SSO Gala: Masaaki Suzuki Conducts Mozart

SSO GALA

Masaaki Suzuki Conducts Mozart 28 APR 2017 FRI | esplanade concert hall Performing home of the SSO

LAN SHUI Music Director

28 APR 2017 | FRI

SSO Gala: Masaaki Suzuki Conducts Mozart Singapore Symphony Orchestra 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

WOLFGANG AMADEUS MOZART Symphony No. 40 in G minor, K.550

35’00

1. Molto allegro 2. Andante 3. Menuetto: Allegretto 4. Allegro assai

Intermission 20’00 WOLFGANG AMADEUS MOZART Requiem in D minor, K.626 67’00 (completed and edited by Masato Suzuki - Singapore Premiere) 1. Introitus – Requiem aeternam 2. Kyrie 3. Sequentia – Dies irae; Tuba mirum; Rex tremendae; Recordare; Confutatis; Lacrimosa; Amen 4. Offertorium – Domine Jesu; Hostias 5. Sanctus 6. Benedictus 7. Agnus Dei 8. Communio – Lux aeterna

Concert duration: 2 hrs 20 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

Masaaki Suzuki

conductor

Since founding Bach Collegium Japan in 1990, Masaaki Suzuki has established himself as a leading authority on the works of Bach with an impressive discography on the BIS label including all of Bach’s major choral works and the complete cycle of Sacred Cantatas. He has remained their Music Director ever since, taking them on tours to major North American and European cities, and building an outstanding reputation for the expressive refinement and truth in their performances.

In addition to working with renowned period ensembles, such as Collegium Vocale Gent and Philharmonia Baroque, he has been invited to conduct repertoire as diverse as Britten, Beethoven, Mahler, Mozart and Stravinsky, with orchestras such as the Baltimore Symphony, Danish National Radio Symphony, Deutsches Symphonie Orchester Berlin, Leipzig Gewandhausorchester, New York Philharmonic and the San Francisco Symphony Orchestra amongst others. This season has seen Suzuki debut with the Orchestra of the Age of Enlightenment on a European tour.

Suzuki’s impressive discography on the BIS label has brought him many critical plaudits. 2014 marked the triumphant conclusion of Bach Collegium Japan’s epic recording of the complete Sacred Cantatas, a major achievement which has been recognised with a 2014 ECHO Klassick Editorial Achievement of the Year award.

In 2010, Suzuki and his ensemble were awarded both a German Record Critics’ Award (Preis der Deutschen Schallplattenkritik) and a Diapason d’Or de l’Année for their recording of Bach motets, also honoured in 2011 with a BBC Music Magazine Award. The ensemble has now embarked upon extending their repertoire with recent releases of Mozart’s Requiem and Mass in C minor. Suzuki recently released a disc of works by Stravinsky with the Tapiola Sinfonietta.

Suzuki continues as an active organist and harpsichordist. Founder and head of the early music department at the Tokyo University of the Arts, he was on the choral conducting faculty at the Yale School of Music and Yale Institute of Sacred Music from 2009 until 2013, where he remains affiliated as the Principal Guest Conductor of Yale Schola Cantorum, and regularly collaborates with Juilliard Historical Performance.

In 2012 Suzuki was awarded with the Leipzig Bach Medal and in 2013 the Royal Academy of Music Bach Prize.

Marie Arnet

soprano

Marie Arnet was born in Sweden and studied at the Royal Academy of Music in London and at the National Opera Studio. After making her debut at Glyndebourne Festival Opera as Susanna (Le nozze di Figaro), she went on to sing Diane (Iphigénie en Aulide), Ilia (Idomeneo), and Drusilla (L’incoronazione di Poppea) for the company. She is famed for roles such as Pamina (Die Zauberflöte), which she has sung at Los Angeles Opera, Angers-Nantes Opera, Spoleto Festival, Teatro Real (Madrid), and at the Hyogo Arts Centre in Japan, and for Mélisande (Pelléas et Mélisande), which she has sung at La Scala, Glyndebourne Festival Opera and Palermo Opera. Arnet recently appeared in the title role of David Poutney’s production of Lulu for the Welsh National Opera, to critical acclaim, and also performed as Anne Truelove in The Rake’s Progress, in a co-production between Caen, Reims, Rouen, Limoges and Luxembourg Opera.

In concert, Arnet has appeared across the world including The Infernal Comedy with Martin Haselböck and John Malkovich in Europe and America; Tippet’s Third Symphony with the BBC Symphony Orchestra; a concert of Mahler’s Des Knaben Wunderhorn with the Kymi Sinfonietta in Finland; a programme of Schumann Dichterliebe in Stockholm; Tavener’s Akhmatova Requiem with the BBC Symphony Orchestra and Orphée et Eurydice with the Orchestre des pays de Savoie.

