Olli Mustonen • Prokofiev Piano Concerto 2

LAN SHUI Music Director

SUBSCRIPTION CONCERT

OLLI MUSTONEN • PROKOFIEV PIANO CONCERTO 2 26 October 2018

Esplanade Concert Hall

Performing Home of the SSO Hannu Lintu, conductor Olli Mustonen, piano

Themes from: Battlestar Galactica (1978) Hawaii Five-O Charlie's Angels X-Files Miami Vice Moonlighting Dallas M*A*S*H The Love Boat Golden Girls Greatest American Hero Friends ER House of Cards Law & Order Game of Thrones Star Trek Discovery Sex & The City Downton Abbey Fame Don't Stop Believing

26 Oct 2018, Fri

OLLI MUSTONEN • PROKOFIEV PIANO CONCERTO 2 Singapore Symphony Orchestra Hannu Lintu, conductor PYOTR ILYICH TCHAIKOVSKY

Francesca da Rimini, Op. 32 19’

SERGEI PROKOFIEV

Piano Concerto No. 2 in G minor, Op. 16 31’

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Andantino – Allegretto Scherzo. Vivace Intermezzo. Allegro moderato Finale. Allegro tempestoso

Olli Mustonen, piano

Intermission 20’

Olli Mustonen will sign autographs in the stalls foyer

JEAN SIBELIUS

Symphony No. 1 in E minor, Op. 39 38’

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Andante, ma non troppo – Allegro energico Andante (ma non troppo lento) Scherzo: Allegro Finale (Quasi una fantasia)

Concert duration: 2 hrs 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.

Hannu Lintu conductor With a “scrupulous ear for instrumental color and blend” (Washington Post) and bringing “a distinctive dynamism to the podium” (Baltimore Sun), the 2018/19 season marks Hannu Lintu’s sixth year as Chief Conductor of the Finnish Radio Symphony Orchestra.

Guest highlights of the 2018/19 season include returns to the Baltimore, St Louis and Cincinnati Symphony Orchestras, the New Japan Philharmonic Orchestra, and the Singapore Symphony Orchestra and NDR Elbphilharmonie (following highly successful debuts in 2017); Lintu also makes his debut with the Boston Symphony and Hungarian National Philharmonic Orchestras.

Other recent engagements include the Tokyo Metropolitan, Washington’s National, Dallas and Detroit Symphony Orchestras, NAC Orchestra, Ottawa, and his debut with the Orchestre de Paris.

A regular in the pit, Lintu works frequently with the Finnish National Opera and Ballet, returning in March 2019 to conduct Berg’s Wozzeck. In 2017 he received rave reviews for Kullervo, a special collaborative project with director/ choreographer Tero Saarinen honouring 100 years of Finnish independence and

on which Opera Magazine commented: “No other conductor – including several distinguished Sibelians – I have heard in this music has been quite so willing to show what makes [Kullervo] so original”.

Other previous Finnish National Opera productions include Parsifal, Carmen, Sallinen’s King Lear and Wagner’s Tristan und Isolde. In July 2017, as part of Finland’s centenary celebrations, Lintu conducted Sallinen’s Kullervo at the Savonlinna Opera Festival, returning in 2018 for four performances of Verdi’s Otello.

Lintu has made several recordings for Ondine, BIS, Naxos, Avie and Hyperion.

He studied cello and piano at the Sibelius Academy, where he later studied conducting with Jorma Panula, and participated in masterclasses with MyungWhun Chung at the L’Accademia Musicale Chigiana in Siena, Italy, taking First Prize at the Nordic Conducting Competition in Bergen in 1994.

Olli Mustonen piano Olli Mustonen has a unique place on today’s music scene. Following the tradition of great masters such as Rachmaninoff, Busoni and Enescu, Mustonen combines the roles of his musicianship as composer, pianist and conductor in an equal balance that is quite exceptional, often bringing them together in one fascinating triple role performance.

