Familiar Favourites: Tales of Love

LAN SHUI Music Director

SUBSCRIPTION CONCERT / Familiar favourites

TALES OF LOVE 15 November 2018

Esplanade Concert Hall

Performing Home of the SSO Kees Bakels, conductor Richard Lin, violin

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15 Nov 2018, Thu

FAMILIAR FAVOURITES: TALES OF LOVE Singapore Symphony Orchestra Kees Bakels, conductor GIOACHINO ROSSINI

Overture to La Cenerentola 8’

ERICH WOLFGANG Violin Concerto in D major, Op. 35 24’ KORNGOLD 1. Moderato nobile 2. Romance 3. Finale (Allegro assai vivace)

Richard Lin, violin

Intermission 20’

Richard Lin will sign autographs in the stalls foyer

PYOTR ILYICH TCHAIKOVSKY

Excerpts from Sleeping Beauty 47’

Concert duration: 1 hr 55mins Go green. Digital programme booklets are available on www.sso.org.sg.

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

S ing a p or e S y mp hon y Or c he s t r a 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.

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.

The SSO makes its performing home at the 1,800-seat state-of-the-art Esplanade

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 Rachmaninoff 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, Martha Argerich, Lang Lang, Yo-Yo Ma, Janine Jansen, Leonidas Kavakos and Gil Shaham.

The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, and the Singapore National Youth Orchestra.

The mission of the Group is to create memorable shared experiences with music. Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich Singapore’s diverse communities.

Kees Bakels conductor During his studies Kees Bakels became Assistant Conductor of the Amsterdam Philharmonic Orchestra and was subsequently appointed Associate Conductor. As Principal Guest Conductor of the Netherlands Chamber Orchestra, he toured festivals in England, Finland, Belgium and Spain and the USA. Bakels has held numerous positions with major orchestras, including Principal Conductor of the Netherlands Radio Symphony Orchestra, Principal Guest Conductor/Artistic Adviser to the Quebec Symphony Orchestra, Chief Guest Conductor of the Bournemouth Symphony Orchestra and Music Director of the Malaysian Philharmonic Orchestra.

He also works regularly in France with the Ensemble Orchestral de Paris and Orchestre National de Lille. Kees Bakels has conducted all the major Dutch orchestras, as well as orchestras in Europe, the USA, Australia and Japan.

Bakels’ guest-conducting engagements have included the orchestras of the National Arts Centre (Ottawa), Melbourne Symphony, Netherlands Philharmonic, Lausanne Chamber, Orquesta Ciudad de Granada, Berne Symphony, Het Brabants and the Sao Paulo Symphony.

He concentrates on as much opera as symphonic repertoire, championing the lesser known operas of composers such as Mascagni’s Zanetto, Amica, Il Piccolo Marat, Isabeau, Iris and Nerone and Leoncavallo’s La Bohème, Edipo Re and Zaza. He has appeared with the Netherlands Opera, the Vancouver Opera, the English National Opera and the Welsh National Opera, and conducted at the famous VARA Matinee Series at the Concertgebouw regularly over 25 years.

Bakels’ recordings include the complete Vaughan Williams symphonies and Nielsen Concerti with the Bournemouth Symphony Orchestra for Naxos and with the Netherlands Radio Symphony Orchestra for NM Classics. He has also recorded with the Philharmonia Orchestra for ASV, the Netherlands Chamber Orchestra for Denon, the Polish National Radio Symphony Orchestra and the London Symphony Orchestra. Recordings with the Malaysian Philharmonic for BIS include works by Dvorák, Sibelius, Khachaturian, Glazunov and RimskyKorsakov. His recording of Saint-Saëns Violin Concerto No. 3 with Jean-Jacques Kantorow/Tapiola Sinfonietta was nominated in the BBC Music Magazine Awards.

RICHARD LIN violin Taiwanese-American violinist Richard Lin is the newly crowned Gold Medalist of the 10th Quadrennial International Violin Competition of Indianapolis which took place in September of 2018.

