Mendelssohn Piano Concerto 1 • Brahms Symphonies

LAN SHUI Music Director

subscription concert

Mendelssohn Piano Concerto 1 • Brahms Symphonies 28 July 2017 Esplanade Concert Hall Performing Home of the SSO

Lan Shui, conductor Melvyn Tan, piano

28 Jul 2017, Fri

Mendelssohn Piano Concerto 1 • Brahms Symphonies Singapore Symphony Orchestra Lan Shui, conductor

RICHARD STRAUSS

Tod und Verklärung (“Death and Transfiguration”), Op. 24 23’00

FELIX MENDELSSOHN

Piano Concerto No. 1 in G minor, Op. 25 21’00

1. Molto allegro con fuoco 2. Andante 3. Presto – Molto allegro e vivace

Melvyn Tan, piano

Intermission 20’00

Melvyn Tan will autograph CDs in the stalls foyer.

JOHANNES BRAHMS

Symphony No. 3 in F major, Op. 90 33’00

1. Allegro con brio 2. Andante 3. Poco allegretto 4. Allegro – Un poco sostenuto

Concert duration: 1 hr 55 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 ‘A fine display of orchestral bravado for the SSO and Shui’ The Guardian

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 alltime 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 2016 the SSO was invited to perform at the Dresden Music Festival and the Prague Spring International 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.

L a n SHui conductor

Lan Shui is renowned for his abilities as an orchestral builder and for his passion in commissioning, premiering and recording new works by leading Asian composers. As Music Director of the Singapore Symphony Orchestra since 1997, American Record Review noted that Shui has “turned a good regional orchestra into a world-class ensemble that plays its heart out at every concert”. Together they have made several acclaimed tours to Europe, Asia and the United States and appeared for the first time at the BBC Proms in September 2014.

Lan Shui held the position of Chief Conductor of the Copenhagen Phil from 2007 to 2015, and from 2016 he became their Conductor Laureate. He recently concluded a four-year period as Artistic Advisor of the National Taiwan Symphony Orchestra. As a guest conductor, Shui has worked with many orchestras. In the United States he has appeared with the Los Angeles Philharmonic, San Francisco Symphony, and Baltimore and Detroit symphony orchestras. In Europe he has performed with Deutsches Symphonie-Orchester Berlin, hr-Sinfonieorchester, Danish National Symphony Orchestra, Radio-Sinfonieorchester Stuttgart des SWR, Deutsche Radio Philharmonie, Gothenburg Symphony, Tampere Philharmonic and Orchestre National de Lille. In Asia he has conducted the Hong Kong, Malaysian and Japan Philharmonic orchestras and maintains a close relationship with the China Philharmonic and Shanghai Symphony.

Since 1998 Shui has recorded over 20 CDs for BIS – including a Rachmaninov series, a “Seascapes” disc and the first-ever complete cycle of Tcherepnin’s symphonies with the Singapore Symphony Orchestra – and also music by Arnold and Hindemith with the Malmö Symphony Orchestra, which has received two Grammy nominations.

Lan Shui is the recipient of several international awards from the Beijing Arts Festival and the New York Tcherepnin Society, the 37th Besançon Conductors’ Competition in France and Boston University (Distinguished Alumni Award) as well as the Cultural Medallion – Singapore’s highest accolade in the arts. Born in Hangzhou, China, Shui studied composition at the Shanghai Conservatory and graduated from The Beijing Central Conservatory. He continued his graduate studies at Boston University while at the same time working closely with Leonard Bernstein at the Tanglewood Music Festival. He has worked together with David Zinman as Conducting Affiliate of the Baltimore Symphony Orchestra, as Associate Conductor to Neeme Järvi at the Detroit Symphony Orchestra, and with Kurt Masur at the New York Philharmonic and Pierre Boulez at The Cleveland Orchestra.

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ME LV YN TAN piano

Exploration, insight and imagination are vital ingredients in Melvyn Tan’s blend of artistic attributes. He established his international reputation in the 1980s with pioneering performances on the fortepiano and continues to cast fresh light on music conceived for the piano’s early and modern forms.

