Familiar Favourites: Mendelssohn Violin Concerto

SUBSCRIPTION CONCERT / Familiar favourites

MENDELSSOHN VIOLIN CONCERTO 27 April 2019

Esplanade Concert Hall

Performing Home of the SSO Josep Pons, conductor Stefan Jackiw, violin

27 Apr 19, Sat

FAMILIAR FAVOURITES: MENDELSSOHN VIOLIN CONCERTO Singapore Symphony Orchestra Josep Pons, conductor FELIX MENDELSSOHN

The Hebrides Overture, Op. 26 “Fingal’s Cave” 10’

Violin Concerto in E minor, Op. 64 26’

1. Allegro molto appassionato 2. Andante 3. Allegretto non troppo; Allegro molto vivace

Stefan Jackiw, violin

Intermission 20’

Stefan Jackiw will sign autographs in the stalls foyer

Symphony No. 3 in A minor, Op. 56 “Scottish” 40’

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Introduction. Andante con moto – Allegro un poco agitato Scherzo. Vivace non troppo Adagio cantabile Finale guerriero. Allegro vivacissimo – Allegro maestoso assai

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 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.

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.

Under the Music Directorship of Lan Shui from 1997 to January 2019, 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, Gustavo Dudamel, 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.

Josep Pons conductor Regarded as the leading Spanish conductor of his generation, Josep Pons has built strong relationships with the Gewandhausorchester Leipzig, Orchestre de Paris, Orchestre National du Capitole de Toulouse, Deutsche Kammerphilharmonie Bremen and BBC Symphony Orchestra – the latter including several appearances at the BBC Proms.

In addition to continuing these relationships, the 2018/19 season will see Pons return to Orquesta Nacional de España, Orchestre National du Capitole de Toulouse, Sinfónica de Galicia and Orquesta Sinfónica de Castilla y León.

He will also have new collaborations with NHK Symphony Orchestra, Taipei Symphony Orchestra and Singapore Symphony Orchestra. He will also be the conductor at Spain’s National Music Day in June 2019, leading five orchestras in one day.

As Music Director of Gran Teatre del Liceu he conducts a number of productions in Barcelona each season, most recently Roméo et Juliette, Tristan und Isolde, Don Giovanni and Elektra. This season he will conduct opera performances of

Káta Kabanova, Rodelinda and the world premiere of Casablancas’ new opera L’Enigma de Lea, as well as a number of symphony concerts. He also holds the position of Honorary Conductor of the Orquesta Nacional de España having previously served as their Artistic Director for nine years during which he substantially raised their international profile. He is also Honorary Conductor of the Orquesta Ciudad de Granada.

Josep Pons began his musical training at the prestigious Escolanía de Montserrat.

The secular tradition and intense study of both polyphony and contemporary music in this centre marked his later development both musically and intellectually. In 1999 he received the Spanish National Music Prize for his outstanding work on 20th-century music.

Stefan Jackiw violin Stefan Jackiw captivates audiences on both sides of the Atlantic with his poetry, pure sound and impeccable technique.

Jackiw has appeared as soloist with the Boston, Chicago, and New York Philharmonic Orchestras winning the support of numerous conductors including Andris Nelsons, Yannick Nézet-Séguin, Sir Andrew Davis, Juraj Valcuha, Yuri Temirkanov, and Ludovic Morlot.

Jackiw recently collaborated with the Deutsches Sinfonieorchester Berlin, Rotterdam Philharmonic, Danish National Symphony, Orchestre Philharmonique du Luxembourg, London Philharmonic Orchestra and the Philharmonia. In 2014 he gave the world premiere of David Fulmer’s Violin Concerto No. 2 “Jubilant Arcs”, written for him and commissioned by the Heidelberg Festival with the Deutsche Kammerphilharmonie under Matthias Pintscher.