Highlights of Lin’s 2018-2019 season include recitals in Chicago, La Jolla and throughout Indiana, including Indianapolis, New Harmony and Bloomington. He will make debut concerto appearances with the North Carolina and Muncie symphonies in the United States and will perform with the Singapore Symphony Orchestra, Yomiuri Nippon Symphony Orchestra, and the Taiwan Philharmonic in multiple performances in Kaohsiung, Taipei, Tokyo and Osaka.

Lin has collaborated with numerous other orchestras and performed at celebrated concert venues throughout the world including the Tokyo Symphony Orchestra under conductor Norichika Iimori at Tokyo’s Suntory Hall, the NDR Radiophilharmonie; Poznan, Lódz, and Polish Baltic Philharmonics; the orchestras of Shanghai, Nagoya, Sendai, Auckland and Oklahoma City, the Hong Kong Sinfonietta, National Taiwan Symphony Orchestra, Munich Chamber Orchestra, Amadeus Polish Chamber

Orchestra, and the Royal Chamber Orchestra of Wallonia among others.

His debut album on the Fontec label in 2013 features works by Beethoven, Bartók and Brahms performed with the Sendai Philharmonic under Pascal Verrot. The following year, he released the complete Brahms Sonatas for Piano and Violin with his brother, pianist Robert Lin. Richard Lin has amassed a startling collection of top prizes at major international competitions including 1st Prize at the Sendai International Violin Competition; 3rd Prize in the Joseph Joachim International Violin Competition in Hannover; and 2nd Prize at the Singapore and Michael Hill International Violin Competitions.

Born in Phoenix, Arizona and raised in Taiwan, Lin began his violin studies at the age of four. He gave his public debut at age 11 performing the Saint-Saëns Violin Concerto No. 3 with the Taipei Symphony Orchestra. Lin graduated from the Curtis Institute of Music and The Juilliard School where he studied with Aaron Rosand and Lewis Kaplan respectively.

SSO MU SICIAN S Lan Shui Music Director joshua tan Associate Conductor andrew litton Principal Guest Conductor Choo Hoey Conductor Emeritus Eudenice Palaruan Choral Director WONG LAI FOON Choirmaster

FIRST VIOLIN Igor Yuzefovich1 Concertmaster, The GK Goh Chair Lynnette Seah2 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^ Karen Tan William Tan Wei Zhe SECOND VIOLIN Timothy Peters^ Principal Michael Loh Associate Principal Hai-Won Kwok Fixed Chair

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 Luo Biao Julia Park Shui Bing Tan Wee-Hsin Janice Tsai Wang Dandan Yang Shi Li 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* Wu Dai Dai Zhao Yu Er DOUBLE BASS Guennadi Mouzyka Principal Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Ma Li Ming^ Jacek Mirucki Wang Xu

FLUTE Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan PICCOLO Roberto Alvarez Assistant Principal

Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Kartik Alan Jairamin^ TRUMPET Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong Sergey Tyuteykin

OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo

TROMBONE

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

BASS CLARINET Tang Xiao Ping Assistant Principal BASSOON Wang Xiaoke Principal Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue CONTRABASSOON

Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong

TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal PERCUSSION Jonathan Fox Principal Mark Suter Associate Principal Lim Meng Keh Zhu Zheng Yi HARP Gulnara Mashurova Principal

Zhao Ying Xue Assistant Principal HORN Han Chang Chou Principal Gao Jian Associate 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 Lynnette Seah performs on a J.B. Guadagnini of Milan, c. 1750, donated by the National Arts Council, Singapore, with the support of Far East Organization and Lee Foundation. ^Musician on temporary contract Musicians listed alphabetically by family name rotate their seats on a per programme basis.

1 2

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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

T he G K G oh C h a ir The SSO Concertmaster Chair is named for Mr GK Goh. We would like to thank the Family and Friends of Mr Goh Geok Khim for their donations. We are especially grateful to Mr and Mrs Goh Yew Lin for their most generous donation.

Igor Yuzefovich, Concertmaster The GK Goh Chair

LARGE GIF T S The SSO recognises large gifts in a variety of ways, including the naming of a position in the Orchestra. Endowing a Musician Chair associates your name with an orchestral position that has a special significance to you.