Her repertoire includes Bach’s St. John Passion and Mass in B minor, Mahler symphonies No. 2 and No. 4, the Brahms and Fauré requiems, Rossini’s Petite Messe Solennelle, Pergolesi’s Stabat Mater, Haydn’s Nelson Mass and The Creation and Bruckner’s Te Deum, and she has performed numerous world premieres including Harey in Glanert’s Solaris at the Bregenz Festival. Recent performances include Gorecki’s Symphony No. 2 with the BBC Symphony Orchestra, Leo’s Salve Regina and Pergolesi’s Stabat Mater for the Festival of Lessay and in Thiérache Abbey, as well as a recital at Stockholm Konserthuset.

Engagements in 2016/2017 include a programme of Beethoven with Wiener Akademie and John Malkovich, and Sarah in The Brothers, a new commission by Daniel Bjarnason with Den Jyske Opera. Subsequent engagements include further performances of Figaro Gets a Divorce in Geneva.

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James hall

countertenor

Countertenor James Hall graduated with distinction from the Royal College of Music in 2012. He was awarded the Sir Geraint Evans Prize in 2009 and again in 2010, was a finalist in the Brooks Van Der Pump English Song Competition (2012), and winner of the Somerset Song Prize (2013).

Operatic credits include Spirit and Second Witch in Dido & Aeneas (Dartington Hall, Vignette Productions, and OperaUpClose), soloist in Purcell’s The Fairy Queen (Temple Ensemble), Cupid and Huntsman in Blow’s Venus & Adonis (Dunedin Consort, and Opera Lyrica), Osmida in Jommelli’s La Didone (Ensemble Serse), Endymion in Cavalli’s La Calisto (Hampstead Garden Opera), Oronte in Handel’s Riccardo Primo (London Handel Festival), and Bertarido in Rodelinda (Amade Players), and Pastore III in L'Orfeo (Bayerische Staatsoper, Monteverdi Choir and BBC Proms).

As well as his work in the Baroque repertoire, Hall has also been involved in a number of contemporary projects including the Military Governor in A Night at the Chinese Opera (British Youth Opera), the premiere of Nathaniel in Na'ama Zisser's Black Sand (Grimeborn, and Tête-a-Tête), soloist in Unsuk Chin’s Cantatrix Sopranica in Utrecht, Holland (Silbersee & Asko|Schönberg), Hamlet (cover) in David Bruce's The Firework Maker's Daughter with The Opera Group (an Opera North/ROH2 co-production), as well as roles in the premiere of three short operas by the Royal College of Music’s composition students in collaboration with Têtea-Tête Opera in London. More recently, Hall sung the role of Johan in the world premiere of David Bruce’s Nothing, a community opera led by Glyndebourne in association with the Royal Opera House, Covent Garden; Oberon (cover) in Britten's A Midsummer Night's Dream under the baton of Kasushi Ono at Glyndebourne Festival Opera and Nothing extracts as part of ROH Out Loud at Covent Garden.

Recent performances include Coronation Anthems, Fairy Queen and Messiah with the Academy of Ancient Music, First Angel/Boy (cover) in Written on Skin at the Royal Opera House, and Ottone in L’Incoronazione di Poppea with the opera studio of Opéra de Lyon. Later this year he will also sing Zephyrus in Apollo et Hyancinthus with Classical Opera, and Rosencrantz in Hamlet for Glyndebourne’s autumn tour.

Alan Bennett

tenor

Lyric tenor Alan Bennett has enjoyed a uniquely diverse career singing in prominent festivals, concertising with some of the world’s best orchestras, performing in operas, and offering recitals throughout the world. He has presented performances at such venues as Carnegie Hall (the main stage, Weill Recital Hall and Zankel Hall), Wigmore Hall, the Berlin Schauspielhaus, the Kennedy Center, Alice Tully Hall, Kumho Arts Hall and many others.

Bennett has always had a great love for choral music since beginning his musical training in boy choir, and solo concert work and oratorio appearances have occupied a special place in his repertoire. This has afforded him many opportunities to perform with excellent orchestras including the Cleveland Orchestra, Atlanta Symphony, Pittsburgh Symphony, Seattle Symphony, National Philharmonic, Calgary Philharmonic, National Symphony Orchestra of Costa Rica, Kansas City Symphony, Omaha Symphony, Colorado Symphony, Honolulu Symphony, New Mexico Symphony, Santa Rosa Symphony, St. Paul Chamber Orchestra, Grand Rapids Symphony, Los Angeles Chamber Orchestra, and many others.

Bennett has also sung with some of the world’s leading period instrument ensembles such as the Philharmonia Baroque Orchestra, the Handel & Haydn Society, Tafelmusik, Les Violons du Roy and Apollo’s Fire. An avid recitalist and chamber musician, he has performed with the Vermeer and Penderecki quartets and his recital partners have included Nigel North, Paul O’Dette, Leonard Hokanson and a wonderful pianist who is very familiar to Singapore audiences, Albert Tiu. In addition to a great many performances in the U.S. and Canada, his recital engagements have taken him to Brazil, Germany, Korea, Hong Kong and Australia.