During an illustrious career spanning 35 years, Finnish-born Mustonen has brought his extraordinary musical insight to many of world’s most significant musical centres, whether it be in a triple role or as soloist, conductor, recitalist or chamber musician. His intelligence and inspiring presence have led him towards many close musical connections with some of today’s most eminent musicians, and appearances with the world’s leading orchestras.

Meanwhile his life as a composer is at the heart of his piano playing and conducting.

He has a deeply held conviction that each performance must have the freshness of a first performance, so that audience and performer alike encounter the composer as a living contemporary. In this respect

he recalls Mahler’s famous dictum, that tradition can be laziness, yet he is equally suspicious of the performance that seeks only to be different. This tenacious spirit of discovery leads him to explore many areas of repertoire beyond the established canon.

A strong exponent of Prokofiev’s music, Mustonen has performed and recorded all of Prokofiev’s Piano Concertos for the Ondine label, and is unusual in also offering the complete cycle of Prokofiev Piano Sonatas. His recording catalogue is typically broad-ranging and distinctive; prior to his Prokofiev concerti recording, he released a highly-acclaimed recording of his own Cello Sonata with Steven Isserlis for BIS. Mustonen’s release of Preludes by Shostakovich and Alkan received the Edison Award and Gramophone Award for the Best Instrumental Recording.

SSO MU S ICIAN 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 Vesa-Matti Leppanen^ Concertmaster 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 Sui Jing Jing (1958-2018) Karen Tan William Tan Wei Zhe SECOND VIOLIN Anna Søe^ Principal Michael Loh Associate Principal Hai-Won Kwok Fixed Chair

Nikolai Koval* Lee Shi Mei^ Chikako Sasaki* Margit Saur Shao Tao Tao Sun Minxian# 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 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* 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

HORN

Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan

Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Kartik Alan Jairamin^

PICCOLO Roberto Alvarez Assistant Principal OBOE Rachel Walker Principal Pan Yun Associate Principal Andreas Fosdal^ Carolyn Hollier Elaine Yeo COR ANGLAIS Elaine Yeo Associate Principal CLARINET Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping

TRUMPET Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong Sergey Tyuteykin TROMBONE Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong BASS TROMBONE Wang Wei Assistant Principal TUBA Hidehiro Fujita Principal TIMPANI

BASS CLARINET Tang Xiao Ping Assistant Principal

Christian Schiøler Principal Jonathan Fox Associate Principal

BASSOON

PERCUSSION

Wang Xiaoke Principal Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue

Jonathan Fox Principal Mark Suter Associate Principal Lim Meng Keh Joachim Lim^ Zhu Zheng Yi

CONTRABASSOON Zhao Ying Xue Assistant Principal

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 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. # Member of the Shanghai Orchestra Academy ^Musician on temporary contract Musicians listed alphabetically by family name rotate their seats on a per programme basis.

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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

OPEN CALL CALL FOR SINGERS SINGERS

Audition Details Audition Details For ages 16 to 35 For ages 16 to 35 Fee: refundable $50 deposit Fee: refundable $50 deposit Registration closing date: 28 October 2018 Registration closing date: 28 October 2018 Auditions will be held on 11 November 2018 Auditions will be held on 11 November 2018 Video Games Classics is on 5 April 2019 Video Games Classics is on 5 April 2019

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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

L ARGE 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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Thank you for attending Olli Mustonen: Prokofiev Piano Concerto 2

Our next guest pianist is Lim Yan, the new Singapore Piano Festival Artistic Director, who was last seen in action with the Borodin Quartet. In January, he performs Beethoven's majestic Emperor Piano Concerto, in a programme that also includes the Seventh Symphony.

SSO 40TH ANNIVERSARY GALA ESPLANADE CONCERT HALL 18 JAN 2019 Lan Shui, conductor Lim Yan, piano

"A pianist like a thunderbolt" - With winning looks and praiseworthy talent, Korean-German pianist Christopher Park is one to watch in Mozart's Piano Concerto No. 20, presented over two nights in February.