Performing on the modern piano today, Tan is acclaimed for the wit and poetry in his playing. His refreshing interpretations of everything from Bach and Rameau to Chopin and Debussy are directly informed by his knowledge of historical playing styles and intuitive feeling for the modern piano’s timbres and textures.

Tan’s work as recitalist, chamber musician and concerto soloist has been heard at many of the world’s leading concert halls, from the Amsterdam Concertgebouw, Vienna Konzerthaus to London’s Wigmore Hall, Royal Festival Hall and New York’s Lincoln Center. He has appeared in major international festivals in Salzburg, Edinburgh, La Roque d’Anthéron, Bath’s Mozartfest and City of London Festival and has performed with such prestigious ensembles as the London Philharmonic Orchestra, the Academy of St Martin’s in the Fields, the Hong Kong Philharmonic Orchestra, the Royal Liverpool Philharmonic Orchestra, Stuttgart Radio Symphony Orchestra, Salzburg’s Camerata and Mozarteum orchestras, Melbourne Symphony and on tour with the Australian Chamber Orchestra.

More recently, Tan has made regular appearances with the Singapore Symphony Orchestra and with the London Chamber Orchestra, recording Mozart’s Piano Concerto No. 12 and Beethoven’s Piano Concerto No. 2 on the orchestra’s LCO Live label.

Tan marks his 60th birthday in 2016 with tours to four continents including a UK tour with the Bruckner Orchestra Linz, and appearances in South Africa, Singapore, Hong Kong and Australia. He gave the world premiere of Jonathan Dove’s piano work Catching Fire at the Cheltenham Music Festival, followed by the release of his new CD “Master and Pupil” (themed on the teacher-student relationship between Beethoven, Czerny and Liszt) on the Onyx label.

S S O MU S ICIAN S Lan Shui Music Director joshua tan Associate Conductor jason lai Associate Conductor andrew litton Principal Guest Conductor Choo Hoey Conductor Emeritus Eudenice Palaruan Choral Director

FIRST VIOLIN Igor Yuzefovich° Concertmaster Lynnette Seah Co-Concertmaster Kong Zhao Hui* Associate Concertmaster Chan Yoong-Han Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Gu Wen Li Jin Li Cindy Lee Sui Jing Jing Karen Tan William Tan Wei Zhe SECOND VIOLIN Lei Hou^ Principal Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Nikolai Koval* Lee Shi Mei^

Chikako Sasaki* Margit Saur Shao Tao Tao Tan Ka Ming^ Sherwin Thia^ 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 Lim Chun^ Luo Biao Julian Mottram^ Shui Bing Tan Wee-Hsin Janice Tsai^ Yang Shi Li Zhao Yu^ CELLO Ng Pei-Sian Principal Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Song Woon Teng Wang Yan Wang Zihao* Peter Wilson Wu Dai Dai Zhao Yu Er DOUBLE BASS Guennadi Mouzyka Principal Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Foo Yin Hong^ Ma Li Ming^

Jacek Mirucki Wang Xu FLUTE Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan PICCOLO Roberto Alvarez 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 Lau Wen Rong Sergey Tyuteykin

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

TROMBONE

COR ANGLAIS

BASS TROMBONE

Elaine Yeo Associate Principal

Wang Wei Assistant Principal

CLARINET

TUBA

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

Hidehiro Fujita Principal

BASS CLARINET Tang Xiao Ping Assistant Principal BASSOON Zhang Jin Min^ Principal Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue CONTRA BASSOON

Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong

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

Zhao Ying Xue Assistant 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.

Taonist n y l v Mel no So Pia

A S TANDing ovat ion to PATRONs a nd f r ie nds OF THE ART S 2017 The Singapore Symphony Group would like to congratulate all our donors who received the Patron of the Arts Awards this month.

Conferred by the National Arts Council, the Patron of the Arts Awards celebrate and recognise organisations and individuals who have contributed significantly to the development of the arts in Singapore.