Bennett has sung with many prominent conductors including Bruno Weil, Sir David Willcocks, Christopher Hogwood, Helmuth Rilling, Nicholas McGegan, Bernard Labadie and Robert Shaw. He has recorded works of the medieval through contemporary periods, including world premieres by Steve Reich and Arvo Pärt, on such labels as Harmonia Mundi USA, Nonesuch, Telarc, and Focus Records. Along with pianist Albert Tiu he has recently released a CD of Schubert’s Winterreise on the Centaur label. He is Professor of Voice and Head of Vocal Studies at the Yong Siew Toh Conservatory of Music, National University of Singapore.

Callum thorpe

bass

Callum Thorpe began his musical training as a chorister at Coventry Cathedral and subsequently studied opera at the Royal Academy of Music, graduating with distinction.

Operatic highlights include Masetto (Don Giovanni) for Glyndebourne on Tour, for Garsington Opera and at the Birgitta Festival in Estonia, Valens (Theodora) for Les Arts Florissants in Paris, New York and at the Concertgebouw, Amsterdam, Sarastro (Die Zauberflöte) and Banquo (Macbeth) at Theater Basel, Jupiter (Platée) at St. John’s Smith Square (Early Opera Company), Plutone (L’Orfeo) for the Royal Opera House, Covent Garden at the Roundhouse, and Gibarian in the world premiere performances of Fujikura’s Solaris (Paris, Lille & Lausanne).

On the concert platform Thorpe has sung much of the major oratorio repertoire and regularly performs both throughout the country and internationally; highlights include debuts at Tel Aviv Opera House, performing Handel (Israel in Egypt) with Jerusalem Symphony Orchestra under Laurence Cummings, Polyphemus (Acis & Galatea) at the Festival de Thiré with William Christie, Acis & Galatea (1732 version) with Basel Kammerorchester and Paul Goodwin in Paris and Vienna and both Esther and Acis & Galatea at the London Handel Festival. His concert repertoire further includes Messiah at Bath Abbey, St. Matthew Passion at Symphony Hall, Birmingham, and Israel in Egypt at Salisbury Cathedral and performances of Bach‘s St. John Passion, Verdi‘s Requiem, Mozart‘s Requiem, Haydn‘s The Creation, Rossini‘s Petite Messe Solennelle and Handel‘s La Resurrezione (Wigmore Hall).

Recent engagements include Apollo e Daphne with Concerto Copenhagen, an appearance at the BBC Proms with Arcangelo conducted by Jonathan Cohen, Ratcliffe (Billy Budd) for Opera North, Serses with Early Opera Company at St. John’s Smith Square, Messiah with Royal Northern Sinfonia and Bournemouth Symphony Orchestra, Antinoo/Tempo (Il Ritorno d’Ulisse in Patria) at the Théâtre des Champs Elysées, and Masetto/Commendatore (Don Giovanni) with Les Musiciens du Louvre under Marc Minkowski.

Further performances in 2017 include Messiah (staged) with Bergen National Opera, Hunding in Die Walküre (Act 1) with Bilbao Symphony Orchestra, and a revival of Billy Budd at the Aldeburgh Festival. Thorpe joins the solo ensemble of the Bayerische Staatsopera, Munich for the 2017/2018 season.

Lim YAU

choral director

Lim Yau is the Choral Director of the Singapore Symphony Orchestra and founderartistic director of The Philharmonic Chamber Choir and Orchestra, Singapore.

Since 2012, he assumed the role as Dean of The School of Music /Director of Orchestra and Chorus at the Nanyang Academy of Fine Arts.

Throughout his career, Lim Yau has been active in conducting and promoting choral and vocal music, stemming from his early choral experience with London’s Philharmonia Chorus and the world renowned Bayreuth Festival Chorus. He has led the Singapore Symphony Chorus in virtually every performance since its inception in 1980, notable choral concerts conducted in the past few seasons have included J.S. Bach’s St. John Passion, Berlioz’s La damnation de Faust, Britten’s War Requiem, Bruckner’s Mass No. 3, James MacMillan’s Seven Last Words From the Cross, Carl Off’s Carmina Burana, Arvo Part’s Te Deum ,Stravinsky’s Symphony of Psalms, and Walton's Belshazzar’s Feast. In the role of chorus master, Lim Yau has collaborated with Eric Ericson, Stephen Cleobury and Masaaki Suzuki, among others and has guest conducted ensembles such as the Philippine Madrigal Singers, the Shanghai Opera House Chorus, Sweden’s Lund University Male Chorus, and the Latvian State Choir. At the 19th Béla Bartok International Choir Competition in Debrecen, Hungary 2000, Lim Yau was awarded the Conductor’s Special Prize of the City of Debrecen concurrently with The Philharmonic Chamber Choir winning 1st prize in the mixed-choir category.

Highlights this season include The Philharmonic Orchestra’s 15th anniversary celebration, presenting the complete symphonies of Beethoven. This is Lim Yau’s second Beethoven symphony cycle with TPO, showcasing the nine symphonies across five concerts around the island’s concert venues.

