Robert Spano • Titan

SSO subscription concert

Robert Spano • Titan 15 APR 2017 SAT | ESPLANADE concert hall Performing Home of the SSO

LAN SHUI Music Director

15 APR 2017 | SAT

Robert Spano • Titan Singapore Symphony Orchestra Robert Spano, conductor

FRANZ PETER SCHUBERT Symphony No. 8 in B minor, D.759 “Unfinished” 25’00 1. Allegro moderato 2. Andante con moto

Intermission 20’00 GUSTAV MAHLER Symphony No. 1 in D major “Titan” 53’00 1. Langsam. Schleppend. “Wie ein Naturlaut” – Immer sehr gemächlich 2. Kräftig bewegt, doch nicht zu schnell Trio: Recht gemächlich 3. Feierlich und gemessen, ohne zu schleppend 4. Stürmisch bewegt

Concert duration: 1 hr 55 mins Let’s go green. Digital programme booklets are available on www.sso.org.sg.

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

Singapore Symphony Orchestra 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 all-time 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 Debussy disc, Seascapes featuring sea-themed music by Debussy, Frank Bridge, Glazunov and Zhou Long, 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, Lang Lang, Yo-Yo Ma, Leonidas Kavakos and Gil Shaham.

“A fine display of orchestral bravado for the SSO and Shui” The Guardian

ROBERT SPANO

conductor

Conductor, pianist, composer and pedagogue, Robert Spano is a musician driven by exploration and innovation. Serving as Music Director of the Atlanta Symphony Orchestra since 2001, he has created a sense of inclusion and community by pioneering alternative ways of presenting music to new audiences and nurturing contemporary composers. His commitment to education and innate ability to share his enthusiasm for music are evident in his role as Music Director of the Aspen Music Festival and School where he oversees the programming of more than 300 events and educational projects.

Under Robert Spano’s guidance, the Atlanta Symphony Orchestra (ASO) explores an eclectic mix of creative programmes and he has led ASO performances at Carnegie Hall (2015-2016 marked Spano’s tenth consecutive season as a guest of that prestigious venue), Lincoln Center and at the Ravinia, Ojai and Savannah Music Festivals. Recent guest engagements include the New York and Los Angeles Philharmonics, San Francisco, Boston, Cleveland, Chicago, and Philadelphia Symphony Orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony, Danish National Symphony and the Royal Concertgebouw Orchestra.

Robert Spano begins the 2016-17 season with “cloth field: an art place of life”, a conceptual collaboration with choreographer Lauri Stallings involving dancers and sculptural elements with an original score composed by Spano. He opens the Atlanta Symphony Orchestra’s season with an all-Tchaikovsky programme with guest soloist Joshua Bell, with later concerts featuring pianists Garrick Ohlsson, Pedja Muzijevic, and Stephen Hough.

Highlights last season included the 2016 Metropolis New Music Festival with the Melbourne Symphony Orchestra where he was Artistic Director and concerts with the Orquestra Sinfônica Estado São Paulo, Singapore Symphony, Malaysian Philharmonic and Saito Kinen Orchestra in Japan. He conducted four world premieres including works by Mark Grey, Jonathan Leshnoff and ASO bassist Michael Kurth, plus seven Atlanta premieres.

With a discography of critically-acclaimed recordings for Deutsche Grammophon, Telarc and ASO Media recorded over nine years, Spano has garnered six Grammy Awards with the Atlanta Symphony Orchestra. Last autumn saw the release of a cycle of five songs written for soprano Jessica Rivera by Christopher Theofandis, and Spano is currently working on an album of his solo piano work, Under Water.

Born in 1961 in Ohio, Robert Spano grew up in a musical family, composing and playing flute, violin and piano. He graduated from Oberlin, where he studied conducting with Robert Baustian, and went on to study at the Curtis Institute of Music with the late Max Rudolf. He is on the faculty of Oberlin Conservatory and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University, and Oberlin. Robert Spano was named Musical America’s Conductor of the Year in 2008.

SUPERCHARGED SUNDAYS AT OSCAR’S Supercharge your afternoons at Oscar’s Sunday Brunch, from freshly shucked oysters, Boston lobsters, to premium roast London duck and free flow champagne. Balance all that indulgence at the 4 metre-long salad bar, chilled shakes and organic pastas prepared by chefs at the theatrical stations.

