experiences.

We wish everyone a pleasant and memorable evening.

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10 Nov 2017, Fri

Beethoven Triple Concerto In C Singapore Symphony Orchestra Andrew Litton, conductor/piano

LUDWIG VAN BEETHOVEN Triple Concerto for Violin, Cello and Piano in C major,

Op. 56 33’00 1. Allegro 2. Largo 3. Rondo alla polacca

Igor Yuzefovich, violin Ng Pei-Sian, cello Andrew Litton, piano

Intermission 20’00

Igor Yuzefovich and Ng Pei-Sian will sign autographs in the stalls foyer.

AARON COPLAND

Symphony No. 3 43’00

1.

2.

3.

4.

Molto moderato Allegro molto Andantino quasi allegretto Molto deliberato (Fanfare) – Allegro risoluto

Concert duration: 1 hr 50 mins Go green. Digital programme booklets are available on www.sso.org.sg.

Scan the QR code in the foyer to view a copy.

S inga p ore S y mp hon y Orc hes t ra ‘A fine display of orchestral bravado for the SSO and Shui’ The Guardian

Since its founding in 1979, the Singapore Symphony Orchestra (SSO) has been Singapore’s flagship orchestra, touching lives through classical music and providing the heartbeat of the cultural scene in the cosmopolitan city-state. In addition to its subscription series concerts, the orchestra is well-loved for its outdoor and community appearances, and its significant role educating the young people of Singapore. The SSO has also earned an international reputation for its orchestral virtuosity, having garnered sterling reviews for its overseas tours and many successful recordings.

The SSO makes its performing home at the 1,800-seat state-of-the-art Esplanade Concert Hall. More intimate works and all outreach and community performances take place at the

673-seat Victoria Concert Hall, the home of the SSO. The orchestra performs 100 concerts a year, and its versatile repertoire spans alltime favourites and orchestral masterpieces to exciting cutting-edge premieres. Bridging the musical traditions of East and West, Singaporean and Asian musicians and composers are regularly showcased in the concert season. This has been a core of the SSO’s programming philosophy from the very beginning under Choo Hoey, who was Music Director from 1979 to 1996.

Since Lan Shui assumed the position of Music Director in 1997, the SSO has performed in Europe, Asia and the United States. In May 2016 the SSO was invited to perform at the Dresden Music Festival and the Prague Spring International Music Festival. This successful five‑city tour of

Germany and Prague also included the SSO’s return to the Berlin Philharmonie after six years.

In 2014 the SSO’s debut at the 120th BBC Proms in London received critical acclaim in the major UK newspapers The Guardian and Telegraph. The SSO has also performed in China on multiple occasions.

Notable SSO releases under BIS include a Rachmaninov series, a “Seascapes” album, two Debussy discs “La Mer” and “Jeux”, and the first-ever cycle of Tcherepnin’s piano concertos and symphonies. The SSO has also collaborated with such great artists as Lorin Maazel, Charles Dutoit, Gennady Rozhdestvensky, Neeme Järvi, Vladimir Ashkenazy, Diana Damrau, Lang Lang, Yo-Yo Ma, Janine Jansen, Leonidas Kavakos and Gil Shaham.

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A ndre w L i t ton conductor/piano

Recently named Principal Guest Conductor of the Singapore Symphony Orchestra, Andrew Litton is also Music Director of the New York City Ballet, Artistic Director of Minnesota Orchestra’s Sommerfest, Principal Guest Conductor of the Colorado Symphony, Conductor Laureate of Britain’s Bournemouth Symphony and Music Director Laureate of Norway’s Bergen Philharmonic. Litton led the Dallas Symphony as Music Director from 1994 to 2006, leaving a legacy of touring including Carnegie Hall, the BBC Proms, the Berlin Philharmonie, and Vienna’s Musikverein. His Dallas Symphony series of young people’s “Amazing Music” video recordings is in use throughout schools in the United States and abroad. He regularly guest conducts leading orchestras and opera companies around the globe and adds to his discography of almost 130 recordings, which have garnered America’s Grammy Award, France’s Diapason d’Or and other honours.