DISTINGUISHED PATRON OF THE ARTS

Keppel Corporation Ltd Marina Bay Sands Singapore Press Holdings Ltd Temasek Foundation Nurtures CLG Ltd United Overseas Bank Ltd Joseph Grimberg Christopher Ho and Rosy Ho

PATRON OF THE ARTS

Aquilus Pte Ltd Conrad Centennial Singapore Far East Organization Hong Leong Foundation Kris Foundation Lee Foundation Pauline Chan and Jean Nasr Goh Yew Lin Paige Parker and Jim Rogers

FRIEND OF THE ARTS

G K Goh Holdings Ltd John Swire & Sons (S.E.Asia) Pte Ltd Kingsmen Exhibits Pte Ltd NSL Ltd Richemont Luxury (S) Pte Ltd Singapore Airlines Ltd Tan Chin Tuan Foundation TransTechnology Pte Ltd Lito Camacho Odile Benjamin Cham Tao Soon Chan Heng Chee Dorothy Chan Grace Fu Hai Yien Dr and Mrs Michael Hwang Maisy Koh and Dr Beh Swan Gin Eugene Lai Leong Wah Kheong

Leong Wai Leng Michael Lien and Tan Kheng Ju Desmond Lim Lim Boon Heng Mavis Lim Gek Chin Olivia Lum Andreas and Doris Sohmen-Pao Astrie Sunindar-Ratner Tan Choo Leng Alfred Wong Wong Fong Fui Geoffrey Wong and Ai-Ai Wong Wong Ngit Liong and Tan Siew Hoon Christine Yeh Timber Yeh Yong Pung How Yong Ying-I Thomas and Mary Zuellig

u p c omi n g c o nc ert s

19 August 2017

Sat | 7.30pm Esplanade Concert Hall Subscription Concert

WHEN IN ROME Sounds So Romantic Beethoven Piano Concerto No. 3 in C minor, Op. 37 Respighi Fountains of Rome Respighi Pines of Rome Michal Nesterowicz, conductor Anna Tsybuleva, piano Pre-concert Talk 6.30pm | library@esplanade OPEN REHEARSAL 19 Aug, 9.30am - 12pm | Esplanade Concert Hall | For Friends of the SSO and ticket holders

25 August 2017

Fri | 7.30pm Esplanade Concert Hall Subscription Concert

EMPEROR AND PATHÉTIQUE Power And Majesty Beethoven Piano Concerto No. 5 in E-flat major, Op. 73 “Emperor” Tchaikovsky Symphony No. 6 in B minor, Op. 74 “Pathétique” Kahchun Wong, conductor Shai Wosner, piano Pre-concert Talk 6.30pm | library@esplanade

mu s ic i a n c h a ir The Singapore Symphony Orchestra thanks the following organisations for supporting artistic excellence initiatives through our Musician Chair Programme.

GUO HAO Fixed Chair Cello

CORPORATE SEAT S 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

Up to $10,000 Hong Leong Foundation Stephen Riady Group of Foundations Nomura Asset Management Singapore Ltd Prima Limited

1979 f und 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. $20,000 and above Ms Tan Choo Leng $15,000 and above Mr S R Nathan

$10,000 and above Prof Cham Tao Soon Prof Chan Heng Chee Ms Liew Wei Li Up to $5,000 Ms Cham Gee Len Dr Tan Chin Nam Mrs Odile Benjamin

This list is for donations from 1 Apr 2016 to 30 Apr 2017.

For more information or to make a donation, please contact the Development & Sponsorship Team at 6602 4238 / 6602 4237 or peggykek@sso.org.sg.