Specially for Friends of SSO, enjoy 20% off total bill.

For reservations, visit www.connoisseur.sg or call 6432 7481 Prior reservations necessary. Subject to availability. Black-out dates apply. A valid Friends card must be produced. Discount cannot be used in conjunction with other promotions, discounts or vouchers.

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SSO Musicians Lan Shui

Jason Lai

Joshua Tan

Choo Hoey

Okko Kamu

Lim Yau

MUSIC DIRECTOR

ASSOCIATE CONDUCTOR

ASSOCIATE CONDUCTOR

CONDUCTOR EMERITUS

PRINCIPAL GUEST CONDUCTOR

Choral Director

FIRST VIOLIN Igor Yuzefovich° Concertmaster 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

Tan Wee-Hsin Tong Yi Ping Janice Tsai^ Yang Shi Li Yeo Jan Wea^

CELLO Ng Pei-Sian Principal Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Song Woon Teng Wang Yan Wang Zihao* Peter Wilson Wu Dai Dai Zhao Yu Er

SECOND VIOLIN

DOUBLE BASS

Wu Hai Xin^ Principal Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Nikolai Koval* Priscilla Neo 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*

Guennadi Mouzyka Principal Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Evgeny Lanchtchikov^ Ma Li Ming Jacek Mirucki Wang Xu

VIOLA Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Lim Chun^ Luo Biao Shui Bing

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

COR ANGLAIS

TRUMPET

Elaine Yeo Associate Principal

Jon Paul Dante Principal David Smith Associate Principal Lertkiat Chongjirajitra^ Sergey Tyuteykin Douglas Waterston^

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

TROMBONE

Tang Xiao Ping Assistant Principal

Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong

BASSOON

BASS TROMBONE

BASS CLARINET

Zhang Jin Min Principal Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue

CONTRA BASSOON Zhao Ying Xue Assistant Principal

HORN Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Kartik Alan Jairamin Hoang Van Hoc^ Li Qing Feng**

Wang Wei Assistant Principal

TUBA Hidehiro Fujita Principal

TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal

PERCUSSION Jonathan Fox Principal Mark Suter Associate Principal Mark De Souza Lim Meng Keh Ng Sok Wah^ Zhu Zheng Yi

HARP Gulnara Mashurova Principal

* 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 ** Member of the Guangzhou Symphony Orchestra

Musicians listed alphabetically by family name rotate their seats on a per programme basis.

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

Musicians’ Chair The Singapore Symphony Orchestra thanks the following organisations for supporting our Musicians’ Chair Programme. The programme supports artistic excellence initiatives in the orchestra’s annual operations.

Principal Cello

Ng Pei-Sian

FIXED CHAIR, Cello

Guo Hao

CORPORATE SEATS The Singapore Symphony Orchestra appreciates the support of companies in our Corporate Seats scheme. The scheme supports the Orchestra through regular attendance of subscription concerts. $20,000 and above Petrochemical Corporation of Singapore (Pte) Ltd Japanese Chamber of Commerce & Industry, Singapore $10,000 and above Hong Leong Foundation Stephen Riady Group of Foundations Nomura Asset Management Singapore Ltd Prima Limited

1979 FUND The Singapore Symphony Orchestra gratefully acknowledges the following corporations and individuals for their contributions towards the 1979 Fund.

The 1979 Fund is a campaign for contribution to the SSO Endowment Fund.

Allen & Gledhill LLP Stephen Riady Group of Foundations United Overseas Bank Limited Mrs Odile Benjamin Ms Cham Gee Len Prof Cham Tao Soon Mr Chng Hak-Peng Mr Chng Kai Jin Mr Goh Yew Lin Mr Khoo Boon Hui Prof Tommy Koh Ms Liew Wei Li Prof Arnoud De Meyer Mr S R Nathan Mr Andreas Sohmen-Pao Dr Tan Chin Nam Ms Tan Choo Leng Mr Wong Nang Jang Prof Chan Heng Chee Anonymous For more information or to make a donation, please contact the Development & Sponsorship Team at 6602 4234 or peggykek@sso.org.sg.