This season, besides conducting over 30 ballets at the New York City Ballet, Litton appears with the Minnesota Orchestra, National Taiwan Orchestra, Singapore Symphony, Vancouver Symphony, Bergen Philharmonic, Colorado Symphony, Bournemouth Symphony and the Orquesta Sinfonica de Galicia.

Litton’s work with New York City Ballet has earned praise from critics, dancers, and audiences, bringing new prominence to the Ballet’s Orchestra. Litton’s first work in ballet began while he was still a Juilliard student, performing as on-stage pianist for Rudolf Nureyev, Natalia Makarova and Cynthia Gregory.

Born in New York City, Litton is a graduate of New York’s Fieldston School. Litton earned degrees from the Juilliard School in piano and conducting. He served as Assistant Conductor at La Scala and at the National Symphony under Rostropovich. Among his numerous awards are Yale’s Sanford Medal, the Elgar Society Medal, and an honorary Doctorate from the University of Bournemouth. For his work with the Bergen Philharmonic, Norway’s King Harald V knighted Litton with the Norwegian Royal Order of Merit.

IG OR Y UZE F OV IC H violin

Internationally acclaimed violinist Igor Yuzefovich is now in his fourth season as Concertmaster of the Singapore Symphony Orchestra (SSO), having previously served in the same position with the Hong Kong Philharmonic and as Assistant Concertmaster with the Baltimore Symphony Orchestra (US).

Born in Moscow, Russia into a musical family, Yuzefovich began his violin studies at the age of 5, and soon after enrolled at the Gnessin Music School, studying with Irina Svetlova. In 1991, Yuzefovich moved to the US where he continued his violin studies and later earned advanced degrees from The Peabody Conservatory under the tutelage of world renowned pedagogue Victor Danchenko.

A winner of numerous competitions, Yuzefovich’s concerts and recitals have taken him from Carnegie Hall in New York to Cairo Opera House in Egypt, across Europe and Asia.

In addition to a busy calendar with the SSO, Igor Yuzefovich continues to be an active chamber musician, often reuniting with the Monument Piano Trio, which he co-founded in 2004. The trio made its debut in the US to critical acclaim and has since captivated audiences across the US and in China. Its debut recording, featuring works by Brahms, Shostakovich and Schoenfield received high praise from critics and audiences alike.

Yuzefovich is committed to educating the next generation of musicians in Singapore as an Artist Faculty at the Yong Siew Toh Conservatory and is sought after for solo and chamber music masterclasses around the world. Yuzefovich can also be seen and heard in his appearances as frequent guest concertmaster with many of world’s well-respected orchestras such as the BBC Symphony Orchestra, BBC Philharmonic, Houston Symphony, and London Philharmonic among others.

NG P E I - SI A N cello

Ng Pei-Sian was Commonwealth Musician of the Year in 2007, winner of the Gold Medal and First Prize at the 55th Royal Over-Seas League Music Competition held in London. He has performed around the world in Australia, Southeast Asia, Europe and the US. Born in Sydney in 1984, he began studies in Adelaide with Barbara Yelland and later with Janis Laurs at the Elder Conservatorium of Music before winning the prestigious Elder Overseas Scholarship to study at the Royal Northern College of Music in Manchester. Ng completed his studies under Ralph Kirshbaum during which he was awarded the RNCM Gold Medal, the highest prize given by the college.

He has appeared in important music festivals including the Brighton, Dartington, Edinburgh, Manchester International Cello Festival, Kronberg Academy, Mecklenburg-Vorpommern Festival and Adelaide International Cello Festival. Ng has performed Tan Dun’s Crouching Tiger Cello Concerto conducted by the composer, with Yo-Yo Ma and the Silk Road Ensemble, Cho-Liang Lin and Renaud Capuçon.

Recent highlights include a performance of Dvorak’s Cello Concerto with the Evergreen Symphony Orchestra in Taipei and the Elgar Cello Concerto at the Dartington Music Festival, UK. In November 2016, Ng played alongside Yo-Yo Ma and the SSO performing the fresh and exciting double cello concerto Violoncelles Vibrez! by Giovanni Sollima.