Recent North American performances have included concerts with the Philadelphia, Pittsburgh and Chicago Symphony Orchestras and at Aspen and Blossom Music Festivals. The New York Times praised his Carnegie Hall performance of Prokofiev Violin Concerto No. 2 with the Russian

National Orchestra/Kirill Karabits for his “remarkable purity of tone”. Further afield he has toured with the Australian Chamber Orchestra, performed with the Tokyo Symphony Orchestra and is a wellknown soloist in Korea.

This season includes engagements with the Residentie Orkest/Collon, Copenhagen Philharmonic/Venzago, Orquesta Sinfónica de Galicia/Coelho, Helsinki Philharmonic/Steffens, Dallas Symphony Orchestra/Valcuha, Utah Symphony Orcestra/Venzago, Minnesota Orchestra/Rivas, Tasmanian Symphony/ Gourlay and the KBS Symphony Orchestra/Levi.

Jackiw received critical acclaim for his debut recording of Brahms Violin Sonatas with pianist Max Levinson released on Sony: “Jackiw is fantastic…This is now the recording of Brahms’s violin sonatas to have” (Fanfare).

Born of Korean/German heritage, Jackiw began studying the violin at the age of four. His teachers included Zinaida Gilels, Michèle Auclair and Donald Weilerstein.

In 2002 he was awarded the prestigious Avery Fisher Career Grant.

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

Shao Tao Tao Edward Tan^ Wu Man Yun* Xu Jue Yi* Ye Lin* Yeo Teow Meng Yin Shu Zhan* Zhang Si Jing* Zhao Tian* 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^

FIRST VIOLIN

CELLO

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 Karen Tan William Tan Wei Zhe Yew Shan^

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

SECOND VIOLIN Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Nikolai Koval* Chikako Sasaki* Margit Saur Ikuko Schiøler^

DOUBLE BASS Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Guennadi Mouzyka 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 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 TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal

BASS CLARINET

PERCUSSION

Tang Xiao Ping Assistant Principal

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

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

HARP Gulnara Mashurova Principal

CONTRABASSOON Zhao Ying Xue Assistant Principal HORN Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Hoang Van Hoc

*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 2 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.

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Š Michelle Tng Ying

26 May 2019

Sun, 4pm Victoria Concer t Hall Connecting cultures, spanning ages - music for the human voice has bridged and connected people across geographical and cultural borders. Led by choirmaster Wong Lai Foon, the Singapore Symphony Children's and Youth Choirs will present the music of composers and cultures from around the world, including the premieres of several new works by Singaporean composers Zechariah Goh, Darius Lim and Yeo Chow Shern.

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FE L I X MENDE L S S OHN (18 0 9 –18 47 ) The Hebrides Overture, Op. 26 “Fingal’s Cave” 10’ Felix Mendelssohn Bartholdy was a polymath and a genius. He made his performance debut at 9, and wrote his string symphonies – which are performed by many secondary school orchestras today – between the ages of 12 and 14. He wrote his first symphony for full orchestra at 15, his famous String Octet at 16, and the Overture to A Midsummer Night's Dream at 17.

His artistic contributions on this journey were primarily visual – with his sketches of York Minster and Durham Cathedral – but it was Scotland that provided him with significant musical inspiration.

He visited the Holyrood Palace in Edinburgh on 30 July 1829, which seeded

World Premiere 14 May 1832, London (final version) First performed by SSO 11 & 12 Jun 1979

the Scottish Symphony, and later, the isle of Staffa with its landmark Fingal’s Cave on 8 August. Mendelssohn was sea sick on this journey, and therefore did not sketch the Cave. However, his companion, Karl Klingemann, described this experience vividly, “We were put out in boats and lifted by the hissing sea up the pillar stumps to the celebrated Fingal’s Cave. A greener roar of waves surely never rushed into a stranger cavern – its many pillars making it look like the inside of an immense organ, black and resounding, and absolutely without purpose, and quite alone, the wide grey sea within and without.”