CHRISTOPHER PARK PLAYS MOZART VICTORIA CONCERT HALL 22 & 23 FEB 2019 Bruno Weil, conductor Christopher Park, piano Sponsored by

An all-Russian programme featuring Tchaikovsky's high-intensity Fifth Symphony and Borodin's vigorous Prince Igor Overture, with popular star violinist Ray Chen in Prokofiev's Violin Concerto No. 1. Get your tickets early.

SSO GALA: RAY CHEN ESPLANADE CONCERT HALL 15 MAR 2019 Andrew Litton, conductor Ray Chen, violin Singapore National Youth Orchestra

"The last Romantic" - Rachmaninov's sweeping, beautiful Piano Concerto No. 2 will be performed by the remarkable Uzbek pianist Behzod Abduraimov, who has been heaped with praise despite his young age.

The LA Times called him a pianist whose fingers "seem as though they were made to create rainbows."

SSO GALA: RACHMANINOV PIANO CONCERTO 2 ESPLANADE CONCERT HALL 12 APR 2019 Lionel Bringuier, conductor Behzod Abduraimov, piano

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PYOTR ILYICH TCHAIKOV SK Y (18 4 0 –18 93) Francesca da Rimini, Op. 32 19’ The 36-year-old Tchaikovsky was sent to Bayreuth to cover the world premiere of Wagner’s Ring cycle in August 1876 for the Russian press. He did not enjoy the experience and was happy to return home. By October, he started on his next orchestral work, based on Francesca da Rimini – a historical figure of the 13th century featured in one of the most famous episodes in Dante’s Divine Comedy.

Francesca, daughter of the Lord of Ravenna, was betrothed to the deformed Gianciotto Malatesta but was caught having an affair with Gianciotto’s younger brother, Paolo. Gianciotto killed them both. Tchaikovsky had previously planned to write an opera on this subject (which Rachmaninoff later did) but fell out with his librettist – who had wanted a Wagnerian music drama.

Tchaikovsky swiftly sketched out Francesca in just three weeks. He wrote to his brother, Modest (who later wrote the libretto for Rachmaninoff’s opera), “I have worked at it with love, and the love (the central section), I think has been quite successful.” Tchaikovsky also realised that it was written “under the influence of [Wagner’s Ring of the] Nibelungen”, remarking with some irony, “isn’t it strange that I should have fallen under the

influence of a work of art for which I feel, on a whole, a marked antipathy?”

Subtitled “Symphonic Fantasy after Dante”, Tchaikovsky provided the following write up in his manuscript: “Dante, accompanied by Virgil’s ghost, descends into the second circle of the Hellish abyss. Here the walls echo with cries of despair. In the midst of the Stygian gloom is a fantastic storm. Violent, Hellish whirlwinds carry away tormented souls.

Out of the countless spinning earthly spirits, Dante notices two in particular: Francesca and Paolo, who are locked in an embrace. Dante calls out to these tortured souls, and asks them for what terrible crimes they were being punished.

Francesca’s spirit, drenched with tears, recounts their pitiful tale.

She was in love with Paolo, but against her will she was forced to marry the hateful brother of her beloved – the hunchbacked, twisted tyrant of Rimini.

Despite his violent jealousy, he was not able to wrest Francesca’s heart from her passion for Paolo.

Together one day they read the story of Lancelot and Guinevere. “We were one,” recounts Francesca. “And after reading this we no longer felt the fear and confusion that had marked our previous meetings. But that one moment destroyed us. By the time we reached Lancelot’s first chance of love, nothing could now part us. In a moment of weakness we openly expressed our clandestine love for

one another, throwing ourselves in each other’s arms”.

At this moment Francesca’s husband returned unexpectedly, and stabbed her and Paolo to death.

And after telling this, Francesca’s spirit, and that of Paolo, were snatched away in the raging whirlwind. Overwhelmed by the endless suffering, Dante, completely exhausted, falls.”

World Premiere 9 Mar 1877, Moscow First performed by SSO 20 Sep 1996

PROGRAMME NOTES

Tchaikovsky also remarked that the ominous brass opening represents the “gateway to the Inferno (‘Abandon hope, ye who enter here’) [and] Tortures and agonies of the condemned”, as the rush of music depicts the infernal whirlwinds.