Besides serving as the resident conductor with the Singapore Symphony Orchestra (2001-2011), Lim Yau has also made many guest appearances with orchestras in Europe and Asia. As an opera and ballet conductor, he has conducted no fewer than 20 productions for the Singapore Lyric Opera and Singapore Dance Theatre with soloists such as Giacomo Aragall, Sumi Jo, Jan-Henderik Rootering, Simon Preston, Marc-André Hamelin and William Bennett, among many others.

Lim Yau is a recipient of Singapore’s Cultural Medallion (1990) and the COMPASS Lifetime Achievement Award in 2011.

U P COM ING CONCERTS

5 MAY 17 | FRI, 7.30pm ESPLANADE Concert Hall

Debussy and Dvořák Lan Shui conductor Wang Jian cello Gulnara Mashurova harp Cellist Wang Jian returns to perform with the SSO in Dvořák’s sublime masterpiece, Cello Concerto No. 1 in B minor, one of the most performed cello concertos in the world. Expect evocative soundscapes as Lan Shui conducts three works by French composer Claude Debussy, including Printemps and Sacred and Profane Dances. ”An impressive blend of charm, elegance and bravura“ – The New York Times on Wang Jian

DEBUSSY Scottish March on a Popular Theme DEBUSSY Sacred and Profane Dances DEBUSSY Printemps DVOŘÁK Cello Concerto No. 1 in B minor, Op. 104

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

VICTORIA Concert Hall

SSO Gala: Beethoven Violin Concerto • Crusell Sinfonia Concertante Lan Shui conductor Frank Peter Zimmermann violin Ma Yue clarinet Han Chang Chou horn Zhang Jin Min bassoon SSO brings its spectacular season to a close with Beethoven’s crown jewel, the Violin Concerto in D major performed in the capable hands of Frank Peter Zimmermann, and the delightful triple concerto by Finnish-Swedish composer Bernhard Crusell featuring old friends Ma Yue, Han Chang Chou and Zhang Jin Min, who will step down as Principal Bassoon after this season.

The concert opens with music by Singaporean composer Jeremiah Li. ”Gorgeously ripe tone, easy swagger and intoxicating range of colour“ – Gramophone on Frank Peter Zimmermann

JEREMIAH LI Senbonzakura Gossamer Shrouds the Tal (commissioned by the SSO) CRUSELL Sinfonia concertante in B-flat major, Op. 3 BEETHOVEN Violin Concerto in D major, Op. 61

Pre-concert Talk 6.30pm-7pm I VCH Music Studio @ L3 Post-Concert Symphony Chat Sat, 20 May 2017 I Victoria Concert Hall, stalls level

U P COM ING CONCERTS

19 & 20 MAY 17 | FRI & SAT, 7.30pm

Singapore Symphony Chorus The Singapore Symphony Chorus (SSC) was inaugurated in 1980 under the direction of the then Music Director of the SSO, Choo Hoey. It presented its first performance, Brahms’ German Requiem, to great ovation on 13 June that year. In 1981, Lim Yau was appointed as Chorus Master. Under his distinguished guidance, the SSC has established itself as one of the finest choirs in the region and one of the few symphony choruses in Southeast Asia today.

The SSC’s illustrious career working with world-renowned conductors such as Peter Erdei, Claus Peter Flor, Okko Kamu as well as SSO’s very own Lan Shui, has helped it amass a spectacular repertoire over the years. The chorus regularly joins the Singapore Symphony Orchestra for performances of choral masterpieces.

The past seasons have seen the SSC give rousing performances in Mahler’s Third Symphony, Bizet’s Carmen and most recently Bruckner’s Mass No. 3. Other enthralling highlights include Beethoven’s Symphony No. 9, Poulenc’s Gloria, Britten’s War Requiem and Bach’s St. John Passion as well as their first standalone concert performing Kodály’s Missa Brevis.

Brought together by a passion for choral singing, the SSC comprises a colourful harmony of personalities including locals and expatriates. Their occupations range from biochemists to tour guides to lawyers, with diverse hobbies that include rock climbing, scuba diving and Chinese calligraphy.

THE PHILHARMONIC CHAMBER CHOIR, SINGAPORE Formed by Lim Yau, its Artistic Director, The Philharmonic Chamber Choir (TPCC) has excelled in giving voice to the great traditions of Western classical music: both a cappella, as well as large works for choir and orchestra. It has equally made its mark in performing the Asian a cappella repertoire.

TPCC has worked with noted choral conductors including Stephen Cleobury, Francisco Feliciano, Joseph Flummerfelt, Robert Hollingworth, Chifuru Matsubara, Peter Phillips, Johannes Prinz, Gregory Rose, Manfred Schreier and Nobuaki Tanaka. It was awarded the First Prize in the Mixed Choir Category at the 2000 Béla Bartók International Choral Competition in 2000. In 2002, TPCC performed by invitation at the 1st Performing Arts Festival in Tokyo, alongside the Tokyo Philharmonic Chorus, Asia’s oldest professional chamber choir.