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Major Corporate Patrons Temasek Foundation Nurtures CLG Ltd Far East Organization Santa Lucia Asset Management Pte Ltd Interchem Pte Ltd John Swire & Sons (S.E. Asia) Pte Ltd Aquilus Pte Ltd Lee Foundation, Singapore G K Goh Holdings Ltd Kingsmen Exhibit Pte Ltd NSL Ltd Major Corporate Sponsors Conrad Centennial Singapore SMRT Corporation Singapore Airlines Ltd Singapore Press Holdings Ltd

Join our p r e s t ig ious l is t of c or p or at e pat r on s a nd sp on s or s Support Singapore’s national orchestra and form a special relationship with one of the country’s most celebrated arts groups. By committing to growing the arts through the SSO, you can increase your organisation’s visibility and reach an influential and growing audience. Corporate donors may also enjoy attractive tax benefits.

For more information on donations and sponsorships, please write to director_development@sso.org.sg

Thank you for attending Familiar Favourites: Tales of Love

This concert features Bernstein's rarely heard Serenade, essentially a 30-minute violin concerto depicting five interpretations of love. The vivacious Korean violinist Soyoung Yoon makes her Singapore debut, alongside returning Polish conductor Michał Nesterowicz.

SERENADE WITH SOYOUNG YOON ESPLANADE CONCERT HALL 29 NOV 2018 Soyoung Yoon, violin Michał Nesterowicz, conductor

Last seen at our National Day Concert, Singaporean violin star Kam Ning returns with her Loco Motive Trio in an eclectic programme of off-the-beaten track musical sunshine. It's going to be "The Best Day"!

THE BEST DAY WITH LOCO MOTIVE TRIO VICTORIA CONCERT HALL 3 MAR 2019 Kam Ning, violin Sébastien Walnier, cello Lisa De Boos, double bass

With a huge following online and a fun-loving personality to match, Ray Chen's finesse with the violin is as notable as his popularity on YouTube. His concert next March is highly anticipated.

Just 19 years of age this year, Chinese violinist He Ziyu made a startling debut with the Vienna Philharmonic in their 2016/17 season, one of the youngest to have ever done so. In April next year, he performs Mozart's Violin Concerto No. 4 with us under our pioneering Maestro Choo Hoey.

RAY CHEN ESPLANADE CONCERT HALL 15 MAR 2019

MAESTRO CHOO HOEY ESPLANADE CONCERT HALL 18 APR 2019

Ray Chen, violin Andrew Litton, conductor Singapore Symphony Orchestra With the Singapore National Youth Orchestra

He Ziyu, violin Choo Hoey, conductor

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GIOACHINO RO S S INI (1792–18 6 8) Overture to La Cenerentola 8’ La Cenerentola (Cinderella) was first seen in Rome on 25 January 1817 (about a year after The Barber of Seville). It was Rossini’s 19th opera, hence coming at about the mid-point of his total output of 39 operas. Although La Cenerentola was not a great success at first, it soon caught on, and today ranks as one of Rossini’s most performed and beloved operas.

All the hallmarks of Rossini’s best overtures are in this one: the maestoso introduction full of grand gestures and surprises (such as the “impoverished” sound of the first chord and the passing reference to a passage from Beethoven’s

Instrumentation 2 flutes, 1 doubling on piccolo 2 oboes 2 clarinets 2 bassoons, 2nd doubling as 1st bassoon 2 horns 2 trumpets bass trombone timpani bass drum strings World Premiere 25 Jan 1817 First performed by SSO 24 Apr 1981

RECOMMENDED LISTENING Rossini: Overtures - La Gazza Ladra - Il Barbiere di Siviglia - La Cenerentola – Semiramide Zagreb Festival Orchestra & Michael Halász (Smooth Classical, 2016)

PROGRAMME NOTES

As with most of his operas, La Cenerentola was composed at breakneck speed ̶ in less than a month. Under such circumstances, it is perhaps not surprising that Rossini borrowed one of his own overtures, that of La Gazzetta (“The Newspaper”), which had been premiered a year before in Naples. Though usually billed as a “comic” opera, La Cenerentola is really something more, rather like Mozart’s The Marriage of Figaro or Wagner’s Die Meistersinger von Nürnberg, which combine a warmly human situation with humorous touches. It is a variant of the Cinderella story, the sentimental tale that depicts the transformation of a lowly scullery maid into a lovely, regal woman.