Francesca then relates her story, with the clarinet lamenting her unfortunate tale, and the surging music tells of her illicit love affair with Paolo. Francesca’s love theme soars to climatic heights, but is cut off by the powerful closing section, as divine judgement is passed and the lovers are swept away on the eternal tempest.

Instrumentation 3 flutes, 1 doubling on piccolo 2 oboes cor anglais 2 clarinets 2 bassoons 4 horns 2 trumpets 2 cornets 3 trombones tuba timpani cymbals, bass drum, tam-tam strings

SERGEI PROKOF IEV (18 91–195 3) Piano Concerto No. 2 in G minor, Op. 16 31’ Prokofiev performed the solo part himself at the premiere of his Second Piano Concerto on 5 September 1913 in St Petersburg. It was reported that there was a general exodus from the hall, with audience members shouting “this kind of music will drive you crazy!” and “the devil with such futuristic music, my cat can play like that!” as the hall emptied while the concerto was being performed. Most of the remaining audience booed at the end, to which the 22-year-old composer, enjoying the reception, bowed “with an air of mockery”, and performed an encore.

The Concerto received several colourful reviews, with Yuri Kurdyumov of the Peterburgsky Listok describing the concerto as “a Babel of insane sounds heaped upon one another without rhyme or reason”, while Nikolai Bernstein of the Peterburgskaya Gazeta wrote that “one might think [the cadenzas] were created by capriciously emptying an inkwell on the page”. However, one critic – Vyacheslav Karatygin of the newspaper Rech – wrote that while the audience was “left frozen with fright”, he opined that “this means nothing. Ten years from now it [the public] will atone for last night’s jeering by unanimously applauding a new composer with a European reputation.” He was right.

Many things changed in those ten years: the Russian revolution had taken place, and the original manuscript of this concerto was lost in a fire. Prokofiev had emigrated to Paris, and around 1923, reconstructed the concerto from his sketches. What we know today as the Second Piano Concerto is thus a blend of youthful imperiousness and technical polish – Prokofiev had incorporated some of the compositional experience which he had gained in the intervening decade.

This version was presented in Paris in May 1924, with Serge Koussevitzky conducting, and was enthusiastically received. However, it took yet another 50 or so years before the Concerto entered into the general repertoire. It is now firmly established as a regular feature in most major piano competitions and concert halls.

The piano opens the first movement with a passage marked narrante (“like a narrative”). It gathers strength and momentum, as the orchestra churns below. A whimsical woodwind section brings some biting sarcasm before the soloist performs an extended cadenza. The orchestra returns furiously, with torrential chords crashing down on the musical fabric, before a soft coda concludes the movement.

Parallel octaves permeate the solo part throughout the virtuosic second movement – a perpetuum mobile (“perpetual motion”) with the orchestra alternating between supporting and interjecting while the pianist motors onwards. Contrastingly,

the third movement is infused with a rhythmic ostinato which is introduced at the very start. This is a brisk and sarcastic march disguised as an intermezzo, with mocking outbursts and discordant chords.

The Allegro tempestoso finale floors the accelerator from the outset, with a headlong rush into the piano’s opening theme. The onward drive and brilliant passages are brought to a sudden halt by a folk-tune. The music then builds to a climax before the final cadenza of the concerto. Trumpets lead the return of the tempestuous opening theme, closing the concerto with flashing brilliance.

Instrumentation 2 flutes 2 oboes 2 clarinets 2 bassoons 4 horns 2 trumpets 3 trombones tuba timpani bass drum, cymbals, tambourine, snare drum strings World Premiere 8 May 1924 (Final version)

RECOMMENDED LISTENING

First performed by SSO 10 May 1996 (Xu Zhong)

Prokofiev: Piano Concertos Nos. 2 & 5 Olli Mustonen, Hannu Lintu & The Finnish Radio Symphony Orchestra (Ondine, 2017)

PROGRAMME NOTES

Programme notes by Christopher Cheong

JEAN S IB E L IU S (18 6 5 –1957 )

The strings are the first to pick up the motif. The symphony swells with energy as the orchestra heaves and swirls in mounting heroism. And then: a brilliant Symphony No. 1 in E minor, Op. 39 38’ sunburst of trumpets, upheld by bellowing horns and pounding timpani. Sibelius has begun.