This year Ng founded CELLISSO, formed from the ten cellists of the Singapore Symphony Orchestra, performing to a full house in the Victoria Concert Hall. Ng is currently Principal Cellist of the Singapore Symphony Orchestra and faculty member at the Yong Siew Toh Conservatory of Music.

Ng performs on a 1764 Giovanni Antonio Marchi cello, Bologna.

Supporting the Local Arts and Cultural Scene Partner of SSO since 1978 NSL is a long-standing sponsor for Singapore Symphony Orchestra (SSO). We have been instrumental in helping the Orchestra reach out to the community-at-large as SSO brings music to the world.

A leading industrial group in the Asia Pacific with businesses in Precast & Prefabricated Bathroom Unit and Environmental Services, NSL believes that while achieving business goals is important, its actions need to also create a positive impact on the community, environment and all stakeholders.

NSL LTD 77 Robinson Road #27-00 Robinson 77 Singapore 068896 Tel: 6536 1000 I Fax: 6536 1008 I www.nsl.com.sg

SSO MU S IC I A N S Lan Shui Music Director joshua tan Associate Conductor jason lai Associate Conductor andrew litton Principal Guest Conductor Choo Hoey Conductor Emeritus Eudenice Palaruan Choral Director

FIRST VIOLIN Igor Yuzefovich° Concertmaster, The GK Goh Chair Lynnette Seah Co-Concertmaster Kong Zhao Hui* Associate Concertmaster Chan Yoong-Han Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Gu Wen Li Jin Li Cindy Lee Lim Shue Churn^ Sui Jing Jing Karen Tan William Tan Wei Zhe SECOND VIOLIN Sha Katsouris^ Principal Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Kong Xianlong^

Nikolai Koval* Lee Shi Mei^ Chikako Sasaki* Margit Saur Shao Tao Tao Lillian Wang Wu Man Yun* Xu Jue Yi* Ye Lin* Yeo Teow Meng Yin Shu Zhan* Zhang Si Jing* VIOLA Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Lim Chun^ Liu Hang^ Luo Biao Shui Bing Tan Wee-Hsin Janice Tsai Yang Shi Li Yeo Jan Wea^ CELLO Ng Pei-Sian Principal Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Ding Xiao Feng^ Song Woon Teng Wang Yan Wang Zihao* Peter Wilson Wu Dai Dai Zhao Yu Er DOUBLE BASS Guennadi Mouzyka Principal Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Andreas Dehner^ Ma Li Ming^ Jacek Mirucki Wang Xu

FLUTE Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan PICCOLO Roberto Alvarez Assistant Principal OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo

Marc-Antoine Robillard Associate Principal Kartik Alan Jairamin TRUMPET Jon Paul Dante Principal David Smith Associate Principal Teerapol Kiatthaveephong^ Lau Wen Rong Sergey Tyuteykin TROMBONE Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong

COR ANGLAIS

BASS TROMBONE

Elaine Yeo Associate Principal

Wang Wei Assistant Principal

CLARINET

TUBA

Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping

Hidehiro Fujita Principal TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal

BASS CLARINET Tang Xiao Ping Assistant Principal BASSOON Ben Moermond^ Principal Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue

PERCUSSION Jonathan Fox Principal Mark Suter Associate Principal Lim Meng Keh Zhu Zheng Yi HARP

CONTRA BASSOON

Gulnara Mashurova Principal Huang Yu Hsin^

Zhao Ying Xue Assistant Principal Cheung King Lun^

PIANO Shane Thio^ Principal

HORN Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal

CELESTE Aya Sakou^

*With deep appreciation to the Rin Collection for their generous loan of string instruments. °Igor Yuzefovich plays an instrument generously loaned by Mr & Mrs G K Goh ^Musician on temporary contract Musicians listed alphabetically by family name rotate their seats on a per programme basis.

u p com i n g co n cer t s

17 NOVEMBER 2017 Fri | 7.30pm Esplanade Concert Hall

SONG OF DESTINY • BRAHMS SYMPHONIES Wander Gladly in the light T. IRFAN Meditation BRAHMS Gesang der Parzen, Op. 89 (“Song of the Fates”)