Collaborations with the Singapore Symphony Orchestra and Chorus, The Philharmonic Orchestra, Singapore Dance Theatre, Arts Fission Company and Singapore Lyric Opera range from the recording of Zhou Long’s The Future of Fire (2003) on the BIS record label; Anton Bruckner’s Mass No. 3 and Arvo Pärt’s Te Deum (2016); YTL Corporation’s Concert of Celebration 2010, featuring Andrea Bocelli; to The Mazu Chronicle (妈祖航志).

In recognition of its Asian musical heritage, TPCC’s signature all-Asian a cappella concert series explores the wealth of the contemporary Asian choral repertoire.

The most recent edition, ”Timeless Skies“, featured the world premiere of Yang Guan San Die (阳关三叠) by Zechariah Goh. TPCC will perform Ludwig van Beethoven’s Symphony No. 9 ”Choral“ with The Philharmonic Orchestra in October 2017.

For more information, please visit http://www.tpcc.org.sg.

COMBINED CHORUS Lim Yau

Eudenice Palaruan

Shane Thio

CHORAL DIRECTOR

CHORAL DIRECTOR DESIGNATE

REHEARSAL PIANIST

SOPRANO

ALTO

TENOR

BASS

Laura Abel Joy Ang Karen Aw Iris Boehmer Pam Buckley Alexis Chen Sylvia Chen Chin Li Han Mairi Fernandez-ares Grace Goh Echo Han Karin Hesse Deborah Lee Kasey Lee Eleesha Lewis Christina Lin Miin Marianne Løkling Ng Kong Tiok Sara Norton Si Hui Ong Sarah Santhana Miki Taguchi Tan Wen Yi Patricia Teng Sachiko Tomimori Olivia Trono Masumi Tsuchiya Assia Turner Anne Wightman Beverly Wong Yang Enjie

Päivi Aalto Boey Yoke Ping Chan Mei Yoke Chiu Lu Yah Azura Farid Friederike Herrmann Mervi Hiltunen Truly Hutapea Alicia Khunius Irene Law Dorothy Lee-Teh Jeannette Lim Wendy Lim Lin Wei Sharon Low Elly MacDonald Eunice Ng-Chee Park Eun Kyoung Inka Pavelka Elaine Ser Josephine Sim Natividad Solaguren Ena Su Nany Sunardi-Gotze Elsie Tan Helena Whalen-Bridge Wong Lai Foon Karen Yau

Jean-Michel Bardin Kerryn Chan Chan Kum Kit Calvin Chin Chng Chin Han Hor Xinrong Udayan Joseph Vincent Lam Norman Lee Lim Wei Sheng Jonathan Machpherson Moe Ka Fat David Ng Ronald Ooi Qi Jian Michael Schlesinger Hojin Shin Shui Jiangtian Alan Smith Ian Tan

Alex Chao Alex Chojnowski Gerald Goh Ori Gratch Vimezo Iralu Joseph Kennedy Khor Gui Wei Paul Kitamura Bernard Lee Bruce Lim Lin Juan Nicholas Loh Kevin Neeson Mark Sachs Thierry Schrimpf Raymond Wu

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CMY

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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

CELLO

BASSOON

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 Sui Jing Jing Karen Tan William Tan Wei Zhe

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

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

SECOND VIOLIN 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*

VIOLA Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Luo Biao Shui Bing Tan Wee-Hsin Tong Yi Ping Janice Tsai^ Yang Shi Li

DOUBLE BASS Guennadi Mouzyka Principal Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Wang Xu

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

PICCOLO Roberto Alvarez Assistant Principal

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

COR ANGLAIS

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

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

TROMBONE Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong

BASS TROMBONE Wang Wei Assistant Principal

TUBA Hidehiro Fujita Principal

TIMPANI

Elaine Yeo Associate Principal

Christian Schiøler Principal Jonathan Fox Associate Principal

CLARINET

PERCUSSION

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

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

BASS CLARINET Tang Xiao Ping Assistant Principal

HARP Gulnara Mashurova Principal

CHAMBER ORGAN Shane Thio^ 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

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

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 4238 / 6602 4237 or peggykek@sso.org.sg.

SSO DONORS

PATRON SPONSOR Tote Board Group (Tote Board, Singapore Pools & Singapore Turf Club) $700,000 and above Temasek Foundation Nurtures CLG Ltd $100,000 and above Christopher Ho & Rosy Ho Anonymous $50,000 and above John Swire & Sons (S.E. Asia) Pte Ltd Singapore Press Holdings Ltd Tan Chin Tuan Foundation Lee Foundation, Singapore Joseph Grimberg Far East Organization 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 Interchem Pte Ltd Singapore Institute of Management Keppel Corporation Ltd Stephen Riady Group of Foundations Pontiac Land Group Van Cleef and Arpels United Overseas Bank Ltd Ms Paige Parker & Mr Jim Rogers Mdm Tan Siew Hoon Japanese Chamber of Commerce & Industry, Singapore