Second Symphony); the scintillating charm, irresistible elegance, and buoyant rhythm of the first allegro theme; the second theme given to a woodwind instrument (initially clarinet, later oboe followed by piccolo); a couple of long crescendos, with their thrilling gathering of forces (the melodic shape of the crescendos found their way into the first act’s finale as well); and the exuberant conclusion.

ERICH WOL F GANG KORNGOL D (18 97–1957 ) Violin Concerto in D major, Op. 35 24’ No composer was more deserving of the moniker Wunderkind than Erich Wolfgang Korngold. He was already an accomplished pianist by the age of 5.

He composed a cantata at 9, a piano sonata at 11, and a ballet at 13, which was performed by the Austrian Imperial Ballet by command of the Emperor Franz Joseph. By his mid-teens he was producing orchestral works of lasting substance: the Schauspiel-Ouvertüre, commissioned and premiered by Arthur Nikisch, and the 45-minute Sinfonietta, first performed by no less than Felix Weingartner and the Vienna Philharmonic. Bruno Walter conducted a pair of short operas the lad had finished at 16. Before he was 20, the likes of Schnabel, Cortot and Kreisler were programming his music on their recitals.

Then there was the opera Die tote Stadt (“The Dead City”), first performed when Korngold was just 23, a huge success that played in over 80 theatres in its first season alone.

But even all this takes second place to the music that fixes Korngold most securely in the annals of music history. The decade from the mid-1930s to the mid-1940s saw him in Hollywood, turning out film scores to such classics as The Adventures of Robin Hood, Anthony Adverse, Of Human Bondage, Kings Row, Captain

Blood and The Sea Hawk, among many others. He became the first composer of international stature to hold a contract with a movie studio (Warner), and millions of movie-goers have thrilled to his brash, swashbuckling themes, to sumptuously scored love music and to grandly heroic evocations of historical pageantry. As musicologist David Wright has noted, Korngold “is clearly the link between the vivid, quasi-cinematic tone poems of Richard Strauss and today’s film scores in the grand manner by John Williams.”

The film connection is entirely relevant to Korngold’s Violin Concerto, as most of its principal themes are drawn from his film scores. Late in life, Korngold returned to composing strictly classical music; the Violin Concerto is one of the happiest results of this return. It begun as far back as 1937 but was set aside and not completed until 1945, at the urging of violinist Bronislaw Huberman who evidently expected to give the world premiere. But the honour went to Jascha Heifetz instead, on 15 February 1947, with Vladimir Golschmann conducting the St. Louis Symphony Orchestra. Heifetz’ 1953 recording of the concerto is still regarded as one of the crown jewels of the violinist’s discography. The composer’s own tribute sums up Heifetz’ accomplishment: “In spite of the demand for virtuosity in the finale, the work, with its many melodic and lyric episodes, was contemplated rather for a Caruso than for a Paganini. It is needless to say how delighted I am to have my concerto performed by Caruso and Paganini in one person: Jascha Heifetz.”

Instrumentation 2 flutes, 1 doubling on piccolo 2 oboes, 1 doubling on cor anglais 2 clarinets bass clarinet 2 bassoons, 1 doubling as contrabassoon 4 horns 2 trumpets bass trombone timpani glockenspiel, xylophone, vibraphone, cymbals, bass drum harp celesta strings World Premiere 15 Feb 1947 First performed by SSO 17 May 1996 (soloist Jin Li, presently First Violin of the SSO)

PROGRAMME NOTES

The concerto is pure romanticism all the way, and the soloist is seldom out of the spotlight. The long opening theme, which spans two octaves in the first five notes alone, comes from the film score for Another Dawn (1937). An equally expansive second theme derives from Juárez (1939). Anthony Adverse (1936) is the source of the principal theme of the second movement, while the contrasting middle section, marked misterioso, is newly minted. David Wright describes the latter passage as “a polytonal fantasy whose exotic scoring includes muted solo violin and celesta, wandering through a dream landscape.” The jaunty, propulsive finale, based on the principal theme from The Prince and the Pauper (1937), takes the soloist through the kind of daredevil displays that stir audiences – both in movie houses and in concert halls – to spontaneous eruptions of cheers and hurrahs.