While many believe that the opening of the overture was directly inspired by Fingal’s Cave, it was instead written the day before

PROGRAMME NOTES

In 1829, the 20-year-old Mendelssohn was sent by his parents to undertake a grand tour of Europe – a fashionable rite of passage for young men of sufficient means and social rank, something which was considered obligatory for the privileged.

After conducting the revival of Bach’s St Matthew’s Passion in Berlin, he set off for the British Isles, and proceeded to make waves there. He performed the British premiere of Beethoven’s Emperor Concerto from memory, and then headed north by stage coach, via York and Durham, to Scotland.

Instrumentation 2 flutes 2 oboes 2 clarinets 2 bassoons 2 horns 2 trumpets timpani strings

he visited the Cave. Mendelssohn sketched the opening 20 bars of the Hebrides Overture on 7 August while on the isle of Mull, and recorded it in a letter with the following preface, “In order to make you understand how extraordinarily the Hebrides affected me, the following came into my mind there.”

This overture, which is now known as The Hebrides or Fingal’s Cave depending on its edition, was originally titled The Lonely Isle, and Mendelssohn could have been inspired by the many isles he would have journeyed on his way from Fort William to Staffa. He completed it in Rome the following year on 16 December 1830 – the only day of the year on which Fingal’s Cave is fully illuminated by sunlight.

However, Mendelssohn was not satisfied with it and continuously revised the score.

Two years after, in January 1832, he wrote, “I still do not consider it finished.

The middle part, forte in D major, is very stupid, and savours more of counterpoint than of oil [i.e. engine oil in the steamers in which he travelled] and seagulls and dead fish, and it ought to be the very reverse.” The third and final version which is commonly performed today was finalised in May 1832, with the “very stupid” middle part replaced, and somewhat structurally more compact than the 1830 version.

The Hebrides Overture is a pioneer amongst Romantic tone poems, painting a sonic landscape and depicting moods, rather than an overture preceding an opera. It immediately starts in the midst of the swirling waters and rolling sea, inspiring many later composers in their

own nautical musical adventures. The soaring melody of the second theme was described by Donald Francis Tovey as “the greatest melody Mendelssohn ever wrote”. Several contrasting episodes pass by jauntily, before the clarinet takes this “great melody” and leads us to the end of this remarkable aural painting.

Violin Concerto in E minor, Op. 64 26’ “The Germans have four violin concertos … the most inward, the heart’s jewel, is Mendelssohn’s.” – Violinist Joseph Joachim The Mendelssohn Violin Concerto was the result of a long-standing friendship between Mendelssohn and one of the foremost violin virtuosos of his day, Ferdinand David. When Mendelssohn was appointed Music Director of the Leipzig Gewandhaus Orchestra, he appointed David as concertmaster. Later, when Mendelssohn founded the Leipzig Conservatory, David was one of the first he appointed to his faculty.

Mendelssohn wrote to David in 1838, “I would like to write a violin concerto for you next winter, there’s one in E minor in my head, and its opening won’t leave me in peace.” The much in-demand composer-conductor then went on to write a series of other masterpieces, including two symphonies, Hymn of Praise and the Scottish, incidental music for A Midsummer Night’s Dream, and the Piano Trio in D minor.

In the summer of 1844, Mendelssohn finally returned to the Violin Concerto, he worked closely with David to mould the solo violin part. He regularly wrote to him to find out how playable the parts were, whether it was “written correctly and smoothly”, and about balance between the soloist and the orchestra. This composingin-partnership style was later practised by many composers for their violin concertos, including Brahms, Elgar, Stravinsky, Bartók, and Shostakovich, all seeking technical advice from their violin virtuoso friends.

Mendelssohn placed the solo cadenza right before the reprise of the main theme. This was at an earlier point than the audience members of his day would have expected it, and later inspired the cadenza placement of Tchaikovsky’s own Violin Concerto. The cadenza owes much to David’s influence, both in length and in clarifying Mendelssohn’s denser original – “so short that it barely made an impression”, according to reviewer Ivan Hewett writing in response to Daniel Hope’s recording of the “original” cadenza.