A S ta nding Ovat ion to o ur Donor s a nd Sp on s or s 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 Interchem Pte Ltd Anonymous $50,000 and above

John Swire & Sons (S.E. Asia) Pte Ltd Tan Chin Tuan Foundation Joseph Grimberg Lee Foundation, Singapore Kingsmen Exhibits Pte Ltd Mr & Mrs Goh Yew Lin GK Goh Holdings Limited NSL Ltd TransTechnology Private Limited Aquilus Pte Ltd

$20,000 and above Petrochemical Corporation of Singapore Pte Ltd Singapore Institute of Management Keppel Care Foundation Stephen Riady Group of Foundations Far East Organization Mr and Mrs Goh Geok Khim United Overseas Bank Limited UPP Holdings Limited Eugene Lai Chin Look Clarinda Tjia-Dharmadi Martin Dorothy Chan Ms Paige Parker and Mr Jim Rogers

Mr and Mrs Wong Ngit Liong Kris Foundation JCCI Singapore Foundation Limited Holywell Foundation Limited Pontiac Land Group One North Capital Pte Ltd Saga Tree Capital Advisors Pte Ltd Anonymous Christina Ong Doris and Andreas Sohmen-Pao Geoffrey Wong & Ai Ai Wong

$10,000 and above Dr and Mrs Thomas Zuellig Foundation Prince Albert II of Monaco S R Nathan Lim and Tan Securities Pte Ltd At-Sunrice GlobalChef Academy Pte Ltd BinjaiTree Boardroom Limited DBS Bank Limited Hi-P International Limited Hong Leong Foundation LGT Bank (Singapore) Ltd Marina Bay Sands Pte Ltd Nomura Asset Management Singapore Ltd OSIM International Limited Prima Limited PSA International Private Limited Resorts World at Sentosa Pte Ltd Van Cleef and Arpels Tan Kong Piat (Pte) Limited Choo Chiau Beng

Tan Choo Leng Christine Yeh David Ong Eng Hui Anonymous Prof Chan Heng Chee Lito and Kim Camacho Amy and Kevin Gould Anonymous Andress Goh Lai Yan Lee Li-Ming Anonymous Olivia Lum Kim Teo Poh Jin Pauline Chan and Jean Nasr Yong Pung How Maisy Koh and Dr Beh Swan Gin Prof Cham Tao Soon Leong Wai Leng Liew Wei Li Desmond Lim Yu Jin

$5,000 and above Juliana and Clemente Benelli Prof Arnoud De Meyer Ross & Florence Jennings Mr and Mrs Tan Vern Han AIA Singapore Private Limited ComfortDelgro Corporation Limited CV Shipping Pte Ltd F & N Foods Pte Ltd Fullerton Fund Management Company Ltd Loke Cheng Kim Foundation Devika and Sanjiv Misra Sharon Chandran

Lin Diaan-Yi Anonymous Electrolux S.E.A. Pte Ltd Cham Gee Len Grace Fu Hai Yien Chng Hak-Peng Anonymous Manju Vangal Prof and Mrs Lim Seh Chun Goh Sze Wei Mr and Mrs W K Leong Ms Tan Sook Yee

$1,000 and above Anonymous Thorsten Walther Christian Rothenbuehler Johanes Oeni Schroder Investment Management (Singapore) Ltd Dr Tan Chin Nam Anonymous Jullie Kan Ronald and Janet Stride Robin Ian Rawlings Chartered Asset Management Private Limited Prive Clinic Pte Ltd Xeitgeist Entertainment Group Pte Ltd Bernhard Steiner Daniel Bijaoui Eric Wong Guy J P Hentsch Ivy Teh Julian and Sandra Chang Ng Keng Hooi Tan Khai Hee Kris Wiluan Lawrence Basapa Anonymous Marie Elaine Teo Tong Moi Eng Leow Oon Geok Patrick Chong Chong Siak Ching Ho Soo Foo Leong Yoke Chun Electronics & Engineering Pte Ltd Kim Woon Soo Shih Chih-Lung Coutte Didier Chong Mi-Li Pamela Gael Bomblian Cambridge Therapeutics Pte Ltd Jean Yip Salon Pte Ltd JW Central Pte Ltd Robert Khan & Co Private Limited Sara Taseer Fine Jewellery Pte Ltd Dr Ho Ching Lin (SNEC) Wilmar International Limited Cynthia Chee Bin Eng Gan Chee Yen Connie Chaird Fong Ei Lie Lim Eng Neo Gajardo Eugenia Carmichael Heather Lin John Hsu Lai Kenneth Mark Wong Kevin Ong Lee Fong Lau Leok Yee Lau Kheng Tiong This list is for donations from 1 Jul 2016 to 30 Jun 2017.