U P COM ING CONCERT S

20 APRIL 17 | Thu, 7.30pm ESPLANADE Concert Hall

Tan Dun • Farewell My Concubine Tan Dun conductor Ralph van Raat piano Xiao Di Peking Opera soprano Peking opera meets the piano in Grammy-winning composer Tan Dun’s concerto Farewell My Concubine, which paints a tragic love story between warrior Xiang Yu and consort Yu. Passacaglia: Secret of Wind and Birds draws on forms and methods from East and West, ancient and modern, and incorporates birdsong produced by smartphones.

“A dynamic conductor” – The New York Times on Tan Dun

BARTÓK Dance Suite

Download the audience participation bird sound clip using the QR code.

TAN DUN Concerto for piano and Peking opera soprano: Farewell My Concubine

TAN DUN Passacaglia: Secret of Wind and Birds (for cellphones and orchestra) BARTÓK The Miraculous Mandarin, Op. 19: Suite

Pre-concert Talk 6.30pm-7pm I library@esplanade Post-Concert Symphony Chat Foyer Stalls

esplanade Concert Hall

SSO Gala: Masaaki Suzuki Conducts Mozart Masaaki Suzuki conductor Marie Arnet soprano James Hall countertenor Alan Bennett tenor Callum Thorpe bass Singapore Symphony Chorus The Philharmonic Chamber Choir, Singapore Lim Yau choral director Expect purity and sublime spirituality as Masaaki Suzuki, founder of Bach Collegium Japan, brings glorious insights to Mozart’s final masterpiece, the Requiem in D minor. Suzuki prefaces this with the beloved G minor Symphony, which exudes astonishing grace and grief.

MOZART Symphony No. 40 in G minor, K.550 MOZART Requiem in D minor, K.626

Pre-concert Talk 6.30pm-7pm I library@esplanade

U P COM ING CONCERT S

28 APRIL 17 | FRI, 7.30pm

SSO DONORS

PATRON SPONSOR Tote Board Group (Tote Board, Singapore Pools & Singapore Turf Club) $200,000 and above Temasek Foundation Nurtures CLG Ltd Christopher Ho & Rosy Ho SMRT Corporation Limited Conrad Centennial Singapore Zhendong Foundation $100,000 and above Anonymous $50,000 and above John Swire & Sons (S.E. Asia) Pte Ltd Tan Chin Tuan Foundation Singapore Press Holdings Ltd Joseph Grimberg Kingsmen Exhibits Pte Ltd Mr & Mrs Goh Yew Lin Anonymous GK Goh Holdings Limited NSL Ltd TransTechnology Private Limited Aquilus Pte Ltd

$20,000 and above Stephen Riady Group of Foundations Interchem Pte Ltd Singapore Institute of Management Keppel Corporation Ltd Van Cleef and Arpels Far East Organization Centre Pte Ltd Lee Foundation, Singapore United Overseas Bank Ltd Anonymous Ms Paige Parker & Mr Jim Rogers Mdm Tan Siew Hoon

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$1,000 and above Anonymous Julian Chang Anonymous Arnoud De Meyer Judy Hunt Edmund Lin & Trina Liang-Lin Li Yuezhi Casio Singapore Pte Ltd Chandra Mohan Rethnam Robert Khan & Co Private Limited Dimple Sameer Aswani Lim Eng Neo Eric Wong Guy J P Hentsch Ng Keng Hooi Tan Khai Hee Kris Taenar Wiluan Lawrence Basapa & Celeste Basapa Tong Moi Eng Mr Robert & Cheryl Huray Ronald P Stride & Janet Stride Thorsten Walther Christopher & Bernice Franck Michelle Loh Robin Ian Rawlings Juliana and Clemente Benelli Chong Mi-Li Pamela Tan Boon Ngee Niyazi Taneri Obgyn Consultants Pte Ltd Wilmar International Limited Abigail Tan Pei Jun Alessandro Raniolo & Christine Pillsbury AndrĂŠ Klein Andreas Ruschkowski Anonymous Toshitaka Aoki Azima Moiz Aznan Abu Bakar Mr Bernard Jean Sabrier Bernhard Steiner Bettina Lieske Cynthia Chee Low Boon Hon Tan Boon Kheng Brian Holt Gambrill Britta Pfister Charles Robertson Raymond Phua Chee Whee Gan Chee Yen Khor Cheng Kian David Neo Chin Wee Goh Chiu Gak Christopher John Fussner Craig McTurk