Schicksalslied, Op. 54 (“Song of Destiny”)

Symphony No. 2 in D major, Op. 73 Lan Shui, conductor Singapore Symphony Chorus Singapore Symphony Youth Choir The Choir of the Transylvania State Philharmonic, Cluj-Napoca Eudenice Palaruan, choral director Pre-concert Talk 6.30pm | library@esplanade

30 NOVEMBER 2017 Thu | 7.30pm Esplanade Concert Hall

SSO GALA: YEFIM BRONFMAN • BEETHOVEN & BARTÓK ROSSINI Overture to The Thieving Magpie BEETHOVEN Piano Concerto No. 4 in G major, Op. 58 BARTÓK Piano Concerto No. 2 in G major Lan Shui, conductor Yefim Bronfman, piano Pre-concert Talk 6.30pm | library@esplanade

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L UDWIG VA N B E E THOV E N (1770 -18 27 ) Triple Concerto for Violin, Cello and Piano in C major, Op. 56

33’00

Beethoven wrote this work in 1803-1804, a period that brought forth many of his most famous masterpieces: the Eroica Symphony, the Waldstein and Appassionata Sonatas, the first Razumovsky Quartet, and the opera Fidelio.

Yet the “Triple Concerto”, as it has become known, remains something of a black sheep among Beethoven’s large-scale works.

Why has this unique work failed to attain a place alongside the composer’s other concertos? Many of its detractors claim it lacks distinguished themes, that it is not consistently inspired, and that it does not plumb the depths of the emotions. Nonetheless, it is an attractive, well-constructed work, and offers a master’s solution to a highly interesting and unusual problem: how to incorporate a chamber ensemble, the piano trio (for which much repertory already existed, including by Beethoven – his first published works were a set of three such trios), into the context of a symphonic concerto. Among the difficulties to be overcome were how to give each soloist enough thematic material to play without expanding the formal layout to absurd lengths and how to keep the dark, low voice of the cello from becoming submerged in the overall sonority.

Beethoven solved the latter problem by writing most of the cello’s part in the upper register of the instrument, and by giving it “first shot” at most of the themes. The problem of scale was one that previous composers had tackled (Bach in his Brandenburg Concerto No. 4, for instance), but never before for this combination of instruments. Donald Francis Tovey, in his defence of the concerto, pointed out that “a close study and a sympathetic hearing [of this concerto] is a valuable experience not obtainable from greater things. … Let us take it on its own terms, and see what it can tell us. … When a composer of Beethoven’s calibre gives us a solution of an extraordinary art-problem, it is as well to listen with some idea of the points of issue.”

Much of the appeal of the Triple Concerto results from the various interactions and juxtapositions of a) three different solo instruments, b) three different possibilities for duets, and c) the full trio, all with and without orchestral support. Yet, Beethoven aside, no other famous composer has written a work like it. One must comb the annals of twentieth-century music history to find others who have written concertos for piano trio and orchestra.

Beethoven conceived the concerto for his 16-year-old piano student the Archduke Rudolph, violinist Carl August Seidler, and cellist Anton Kraft.

The latter two were distinguished musicians, but Rudolph’s limitations are reflected in the piano writing, which often sounds brilliant yet is for the most part not technically difficult. Presumably there was a private performance in Vienna shortly after the concerto was completed, but the first public performance did not take place until 1808, with soloists who played badly.

The event discouraged further performances, and the work was not given again in Beethoven’s lifetime. Strangely enough, the dedication went not to Rudolph, who remained a lifelong friend and patron of the composer, but to another patron, Prince Lobkowitz.

The first movement is characterised by sturdy, robust themes within a bigboned, sonata-form structure lasting nearly 20 minutes. The slow second movement is short (more an interlude than a full movement), but eloquent, while the finale is a rondo set to the polacca (polonaise) dance rhythm, a bright and cheerful movement with a pseudo-gypsy interlude in the middle, a cadenza for all three soloists (with a few interjections from the orchestra), and a thrilling ending.