Yeo Ning Hong Somalingam Radakrishnan Frances Low Richard Smith Sheila Patel Gao Sheng Ho Soh Choon Lee Suan Yew Lim Swee Lin Wong Yik Mun Ng Yong Ngee Aznan Abu Bakar Pauline Ang Hooi Yeong Cees & Raife Armstrong Kanti Bajpai Marcie Ann Ball Bao Zhiming Steven L Bernasek John & Eliza Bittleston Michel Blanc Chai Huei Chuen Chan Wai Leong Christopher Chen Cheng Wei Margaret Chew Sing Seng Shang Thong Kai and Tiffany Choong Jennie Chua Kheng Yeng Maureen Derooij Ridzuan Farouk Warren Fernandez Christopher John Fussner Brian Holt Gambrill Rolf Gerber Goh Chiu Gak Jerry Gwee Mark Edward Hansen Donald Harding William H Hernstadt Susanna Ho Choon Mei Liwen Holmes Richard Jerram Matthew G Johnson Patrick Johnson Lilian Khoo Khor Cheng Kian AndrĂŠ Klein Belinda Koh Yuh Ling Takashi Kousaka Michael Kuschel Kwee Nee Chia Irene Lai Kim Peng Mitchell Vincent Lam Ho Ming Matthew Latham Janin Lau Ying Hui Eugene Lee Lee Shu Yen Siong Ted Lee Leong Keng Hong Xiao Li

Bettina Lieske Alvin Liew Lim Hong Eng Janet Richard Logan Michelle Loh Loh Pong Tuan Loke Sin Hun Jeffrey Victor Loo Low Boon Hon Donny Low Low Fatt Kin Low Nguok Kwong Mah Li Lien Eunice Adelina Mah Li Ting Andre Maniam Craig McTurk Gillian Metzger Joseph Mocanu Azima Moiz Mr & Mrs Willem Mark Nabarro David Neo Chin Wee Hunter Nield Todd On Monica Pitrelli Anonymous Derek Quah Jonathan Reiter Charles Robertson Andreas Ruschkowski Bernard Jean Sabrier See Tho Kai Yin Naoyoshi Nick Shimoda Jeremy Snoad Bo Sun Tan Boon Ngee Joyce Tan Tan Kok Kiong Anonymous Ivan Tan Meng Cheng Giles Tan Ming Yee Ms Tan Poh Lian Phyllis Robert Tan Daniel Tando Teo Ee Peng Tian Xiaoye Mr & Mrs Neil Tottman Arudra Vangal Peter White Wong Liang Keen Wu Peichan Valerie Satoru Yano Vanessa Yeo David Harris Zemans

RICHAR D S TRAU S S (18 6 4 -1949) Tod und Verklärung (“Death and Transfiguration”), Op. 24

23’00

The emotionally charged atmosphere of the late nineteenth century provided a fertile ground for artistic expressions of love and death, both of which Richard Strauss incorporated into his symphonic poems. Here is his own explanation of his Op. 24, composed at the age of just 25: “The idea occurred to me to represent in a tone poem the death of a person who had striven for the highest idealistic aims, very possibly those of an artist.

A sick man lies in bed asleep, breathing heavily and irregularly. Agreeable dreams bring a smile to his face, in spite of his suffering; his sleep becomes lighter; he wakens; once again his body is racked with terrible pains, his limbs shake with fever; as the attack diminishes and the pain subsides, he reflects on his past life. His childhood passes before him, his youth with its strivings and passions, and then, as the pains resume, the fruit of his life’s mission appears to him, the concept, the ideal which he has tried to realise, to represent in his art, but which he has been unable to perfect, because it was not for any human being to accomplish. The hour of death approaches, the soul leaves the body in order to find that achieved in the most glorious form in the eternal cosmos which he could not fulfill here on earth.”