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Zhang Naxin Kwee Nee Chia Irene Mr & Mrs Neil Tottman Anonymous Leow Oon Geok Patricia Yih Patrick Lee Wu Peichan Valerie Peter White Loh Pong Tuan Radakrishnan Somalingam Cees & Raife Armstrong Richard Jerram Richard Logan Richard R. Smith Ridzuan Farouk Robert Tan Mr Roberto Cartelli Rolf Gerber Satoru Yano Juliana and Sheng Gao Lee Shu Yen Seah & Siak Jeffrey Loke Sin Hun Siong Ted Lee Mr Ho Soo Foo Steven Bernasek Steven Luk Lee Suan Yew Susanna Ho Choon Mei Takashi Kousaka Anonymous Shang Thong Kai and Tiffany Choong Todd On Anonymous Tony & Serene Liok Vincent Musumeci Chan Wai Leong Warren Fernandez Cheng Wei Mr & Mrs Willem Mark Nabarro William H Hernstadt Xiao Li Tian Xiao Ye Victor Loo Janin Lau Ying Hui Anonymous Ling Yu Fei Belinda Koh Yuh Ling Bao Zhiming Christopher Chen *This list is for donations from 1 Jan 2016 to 31 Dec 2016.

FRANZ PETER SCHUBERT (1797-1828)

Symphony No. 8 in B minor, D.759 “Unfinished”

25’00

The romantic yearning in us to weave tales, to explore intriguing phenomena, and to solve mysteries has produced no end of speculation as to why Schubert’s B-minor Symphony is “unfinished”. Why should a composition of such heavenly beauty have remained a torso? Unlike other masterpieces such as Mozart’s Requiem, Mahler’s Tenth Symphony or Puccini’s Turandot, the composer’s death was not directly responsible, for the two movements that do exist were written six years before Schubert died.

Despite much scholarly research, we still do not have definite answers to the questions. Numerous stories and theories, many of them romantically-tinged, have been advanced to explain the mystery: that Schubert lost interest, that he forgot about it, that he saw no possibility of performance, that the remaining movements were lost, that the symphony is complete in its two-movement format, and so on. Evidence strongly suggests that Schubert deliberately, though reluctantly, abandoned the project when he realised that he could not write a third and fourth movement on the same exalted level as the first two. Supporting evidence include the fact that there exists a large number of other unfinished works from the same period of Schubert’s life (many of them in minor keys), and that all Schubert’s preceding symphonies, as well as the Great C-major that followed, are in four movements. Furthermore, we now know that an almost complete, notably inferior Scherzo for the B-minor Symphony was sketched out for piano, with nine bars orchestrated. Schubert realised that he was charting a new course at this point in his creative life, and that this new symphony would have to take into account what Beethoven had done in symphonic thought. Uncertain of how to proceed, he abandoned the symphony, unfortunately forever.

Schubert worked on the B-minor Symphony in the fall of 1822, then put it aside to devote his attention to the Wanderer Fantasy. When the Styrian Music Society of Graz conferred on him an honorary diploma (a rare public recognition of Schubert’s achievements in his lifetime) in April of 1823,

Schubert offered the incomplete symphony to the Society as a token of gratitude. In all likelihood he still intended to complete the symphony, but wanted the Society to have a new work of substantial proportions, even if still incomplete.

What happened next is unclear, but it seems that instead of going to the Society, the score passed into the hands of Schubert’s friend Josef Hüttenbrenner in the fall of 1823, and then into the possession of Josef’s brother Anselm. Anselm was a prominent figure in various musical circles, a composer, and member of the Styrian Music Society on whose behalf he kept the score in a trunk in his own home. Not until 1860, 32 years after Schubert’s death, did anyone hear about it again. Josef wrote to the conductor Johann Herbeck: “My brother possesses a treasure in Schubert’s B-minor Symphony, which we place on a level with the great C-major Symphony, … and with Beethoven’s. Only it isn’t finished.” It took Herbeck five years to follow up on this tantalizing lead. When he finally acted, he presented himself to Anselm Hüttenbrenner as a conductor interested primarily in performing his (Hüttenbrenner’s) music in Vienna, and only incidentally in Schubert’s, though his real intent was just the opposite. Herbeck conducted the first performance of Schubert’s symphony on 17 December 1865 at a concert in the large Redoubtensaal in Vienna’s Hofburg. The epithet “Unfinished” did not come into vogue until the 1890s, but it has stuck so firmly that many people know the work by its title alone.