Holywell Foundation Kris Foundation Petrochemical Corporation of Singapore Pte Ltd Saga Tree Capital Advisors Pte Ltd Anonymous Mrs Christina Ong Doris & Andreas Sohmen-Pao Mrs Dorothy Chan Geoffrey Wong Ee Kay & Wong Ai Ai Tan Choo Leng

$10,000 and above Dr & Mrs Thomas Zuellig S R Nathan Anonymous Rubina Watch Co Pte Ltd Maisy Koh & Dr Beh Swan Gin Lim & Tan Securities Pte Ltd Christine Yeh At-Sunrice Global Chef Academy Pte Ltd Binjai Tree Boardroom Limited BTG Pactual Commodities (Singapore) Pte Ltd Bulgari Fraser And Neave (S) Pte Ltd Hong Leong Foundation Latham and Watkins LLP LGT Bank (Singapore) Ltd Marina Bay Sands Pte Ltd Nomura Asset Management Singapore Ltd One North Capital Pte Ltd OSIM International Limited Prima Limited PSA International Pte Ltd

Resorts World at Sentosa Pte Ltd The Silent Foundation Ltd Total Trading Asia Pte Ltd Wowz Entertainment Pte Ltd Astrie Sunindar-Ratner Prof Cham Tao Soon Mr & Mrs Choo Chiau Beng Andress Goh Lai Yan Desmond Lim Yu Jin Anonymous Anonymous Anonymous Anonymous Mrs and Mr Laura Hwang & Michael Hwang Leong Wai Leng Liew Wei Li Lito & Kim Camacho Odile & Douglas Benjamin Olivia Lum Mr & Mrs Yong Pung How Yong Ying-I

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WOLFGANG AMADEUS MOZART (1756-1791)

Symphony No. 40 in G minor, K.550 35’00

An aura of reverence, mystery and romantic fantasy surrounds Mozart’s penultimate symphony. Of this symphony’s creation we know nothing aside from the fact that it was written, along with Symphonies Nos. 39 and 41, during the incredibly brief period of six weeks in the summer of 1788. Composers in this age composed only to order; without a performance in sight, music simply wasn’t written. It was conceived as a product for immediate consumption, not as, in musicologist Alfred Einstein’s words, “an appeal to eternity”. Yet these last three symphonies seem to have been written with no prospect of a performance, and in the case of Nos. 39 and 41, we are quite certain that Mozart never did hear them played. Perhaps they were written for concerts that never materialized.

The case of No. 40 is a bit different, however. It used to be fashionable to bemoan the fact that none of these last three symphonic masterworks was played in Mozart’s lifetime. If such was the case, then why would the composer have bothered to revise the G-minor Symphony three years after it was written by adding a pair of clarinets to the woodwind section and rewriting the oboe parts to accommodate the additional voices? Though incontrovertible evidence is still lacking, scholars today feel fairly certain that Symphony No. 40 was indeed played at least once, at a concert on 16 April 1791, conducted by Antonio Salieri. Lending credence to this speculation is the fact that Mozart’s friends, the clarinetists Anton and Johann Stadler, played in this concert. Most performances today use the later version with clarinets.

The key of this symphony calls for special comment as well. The use of any minor key in Mozart’s day was rare enough in itself. A minor key denoted music of tragic overtones, emotional turbulence and solemn import — not generally what 18th century audiences wanted to hear. Indeed, of Mozart’s nearly fifty symphonies, only two are in a minor key: No. 25, K.183 (sometimes called the “Little G minor”) and No. 40. G minor in particular seems to have represented great emotional suffering to Mozart: witness his other works in this key – Pamina’s aria “Ach, ich fühl’s” from The Magic Flute, the Piano Quartet K.478, and the String Quintet K.516.

Three of the four movements of K.550 are in this key, there is no progression to major by the end, and even the second themes in the recapitulations of both outer movements are in G minor, not the expected G major.

With all this in mind, it is virtually impossible to ignore the biographical background against which the symphony was written — a rapidly waning career in Vienna, financial woes (this is the period when those pitiful letters to his friend Puchberg began, begging for loans), and an ailing wife. Biographer Otto Jahn perceives in the symphony’s first movement “a piercing cry of anguish”.

To some listeners, these sentiments smack of Romantic fantasy; one must remember that the radiant and affirmative Symphonies Nos. 39 and 41 were written concurrently with No. 40. But No. 40 is “Romantic” in other ways as well.

It is a harbinger of what was to follow in Beethoven and the symphonies of the 19th century. The high level of dissonance in this symphony (there is even a Schoenbergian twelve-tone row embedded in the finale), the pronounced use of counterpoint, the angular lines, the highly personalised visions in which the composer “bares his soul”, the persistence of the minor tonality, and the sheer intensity of emotional outpouring all point to the 19th century and music of the Romantics.

No finer tribute could be paid to Mozart’s G-minor Symphony than to note that it speaks meaningfully and deeply to every listener without need of verbal commentary. Perhaps some insight to its lasting appeal and supreme craftsmanship can be gleaned from the composer’s own word regarding musical expression, written to his father during the composition of the opera The Abduction from the Seraglio: “The passions, whether violent or not, must never be expressed so strongly as to disgust, and music, even in the most frightful situations, must never offend the ear, but is even then to give pleasure.”