PYOTR ILYICH TCHAIKOV SK Y (18 4 0 –18 93) Excerpts from Sleeping Beauty 47’ Prologue Introduction No. 1 Marche No. 2 Scène dansante No. 3 Pas de six Var. 1 Candide (Fairy of Grace) Var. 2 Coulante, Fleur de farine

(Fairy of the Enchanted

Garden) Var. 3 Miettes qui tombent

(Fairy of Generosity) Var. 4 Canari qui chante

(Fairy of Songbirds) Var. 5 Violente (Fairy of Courage) Var. 6 La Fée des lilas

(The Lilac Fairy) Coda No. 4 Final

Act I No. 5 Scène No. 6 Waltz No. 7 Scène No. 8(a) Pas d’action: Adagio Charles Perrault’s fairy tale of the Sleeping Beauty from his Mother Goose stories has captured the imagination of dozens of composers: operas by Humperdinck and Respighi, cantatas by Reinecke and Raff, ballets by Henze and Herold, songs

by Borodin and Debussy, a film score by Poulenc, and much more. But standing

head and shoulders above all others is Tchaikovsky’s ballet score, which captures all the beauty, magic and enchantment of Perrault’s tale to perfection. Tchaikovsky himself thought it to be one of his greatest creations. Since its first performance in St. Petersburg on 15 January 1890, it has been continuously in the repertory, and it remains one of the half dozen most beloved of all full-length ballets.

The music for Tchaikovsky’s Sleeping Beauty can properly be described as “symphonic” in that, unlike most other ballet scores of the 19th century, it has an inner, organic unity achieved through the use of leading motifs and formal but flexible design (as opposed to a succession of unrelated short numbers).

To Tchaikovsky’s biographer John Warrack, “no score of his possesses a finer flow of brilliant, attractive, memorable ideas; but it does so because of the strength of the design.”

The theme of good triumphing over evil, and life over death, is represented by the frequent recurrence in various guises of the motifs of the wicked fairy Carabosse and the good Lilac Fairy. Indeed the first sounds we hear introduce us to these two motifs right from the very start. There is no mistaking which is which! In tonight’s performance, following this dramatic Introduction, we hear the entire Prologue (the equivalent of a whole act in itself) and nearly all of Act I in one continuous sweep – about a third of the complete ballet score.

Act I depicts the 16th birthday celebrations for Princess Aurora. Peasants and courtiers crowd into the palace garden and dance one of Tchaikovsky’s most famous waltzes. Alert ears will detect the sound of the glockenspiel in the orchestra, a new instrument the composer had famously used to depict the Sugar-Plum Fairy in his previous ballet score, The Nutcracker. Princess Aurora makes her first appearance in the story and dances a brief solo number. Tonight’s performance concludes with the famous Rose Adagio, so-called because each of the four suitors Aurora’s father has invited to the party dance with her and present her with

a rose. The number is marked Adagio maestoso in the score, though it is usually played more like an Andante. No matter, really. The music is grandly symphonic, sumptuously scored, Tchaikovsky in his most glorious orchestra vein.