Melancholy, yearning and sadness seem to pervade the music, relieved by periodic episodes of gorgeous melody. The first movement opens in dark mystery with a theme in the low strings. Softly murmuring violins continue, the line decorated by oboe and clarinet. Cellos sing – and that is the only word for it – the lilting, waltz-like second subject. These ideas are later developed and build to a powerful climax. The second movement opens with a theme of angelic sweetness, followed by a plaintive, slowly rising theme in the clarinet.

Twice this material builds to stormy emotional heights. The movement closes in a haze of seraphic serenity.

GUSTAV MAHLER (1860-1911)

Symphony No. 1 in D major “Titan” 1.

2.

3.

4.

53’00

Langsam. Schleppend. “Wie ein Naturlaut” – Immer sehr gemächlich (Slow. Dragging. “Like a sound of nature”– Always very easygoing) Kräftig bewegt, doch nicht zu schnell (With vigorous movement, yet not too fast) Trio: Recht gemächlich (Well moderated) Feierlich und gemessen, ohne zu schleppend (Solemn and measured without dragging) Stürmisch bewegt (Stormily)

Mahler was just 28 when he finished his gigantic First Symphony, one of the greatest Firsts ever written. It was begun in 1884 and completed four years later. Mahler subtitled the work “Titan”, after a novel by Jean Paul. The first performance took place in Budapest on 20 November 1889 with the composer conducting. In 1896, Mahler eliminated the so-called “Blumine” (Flowers) movement, which did not resurface until 1959.

Among the innovations one can point to in this symphony are the largest assemblage of orchestral musicians hitherto required in a symphony, and the incorporation of café, pop and gypsy music, especially in the “Funeral March” of the third movement. The evocation of nature in a symphony had been realised before (notably in Beethoven’s Pastoral Symphony and in Berlioz’s Symphonie fantastique), but nowhere else are the very sounds of nature so pervasively and integrally bound up with the symphonic thought than in the first movement of Mahler’s First. The opening moments of the work are unforgettable — that sustained, distant sound of strings spread across a sixoctave range vividly suggests the mystery and peace of the night into which are interjected cuckoo calls, far-off fanfares and fragments of still-unformed melodies. The mood of the lengthy slow introduction is finally dispelled by the sprightly theme of ”Ging heut’ morgen über’s Feld,“ (one of the Songs of

a Wayfarer, first heard in the cellos), followed by another lusty, outdoorsy theme. The music grows in fervor and intensity, culminating in a mighty outburst from the entire orchestra. The release of enormous, pent-up energy is crowned by three great whoops from the horn section, and the movement continues on its merry way to its ultimate conclusion.

The robust scherzo second movement is notable for its heavy rhythmic impulses derived from the Ländler, a rural Austrian dance. Special effects here include the use of the woodwind section en masse (often up to twelve players) in featured roles, breathtaking fanfares from the horns and trumpets.

A charming Trio, introduced by a poetic horn call, provides gentle contrast.

The third movement opens with a sinister, minor-key variant of the popular French folksong “Frère Jacques” (“Bruder Martin” in German-speaking lands).

The original title of “Funeral March” refers to Mahler’s parodistic portrayal in sound of a mock funeral procession, depicted in a book of Austrian fairytales. Beasts of the forest accompany a dead woodsman’s coffin to his grave.

The use of a double bass instead of a cello to begin the “Frère Jacques” tune adds a touch of the grotesque. The tune is used as a canon or round, with additional instruments taking up the tune in turn (bassoon, cellos, tuba, etc.) without waiting for the previous one to finish.

After this material has run its course we hear a new, sentimental theme in the oboes, this one also bearing a counter-theme, now in the trumpets.