World Premiere 13 Mar 1845, Leipzig First performed by SSO 28 & 29 Jun 1979 (Lee Pan Hon, violin)

The cadenza’s positioning allows the violin to continue spinning its arpeggios when the orchestra returns with the main theme.

A few years earlier, Mendelssohn had experimented with having his Scottish Symphony performed without a break between movements, no doubt inspired

by Schumann’s D minor Symphony. In this Concerto, Mendelssohn linked the first two movements together, with a bassoon holding onto one note from the final chord of the first movement. Slowly, other instruments join in, as the music transitions and coalesces into the song without words of the second movement.

Its simplicity and beauty is at the heart of its lyricism. This melody was later set to words by Andrew Lloyd Webber in Jesus Christ Superstar, as “I don’t know

PROGRAMME NOTES

After just one and a half bars of E minor, anchored by pulsating timpani and bass, the solo violin swoops in with the main subject of the first movement.

Mendelssohn wrote to David, “you ask that it should be brilliant … the whole of the first solo is to be for the E string.”

This brilliantly passionate melody soars high. The solo violin descends over three octaves, gently settling into its lowest note – G – which forms the base for the tranquil second subject, introduced by the flutes and clarinets.

Instrumentation 2 flutes 2 oboes 2 clarinets 2 bassoons 2 horns 2 trumpets timpani strings

how to love him”. A passionate middle section recalls the surge of the preceding movement, before a reprise of the song brings the movement to an almost religious close.

Another bridge passage connects to a fanfare announcing the third movement.

The fairy lights and puckish music of A Midsummer Night’s Dream are recalled in a delightful and sparkling dance for the violin. There is still space for Mendelssohn’s trademark broad, swinging tunes to make an appearance, and these alternate and combine with the dancing fairies to bring the concerto to a spirited end.

Symphony No. 3 in A minor, Op. 56 “Scottish” 40’ While on his grand tour of Europe, Mendelssohn visited the Holyrood Palace in Edinburgh, and wrote home that evening, “In the evening twilight we went today to the palace where Queen Mary lived and loved; a little room is shown there with a winding staircase leading up to the door; up this way they came and found Rizzio in that little room, pulled him out, and three rooms off there is a dark corner, where they murdered him.

The chapel close to it is now roofless; grass and ivy grow there, and at that broken altar Mary was crowned Queen of Scotland. Everything around is broken and mouldering, and the bright sky shines in.

I believe I found today in that old chapel the beginning of my Scottish Symphony.”

He wrote of his inspiration, “it is in

pictures, ruins and natural surroundings that I find the most music”, eschewing folk music which he considered to be “vulgar, out-of-tune trash”.

Mendelssohn then wrote the first ten bars of the Scottish Symphony. In spite of this initial inspiration, he struggled over the next 13 years to complete the work. He managed to make some headway the following year in Italy, but found it difficult to evoke Scotland’s “misty mood” while near the sun-soaked Mediterranean, and put the work on hold. It was finally completed in January 1842, and premiered by the Leipzig Gewandhaus Orchestra on 3 March 1842, with Mendelssohn himself conducting. He later toured the new symphony to London successfully – Queen Victoria even allowed Mendelssohn to dedicate it to her.

While many regard this as Mendelssohn’s greatest symphony, some others have found its majestic coda to be contrived.

Conductor Otto Klemperer even wrote his own ending, and stated that Mendelssohn “was not satisfied at all with the coda of this symphony. This coda is, indeed, very strange. Mendelssohn uses the 6/8 time to introduce a theme which is not Scottish at all and finishes fortissimo.

Has not, perhaps, the clever Gewandhaus kapellmeister Mendelssohn here overruled the great composer? I believe now that I have the right to make a fundamental change to the coda... I simply lead the beautiful second theme to a close and thereby achieve an ending that is satisfying (to me personally).”