A A R ON C OPL A ND (19 0 0 -19 9 0) Symphony No. 3

43’00

In 1943, when Aaron Copland received the commission from the Koussevitzky Music Foundation to write this work, he had risen to become one of America’s most prestigious composers. His famous “Western” pieces – Billy the Kid, Rodeo and El Salón México – were already well behind him.

Friends and colleagues had been pressuring him for some time to write a big symphony (his previous works of this genre were relatively modest affairs), but Copland had resisted – his musical proclivities did not lend themselves to the traditional forms and developmental processes of an extended symphony. Nevertheless, he acquiesced.

He went off to a small village in Mexico to begin work, incorporating ideas he had accumulated over the years against the possibility of writing such a symphony. The work was finished in the late summer of 1946, and the premiere took place in Boston on 18 October. Naturally, Serge Koussevitzky conducted. This is Copland’s longest purely symphonic work. It is written for large orchestra, including, among other instruments, triple or quadruple woodwinds, four trumpets, two harps, piano, celesta and a huge percussion section that incorporates such exotica as claves, ratchet, slap stick and anvil.

The following comments represent an abridged version of Copland’s own description of his symphony: The opening movement, which is broad and expressive in character, opens and closes in the key of E major. Formally it bears no relation to the sonataallegro with which symphonies usually begin. The themes – three in number – are plainly stated: the first is in the strings, at the very start without introduction; the second in related mood in violas and oboes; the third, of a bolder nature, in the trombones and horns. Both the first and third themes are referred to again in later movements of the Symphony.

The form of the second movement is the usual scherzo, with first part, trio and return. The main theme is stated three times in Part I: at first in the horns and violas, then in unison strings, and finally in augmentation in the lower brass. After the climax is reached, the trio follows without pause.

Solo woodwinds sing the new trio melody in lyrical and canonical style. The recapitulation of Part I is not literal.

The third movement is the freest of all in formal structure. The various sections are intended to emerge one from the other in continuous flow. High up in the unaccompanied violins is heard a rhythmically transformed version of the third (trombone) theme of the first movement of the symphony. A new and more tonal theme is introduced in the solo flute: at first with quiet singing nostalgia, then faster and heavier – almost dance-like; then more childlike and naive, and finally more vigourous and forthright.

The final movement follows without pause. The opening fanfare is based on Fanfare for the Common Man, which was composed in 1942. In the present version it is first played pianissimo by flutes and clarinets, and then suddenly given out by brass and percussion. The fanfare serves as an introduction to the main body of the movement. A first theme in animated sixteenth-note motion; a second theme – broader and more song-like in character. The development as such concerns itself with the fanfare and first theme fragments. A shrill tutti chord, with flutter-tongued brass and piccolos, brings the development to a close. What follows is not a recapitulation in the ordinary sense. The symphony concludes on a massive restatement of the opening phrase with which the entire work began.

Programme notes by Robert Markow

boar d of direc tors & C OMMITT E e S board of directors

SSO Council

SSO LADIES’ LEAGUE

Mr Goh Yew Lin (Chairman) Ms Yong Ying-I (Deputy Chairman) Mr Ang Chek Meng Mrs Odile Benjamin Mr Chng Hak-Peng Mr Lionel Choi Mr Warren Fernandez Prof Arnoud De Meyer Mr Heinrich Grafe Ms Liew Wei Li Ms Lim Mei Mr Sanjiv Misra Mr Andreas Sohmen-Pao Mr Paul Tan Dr Kelly Tang Mr Yee Chen Fah

Mr Alan Chan (Chairman) Prof Cham Tao Soon (Founding Council Chairman) Ms Chew Gek Khim Mr Choo Chiau Beng Dr Geh Min Mr Goh Geok Khim Mr Khoo Boon Hui Prof Tommy Koh Mr JY Pillay Dr Stephen Riady Ms Priscylla Shaw Dr Gralf Sieghold Mr Andreas Sohmen-Pao Dr Tan Chin Nam Ms Tan Choo Leng Mr Tan Soo Nan Mr Wee Ee Cheong