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WOLFGANG AMADEUS MOZART

Requiem in D minor, K.626 67’00 (completed and edited by Masato Suzuki - Singapore Premiere)

During the 19th century, the climate of Romanticism fostered the weaving of legends to explain events. The account of the mysterious stranger, the “messenger of death” who visited Mozart and commanded him to write his own Requiem, is well-known in some form to most music lovers. The complete story, according to recent scholarship and supported by meticulous source attributions, can be found in Christoph Wolff’s monograph published in 1993, Mozart’s Requiem: Historical and Analytical Studies – Documents – Score.

Far too many people today believe the account as presented in Peter Shaffer’s play and Milos Forman’s film Amadeus, namely, that Salieri poisoned Mozart, but these were by no means the only counterfeiters. Among others, there was the famous author Alexander Pushkin in his 1830 play Mozart and Salieri, which RimskyKorsakov in turn made into a short opera in 1898. Salieri, we now know for certain, had nothing to do with Mozart’s death. The composer is known to have expressed some suspicion that he was dying from a slow-acting poison, but most Mozart scholars today believe he succumbed to acute rheumatic fever complicated by various other physical ailments.

The Requiem was in fact commissioned in July 1791 by a Count WalseggStuppach, whose twenty-year-old wife had died the previous February. Desiring a Requiem for his wife but wishing to remain anonymous, Walsegg sent his steward to Mozart with the commission. Upon Mozart’s death on 5 December, the work was far from complete and his widow Constanze, fearful not only for payment of the remainder of the fee but also of retraction of the portion already paid, appealed to various musicians to finish the Requiem. First she approached one of Mozart’s pupils and friends, Franz Jakob Freystädtler, but he refused. Next she turned to another Mozart pupil, the composer Joseph Leopold Eybler. Eybler signed a letter of agreement to do the work, but he soon abandoned the task, claiming he had neither the time nor the ability for such a lofty assignment. The task was eventually entrusted to and completed by Franz Xaver Süssmayr (17661803), still another of Mozart’s pupils. Süssmayr re-copied all the work Mozart had already done and went on from there. He presented Constanze with two copies of the finished product in February of 1792. Walsegg apparently was satisfied with what Constanze handed him, despite Süssmayr’s forgery of Mozart’s signature and having dated the manuscript 1792. The Count in turn re-copied the score in his own hand and entitled it Requiem composto del Conte Walsegg.

Just how much of Mozart’s last work is his own and how much is Süssmayr’s has been the subject of much controversy. Furthermore, Süssmayr may well have incorporated passages into his own work that had been worked out by Eybler and possibly others as well. The issue has been discussed in considerable detail by numerous scholars, including Friedrich Blume, Otto Jahn, Vincent Novello, and, more recently, H.C. Robbins Landon, Franz Beyer and Richard Maunder.

Throughout the Requiem we hear dozens, even hundreds of examples of Mozart’s unerring sense of orchestral colour and vocal effects that make this Requiem one of the most cherished works in the repertory: the gentle, delicate sound of basset horns combined with bassoons in the opening bars, and again at the beginning of the “Recordare”; the dense web of polyphony (overlapping lines) in the fastmoving “Kyrie”; the terrifying cries of the “Dies irae”; and the sonorous, noble tone of the trombone counterpoised with the solo bass in the “Tuba mirum”.

The instrumental forces employed are unusual. The woodwind section consists only of pairs of basset horns and bassoons. A basset horn is related neither to canines nor horns; it is the alto member of the clarinet family, with a delicate, plaintive tone in its upper register and a warmly sonorous sound in its lower range.

The instrument became obsolete early in the nineteenth century, through a few 20th century composers, notably Richard Strauss, have revived it. Brass are limited to three trombones (standard in sacred choral music of the era) and the occasional use of two trumpets, usually accompanied by timpani.

Mozart was sincerely religious, but his feelings about death were cultivated more

by Freemasonry than by the Catholic Church. His often-quoted letter of 4 April 1787 to his father expresses these thoughts: “As death, when we come to consider it closely, is the true goal of an existence, I have formed during the last few years such close relations with this best and truest friend of mankind, that his image is not only no longer terrifying to me, but is indeed very soothing and consoling! And I thank my God for graciously granting me the opportunity … of learning that death is the key which unlocks the door to our true happiness. … For this blessing I daily thank my Creator and wish with all my heart that each one of my fellow creatures could enjoy it.”

Programme notes by Robert Markow

Requiem in D minor, K.626

1. Introitus – Requiem aeternam Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem: Exaudi orationem meam, ad te omnis caro veniet.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Grant them eternal rest, Lord, and let perpetual light shine on them.

You are praised, God, in Zion, and homage will be paid to You in Jerusalem. Hear my prayer, to You all flesh will come.

Grant them eternal rest, Lord, and let perpetual light shine on them.