Suddenly the sounds of a country fair intrude, music of a gypsy band with its corny melodies and relentless “um-pah” accompaniment. And then, as if from another world, Mahler offers an interlude of quiet repose – almost a dream sequence – in music of sublime beauty and gossamer textures. Eventually the mournful “Frère Jacques” music returns and the movement slowly recedes into the furthermost reaches of audibility.

Anyone who has dozed off to the third movement’s funereal tread will be instantly and rudely shocked back to his senses with the hellish outburst that opens the finale, one of the most frightening passages in all music. To Mahler, that opening cymbal crash followed by the roar of drums represented a flash of lightning emitted from a thunder cloud. Strings swirl and rage, woodwinds

in their highest registers scream in anguish, brass proclaim terrifying fanfares, and percussion evoke the din of battle and cataclysmic conflicts.

When the torrent of notes finally subsides, strings sing a consoling, infinitely tender and yearning song. The violent conflicts return, but this time they result in heroic proclamations from the brass. However, victory and fulfillment are not quite yet achieved. In another long, generally quiet passage, the music slowly gathers momentum, ultimately reaching a towering climax for which Mahler instructs the entire horn section to stand while it delivers fanfares from within an orchestra gleaming in a thousand dazzling, spectacular colours.

Programme notes by Robert Markow

Board Of Directors & Committees

PATRON President Tony Tan Keng Yam

BOARD OF DIRECTORS 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 Prof Arnoud De Meyer Mr Heinrich Grafe Mr Kwee Liong Seen Ms Liew Wei Li Ms Lim Mei Prof Lim Seh Chun Mr Andreas Sohmen-Pao Ms Tan Choo Leng Mr Paul Tan Dr Kelly Tang Mr Yee Chen Fah

NOMINATING AND EXECUTIVE COMMITTEE Mr Goh Yew Lin (Chairman) Mr Paul Tan Ms Yong Ying-I

AUDIT COMMITTEE Mr Yee Chen Fah (Chairman) Mr Kwee Liong Seen Ms Lim Mei

SSO COUNCIL

SSO LADIES’ LEAGUE

Prof Cham Tao Soon (Chairman) Mr Alan Chan 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 Tjia-DharmadiMartin Ms Paige Parker Ms Kris Tan Ms Manju Vangal Mrs Grace Yeh

MUSICIANS' COMMITTEE Mr Chan Wei Shing Mr Jon Paul Dante Mr Jamie Hersch Mr Jin Ta Mr Ng Pei-Sian Mr Marc-Antoine Robillard Mr Mark Suter Mr Christoph Wichert Mr Yang Zheng Yi Mr Yeo Teow Meng

SNYO COMMITTEE ENDOWMENT FUND COMMITTEE Prof Cham Tao Soon (Chairman) Mr David Goh Mr Paul Supramaniam Mr Anthony Teo

Ms Liew Wei Li (Chairlady) Mr Ang Chek Meng Ms Vivien Goh Dr Kee Kirk Chin Mrs Valarie Wilson

Management

CHIEF EXECUTIVE OFFICER Mr Chng Hak-Peng

CEO OFFICE

PROGRAMMES (VCH)

Mr Chris Yong

Ms Michelle Yeo (Head) Ms Erin Tan

ORCHESTRA MANAGEMENT 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 Mohamed Zailani bin Mohd Said Mr Muhammad 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

DEVELOPMENT & SPONSORSHIP Ms Peggy Kek (Head) Mr Anthony Chng Ms Nikki Chuang Ms Zhang Jingchao

MARKETING COMMUNICATIONS & CUSTOMER EXPERIENCE Ms Cindy Lim (Head) Mr Chia Han-Leon Ms Myrtle Lee 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 Mohamed Zailani bin Mohd Said

HUMAN RESOURCES & ADMINISTRATION Ms Wee Puay Cheng (Head) Mr Desmen Low Ms Shanti Govindasamy

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

A Standing Ovation for Our Corporate Partners Official Hotel

Official training partner

Official Postage Sponsor

Official Radio Station

Official Airline

Partners

LEE FOUNDATION

Supported by various corporate sponsors and individual donors, the Singapore Symphony Orchestra is a not-for-profit company limited by guarantee and registered under the Charities Order.

Singapore Symphony orchestra

www.sso.org.sg