The musical language of Sibelius’ First Symphony is inherited from the tragi-heroic Continue listening for the motif: a phrase tone of his Kullervo choral symphony typically with a long note, followed by (1892), the orchestral colours of his some form of a 4-note figure. Some Lemminkäinen Legends (1895), and variants are obvious, while others are precursors the nationalistic fervour of ‘almost it, but not quite’. In the words of Finlandia, which he would write soon after. Sibelius biographer Erik Tawaststjerna, “at times it will be obvious and at others Sibelius’ First has often been considered a it will only be intuitively felt. But the total Romantic symphony of Tchaikovskian vein impression is one of organic continuity.” – – an awkward comparison since Russia a characteristic in all of Sibelius’ music. at that time stood between Finland and The return of the heroic trumpet theme her independence. Nevertheless Sibelius signals the final stretch of the first did profess an admiration for the Russian movement, having told its grand tale of composer. It is perhaps better to say they brazen drama. Shortly after a meditative shared a common musical vocabulary, episode with winds musing wistfully over except what each composer did with it is harp, the orchestra plunges into the distinct. movement’s conclusion: defiant blasts of brass, basses growling, and two fearsome The opening of Sibelius’ First is not with final chords, pizzicato. fanfare, but with a forlorn clarinet solo – a long note followed by a chromatic The opening of the Andante evokes the rising figure – over a quiet timpani roll. fragile beauty of a sunset over a Karelian Not exactly a full-blown melody, this lake. Over lush horns and harp, the strings wandering motif or ‘theme’ is the basis of hum the main theme, also derived from the the entire work. In 1898 when he began clarinet solo. A pastoral middle episode is plans for his first symphony, Sibelius was highly reminiscent of a Tchaikovsky ballet, already a natural at his symphonic idiom. even as it grows in tension. Impassioned The clarinet introduction is an example defiance overwhelms the stage again, with of one of his principal motifs that does a rare appearance of cymbals – the only two things. First, its organic development time Sibelius would use it in a symphony, moulds variants that are woven to generate and here in a slow movement, no less. The progress and a sense of melody; secondly, Andante ends with a reprise of the gentle it evolves and culminates in a final, opening tune. ‘ultimate’ form.

The Scherzo launches with the strings in furious pizzicato, with thundering timpani and trumpets. Flutes and horns lead the luscious central trio. The quick interchanges within the score create a palpably nervous momentum.

Sibelius wrote seven symphonies and destroyed an Eighth. He never repeated himself, hence each is different, each further solidifying 20th century Finnish musical identity. He would never write a symphony like his First ever again. It ends, like in the first movement, with two fateful pizzicato chords – the first mezzoforte, the last piano, fading into poignant silence: the last twinkle of stars at dawn. It is the end of the 19th century. Finland is about to awake.

Programme note by Chia Han-Leon

World Premiere 1 Jul 1900 First performed by SSO 16 Mar 1984

PROGRAMME NOTES

In the Finale, the clarinet theme returns in anguish on the strings. The pace gradually quickens into an anxious passage in ‘chase’ mode. Suddenly, the curtain rises to reveal a broad ‘Romantic’ melody on strings, filled with yearning passion. Like a slow, majestic version of the main theme fused with the nostalgic beauty of the slow movement, it is almost startling to note that this is effectively the first true, long, singing melody in the symphony. Like the famous finale of the Second Symphony, the First has found its ‘ultimate’ tune. The second time this big tune arrives is its last and grandest appearance. The clarinet’s lonely solo has reached its apotheosis.

Instrumentation 2 flutes, both doubling on piccolo 2 oboes 2 clarinets 2 bassoons 4 horns 3 trumpets 3 trombones tuba timpani cymbals, bass drum, triangle harp strings

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

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