2. Kyrie Kyrie eleison Christe eleison, Kyrie eleison.

Lord, have mercy upon us Christ, have mercy upon us, Lord, have mercy upon us.

3. Sequentia Dies irae Dies irae, dies illa solvet saeclum in favilla, Teste David cum Sibylla.

Day of wrath, day of anger will dissolve the world in ashes, as foretold by David and the Sibyl.

Quantus tremor est futurus, quando Judex est venturus, cuncta stricte discussurus!

Great trembling there will be when the Judge descends from heaven to examine all things closely.

Tuba mirum Tuba mirum spargens sonum per sepulchra regionum, coget omnes ante thronum.

The trumpet will send its wondrous sound throughout earth’s sepulchres and gather all before the throne.

Mors stupebit et natura, cum resurget creatura, Judicanti responsura.

Liber scriptus proferetur, In quo totum continetur, unde mundus judicetur.

Judex ergo cum sedebit, quidquid latet apparebit, nil inultum remanebit.

Death and nature will be astounded, when all creation rises again, to answer the judgement.

A book will be brought forth, in which all will be written, by which the world will be judged.

When the judge takes his place, what is hidden will be revealed, nothing will remain unavenged.

Quid sum miser tunc dicturus?

Quem patronum rogaturus?

Cum vix justus sit securus.

What shall a wretch like me say?

Who shall intercede for me, when the just ones need mercy?

Rex tremendae Rex tremendae majestatis, qui salvandos salvas gratis, salva me, fons pietatis.

King of tremendous majesty, who freely saves those worthy ones, save me, source of mercy.

Recordare Recordare Jesu pie, quod sum causa tuae viae: ne me perdas illa die.

Remember, kind Jesus, my salvation caused your suffering; do not forsake me on that day.

Quaerens me, sedisti lassus: redemisti crucem passus: tantus labor non sit cassus.

Faint and weary you have sought me, redeemed me, suffering on the cross; may such great effort not be in vain.

Juste judex ultionis, donum fac remissionis ante diem rationis.

Righteous judge of vengeance, grant me the gift of absolution before the day of retribution.

Ingemisco tamquam reus: culpa rubet vultus meus: Supplicanti parce Deus.

I moan as one who is guilty: owning my shame with a red face; suppliant before you, Lord.

Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.

You, who absolved Mary, and listened to the thief, give me hope also.

Preces meae non sunt dignae: Sed tu bonus fac benigne, ne perenni cremer igne.

My prayers are unworthy, but, good Lord, have mercy, and rescue me from eternal fire.

Inter oves locum praesta, et ab haedis me sequestra, statuens in parte dextra.

Provide me a place among the sheep, and separate me from the goats, guiding me to Your right hand.

Confutatis Confutatis maledictis, flammis acribus addictis, Voca me cum benedictis.

When the accused are confounded, and doomed to flames of woe, call me among the blessed.

Oro supplex et acclinis, cor contritum quasi cinis: Gere curam mei finis.

I kneel with submissive heart, my contrition is like ashes, help me in my final condition.

Lacrimosa Lacrimosa dies illa, qua resurget ex favilla, judicandus homo reus:

That day of tears and mourning, when from the ashes shall arise, all humanity to be judged.

Huic ergo parce Deus.

Pie Jesu, Domine, dona eis requiem.

Spare us by your mercy, Lord, gentle Lord Jesus, grant them eternal rest.

Amen Amen.

Amen.

4. Offertorium Domine Jesu Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu: libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum, sed signifer sanctus Michael repraesentet eas in lucem sanctam: Quam olim Abrahae promisisti, et semini ejus.

Lord Jesus Christ, King of glory, liberate the souls of the faithful, departed from the pains of hell and from the bottomless pit.

Deliver them from the lion's mouth, lest hell swallow them up, lest they fall into darkness.

Let the standard-bearer, holy Michael, bring them into holy light.

Which was promised to Abraham and his descendants.

Hostias Hostias et preces tibi Domine, laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti et semini ejus.

Sacrifices and prayers of praise, Lord, we offer to You. Receive them on behalf of those souls we commemorate today.

And let them, Lord, pass from death to life, which was promised to Abraham and his descendants.

5. Sanctus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth!

Pleni sunt caeli et terra gloria tua.

Osanna in excelsis.

Holy, Holy, Holy, Lord God of Hosts.

Heaven and earth are full of Your glory.

Hosanna in the highest.

6. Benedictus Benedictus qui venit in nomine Domini, Osanna in excelsis.

Blessed is He that cometh in the name of the Lord.

Hosanna in the highest.

7. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem; Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Lamb of God, who takes away the sins of the world, grant them eternal rest.

Lamb of God, who takes away the sins of the world, grant them eternal rest forever.

8. Communio Lux aeterna Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis, Domine et lux perpetua luceat eis. cum sanctis tuis in aeternum, quia pius es.

Let eternal light shine on them, Lord, as with Your saints in eternity, because You are merciful.

Grant them eternal rest, Lord, and let perpetual light shine on them, as with Your saints in eternity, because You are merciful.

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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

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