Mrs Odile Benjamin (Chairlady) Mrs Kwan Lui (Deputy Chairlady) Mrs Celeste Basapa Mrs Maisy Beh Mrs Kim Camacho Mrs Rosy Ho Ms Judy Hunt Prof Annie Koh Dr Julie Lo Mrs Clarinda TjiaDharmadi-Martin Ms Paige Parker Ms Kris Tan Ms Manju Vangal Mrs Grace Yeh

Nominating and Executive Committee Mr Goh Yew Lin (Chairman) Mr Paul Tan Ms Yong Ying-I Audit Committee Mr Yee Chen Fah (Chairman) Ms Lim Mei Endowment Fund Committee Mr Goh Yew Lin (Chairman) Mr David Goh Mr Paul Supramaniam Mr Anthony Teo

Musicians’ Committee Mr Chan Wei Shing Mr Jon Paul Dante Mr Jamie Hersch Mr Ng Pei-Sian Mr Mark Suter Mr Christoph Wichert Mr Yeo Teow Meng SNYO Committee Ms Liew Wei Li (Chairlady) Mr Ang Chek Meng Ms Vivien Goh Dr Kee Kirk Chin Mrs Valarie Wilson

M A N AG E ME NT CHIEF EXECUTIVE OFFICER Mr Chng Hak-Peng

CEO OFFICE

PROGRAMMES (VCH)

Mr Edward Loh Mr Chris Yong

Ms Michelle Yeo (Head) Ms Erin Tan

ORCHESTRA MANAGEMENT

DEVELOPMENT & PARTNERSHIPS

Mr Ernest Khoo (Head) Mr Chia Jit Min Ms Tan Wei Tian Stage Management Ms Kimberly Kwa (Stage Manager) Ms Chin Rosherna Mr Ramayah Elango Mr Abdul Wahab bin Sakir Mr Md Zailani bin Md Said Mr Md Fariz bin Samsuri Mr Radin Sulaiman bin Ali LIBRARY Mr Lim Yeow Siang (Head) Mr Lim Lip Hua Ms Priscilla Neo PROGRAMMES (SSO) Ms Kua Li Leng (Head) Ms Teo Chew Yen Ms Jolene Yeo Community Outreach Ms Kathleen Tan Ms Vanessa Lee Choral Programmes Ms Regina Lee Ms Whitney Tan

Ms Peggy Kek (Head) Corporate Communications Ms Leong Wenshan Development & Sponsorship Mr Anthony Chng Ms Nikki Chuang Mr Chris Yong MARKETING COMMUNICATIONS & CUSTOMER EXPERIENCE Ms Cindy Lim (Head) Mr Chia Han-Leon Ms Myrtle Lee Ms Jana Loh Ms Hong Shu Hui Ms Melissa Tan Ms Cheryl Pek Ms Khairani Basman Ms Dacia Cheang Ms Nur Shafiqah bte Othman CORPORATE SERVICES Mr Rick Ong (Head) Mr Alan Ong (Finance) Ms Goh Hoey Fen (Finance) Mr Md Zailani bin Md Said

HUMAN RESOURCES & ADMINISTRATION Mr Desmen Low Ms Shanti Govindasamy Ms Melissa Lee SINGAPORE NATIONAL YOUTH ORCHESTRA Ms Pang Siu Yuin (Head) Ms Shirin Foo Mr Tan Yong Qing Ms Tang Ya Yun ABRSM Ms Hay Su-San (Head) Ms Patricia Yee Ms Lai Li-Yng Mr Joong Siow Chong

PATRON SPONSOR

Tote Board Group

OFFICIAL AIRLINE

OFFICIAL HOTEL

OFFICIAL TRAINING PARTNER

OFFICIAL RADIO STATION

OFFICIAL OUTDOOR MEDIA PARTNER

OFFICIAL POSTAGE SPONSOR

SPONSORS

LEE FOUNDATION

SUPPORTED BY

The Singapore Symphony Orchestra is a not-for-profit company limited by guarantee and registered under the Charities Order.

SSO.ORG.SG