Programme notes by Robert Markow

Instrumentation 2 flutes piccolo 2 oboes cor anglais 2 clarinets 2 bassoons 4 horns 2 trumpets 2 cornets 3 trombones tuba timpani triangle, tambourine, glockenspiel, snare drum, cymbals, bass drum harp strings World Premiere 15 Jan 1890 First performed by SSO 15 Nov 2018 (Suite first performed 19 Sep 1997)

PROGRAMME NOTES

The curtain rises on the court of King Florestan and his Queen. Catalabutte is serving as the Master of Ceremonies for the christening of the newly-born Princess Aurora. Guests and courtiers enter to a march, followed by the six fairies and their cavaliers. Each fairy individually presents her gift to the infant princess, after which they all together dance in the coda. But there is trouble ahead. The ugly old fairy Carabosse bursts in, furious that she has not been invited to the festivities. She is unforgiving about the oversight, but she will deliver a present to the Princess nonetheless. To the horror of the entire court, she pronounces her gift – a curse – and storms out. By sheer luck, the Lilac Fairy has still not presented her gift. She cannot undo the curse, but she can soften it: instead of dying, the Princess will prick her finger on a spindle and go into a deep sleep for one hundred years, after which she will be awakened by a handsome prince.

b oa r d of dir ec tor s & COMMITTE e S board of directors Mr Goh Yew Lin (Chair) Ms Yong Ying-I (Deputy Chair) 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

SSO Council HUMAN RESOURCES Committee Ms Yong Ying-I (Chair) Prof Arnoud de Meyer Mr Yee Chen Fah Dr Kelly Tang Endowment Fund Committee Mr Goh Yew Lin (Chair) Mr David Goh Mr Sanjiv Misra Audit Committee Mr Yee Chen Fah (Chair) Mr Heinrich Grafe Ms Lim Mei

Nominating and Executive Committee

SNYO Committee

Mr Goh Yew Lin (Chair) Prof Arnoud de Meyer Mr Paul Tan Ms Yong Ying-I

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

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

Prof Cham Tao Soon (Honorary Chair) Mr Alan Chan (Chair) 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 SSO LADIES’ LEAGUE Mrs Odile Benjamin (Chair) Mrs Kwan Lui (Deputy Chair) 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

MANAGEMENT CHIEF EXECUTIVE OFFICER Mr Chng Hak-Peng

CEO OFFICE

PROGRAMMES (VCH)

CORPORATE SERVICES

Ms Shirin Foo Mr Lim Yeow Siang Mr Edward Loh Mr Chris Yong

Ms Erin Tan

Mr Rick Ong (Head) Mr Alan Ong (Finance) Ms Goh Hoey Fen (Finance) Mr Jeffrey Tang (IT) Mr Md Zailani bin Md Said

ORCHESTRA MANAGEMENT Mr Ernest Khoo (Head) Orchestra Mr Chia Jit Min Ms Tan Wei Tian Concert Operations Ms Kimberly Kwa (Production Manager) Ms Chin Rosherna Mr Md Sufiyan Mr Ramayah Elango Mr Md Fariz bin Samsuri Library Mr Lim Lip Hua Ms Priscilla Neo Ms Wong Yi Wen PROGRAMMES (SSO) Ms Kua Li Leng (Head) Ms Teo Chew Yen Ms Jodie Chiang Community Outreach Ms Kathleen Tan Ms Vanessa Lee Choral Programmes Ms Regina Lee Ms Whitney Tan

DEVELOPMENT & PARTNERSHIPS Ms Peggy Kek (Head) Corporate Communications Ms Leong Wenshan Mr Chris Yong Development Mr Anthony Chng Ms Chelsea Zhao Ms Nikki Chuang 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 Dacia Cheang Ms Nur Shafiqah bte Othman

HUMAN RESOURCES & ADMINISTRATION Mr Desmen Low Ms Melissa Lee Ms Evelyn Siew SINGAPORE NATIONAL YOUTH ORCHESTRA Ms Pang Siu Yuin (Head) Ms Yuen May Leng 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

SNYO PRE-TOUR CONCERT JOURNEY OF FRIENDSHIP 6 December 2018 Esplanade Concert Hall Lee Jia Yi Arutiunian Elgar

Bloom SNYO COMMISSION, WORLD PREMIERE Trumpet Concerto Enigma Variations, Op. 36

Peter Stark SNYO Principal Guest Conductor

Tickets from $15

Concessions: $10 (cat 2) Friends of the SSO: 10% off © Juan Martínez

SSO.ORG.SG

Pacho Flores @ snyo.sg

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