There is a plausible explanation for this

problematic (for some) ending. In 1830, Mendelssohn published a setting of Ave Maria for choir and organ. The words “Ave Maria” (“Hail Mary”) are set to exactly the same notes, key and time signature which open the symphony’s coda. One does wonder if Mendelssohn was utilising a prayer to Mary – mother of Jesus – to reference a different Mary, the Queen of Scots, whom he had in mind when opening the symphony.

The brief second movement bristles with energy, and bursts into life – the clouds have cleared, and sunlight bathes the movement. The clarinet introduces a bubbling theme before strings and winds present a buoyant one which later takes on a rather martial character, as the movement gambols to its joyful conclusion.

Mendelssohn then presents a great orchestral “song without words” in the third movement, as a noble yet poetic melody is balanced with an elegiacally heroic one in the winds and brass.

This gives way to the finale, marked “Allegro guerriero” – fast and warlike.

Vigorous passages, restless syncopations, and a fugal passage conjure the relentless tread of combat and the chaos of battle.

World Premiere 3 Mar 1842, Leipzig First performed by SSO 14 & 15 Jul 1979

Eventually, the battle gives way to a more sombre, reflective passage, which evaporates into near silence. A stately transformation of the opening theme suddenly takes over, and launches us into the coda discussed earlier. Mendelssohn wrote that this should sound “properly clear and strong as a male chorus”. A swelling tide of majestic solemnity begins the conclusion of the symphony, in a final celebration of victory and thanks-giving.

Programme notes by Christopher Cheong

RECOMMENDED LISTENING Brahms: Complete Violin Sonatas Stefan Pi Jackiw & Max Levinson (CREDIA Music & Artists, 2009)

PROGRAMME NOTES

The first movement opens with a gloomy and bleak introduction, inspired by the ruined chapel in Holyrood, before a more flowing, agile theme in the violins appears, which will dominate the movement. A crackling storm then ensues, as Mendelssohn grapples with the fickle Scottish weather, before the perennial grey skies return.

Instrumentation 2 flutes 2 oboes 2 clarinets 2 bassoons 4 horns 2 trumpets timpani 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

SSO 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

S INGAPORE S YMPHONY GROUP MANAGEMENT CHIEF EXECUTIVE OFFICER Mr Chng Hak-Peng

ARTISTIC PLANNING

CEO OFFICE

CORPORATE SERVICES

Hans Sørensen (Head)

Ms Shirin Foo Mr Lim Yeow Siang

Ms Lillian Yin (Head)

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

Customer Experience Mr Randy Teo Ms Dacia Cheang Ms Nur Shafiqah bte Othman DEVELOPMENT & PARTNERSHIPS Ms Peggy Kek (Head) Corporate Communications Ms Leong Wenshan Ms Haslina Hassan Development Mr Anthony Chng Ms Chelsea Zhao Ms Nikki Chuang MARKETING COMMUNICATIONS Ms Cindy Lim (Head) Mr Chia Han-Leon Ms Myrtle Lee Ms Jana Loh Ms Hong Shu Hui Ms Sherilyn Lim Ms Melissa Tan

Finance, IT & Facilities Mr Rick Ong Mr Alan Ong Ms Goh Hoey Fen Mr Jeffrey Tang Mr Md Zailani bin Md Said Human Resources & Administration Mr Desmen Low Ms Melissa Lee Ms Evelyn Siew Legal Mr Edward Loh 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

WWW.PIANOFESTIVAL.COM.SG

SINGAPORE INTERNATIONAL PIANO FESTIVAL 30 MAY - 3 JUNE 2019 Victoria Concert Hall

SGPIANOFEST

SA CHEN RONAN OʼHORA KIRILL GERSTEIN INGRID FLITER

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Sponsors

LEE FOUNDATION

The Singapore Symphony Orchestra is a charity and not-for-profit organisation. You can support us by donating at www.sso.org.sg/donate.

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