Although Strauss’ orchestra is not uncommonly large in this work, it is used with great imagination. Pictorial touches abound. In the first few minutes alone we hear the weak, irregular beating of the dying man’s heart (violins and violas in the opening bars; later solo timpani); his weary sighs (strings, following the heartbeats portrayed by timpani); the smile on his face and gleam in his eyes as he recalls childhood memories (meltingly beautiful solo oboe over streaming harp arpeggios). Then the frightful struggle with death begins as the full orchestra rears up suddenly in rage and utmost agitation.

The struggle ends as the soul ascends to heaven on the back of a chromatic scale in strings and woodwinds.

Strauss conducted the first performance in Eisenach (Bach’s birthplace) on 21 June 1890.

FE L I X MENDE L S S OHN (18 0 9 -18 47 ) Piano Concerto No. 1 in G minor, Op. 25

21’00

Mendelssohn was a pianist of the first rank and wrote much music for his instrument, particularly during his early years. One contemporary, Ferdinand Hiller, described his execution as follows: “He played the piano as a lark soars. He possessed a great adroitness, sureness, strength, fluency, a soft full tone”, all qualities found in much of his piano music, including the Concerto in G minor. Schumann called Mendelssohn “the Mozart of the nineteenth century”.

This concerto shares with its successor in D minor and with the Violin Concerto several notable characteristics: a first movement in the minor mode with a compressed exposition section, a brilliantly virtuosic finale, the use of transitions between movements rather than clean breaks, and a happy blend of romantic and classical elements: melancholia and bravura on the one hand, textural transparency and formal clarity on the other.

“A thing rapidly thrown off”, was how Mendelssohn described his G-minor concerto. The concerto was composed in 1830-1831 and was dedicated to a beautiful young woman with whom the composer was in love, Delphine von Schauroth. The composer played the solo part at the premiere in Munich in 1831 at the age of 22.

Though essentially a lightweight concerto of no serious pretensions, three special qualities should be noted: First, there is no initial presentation of the principal themes by the orchestra; only a brief introduction – a fiery crescendo by the strings – precedes the soloist’s entrance. Second, the three movements are played without pause, with brief rhythmic fanfares acting as bridge passages. (Mendelssohn, like Schumann, particularly liked to connect individual movements of a larger work in the interests of formal unity.) And third, there are no formal cadenzas. The finale in particular is so imbued with dashing brilliance that a cadenza here would be all but superfluous.

J OHANNE S B RAHM S (18 3 3 -18 97 ) Symphony No. 3 in F major, Op. 90

33’00

Brahms began working on his Third Symphony in 1882. Most of the work was done between May and October of the following year. When completed, six years had passed since he had presented his Second Symphony to the world, and music lovers across Europe were eager to hear the latest symphony from an acknowledged master of the form. The premiere went to Hans Richter and the Vienna Philharmonic (who had also premiered the Second Symphony) on 2 December 1883. Brahms received an initial fee of $9,000 upon publication, a princely sum in those days.

The symphony opens with a motto that will dominate not only the first movement but the entire symphony. The rising sequence of notes F - Ab - F functions as a kind of musical genetic code that will determine the nature of all that follows. It will be heard innumerable times throughout the work, often transposed, sometimes prominently by itself, sometimes submerged in an inner voice, or forming part of a longer line. The movement’s urgent, plunging first theme is offset by one of contrasting nature – genial, lyrical, smiling – played first by the solo clarinet, then by violas and oboe. The development section, though brief, manages to incorporate nearly every melodic idea from the exposition at least once.

The two inner movements are distinguished by greater lyricism, introspective melancholy and subdued emotions. The simple but sublimely beautiful opening theme of the second movement, music of pastoral loveliness, is written in four-part harmony, much like a Bach chorale. Clearly audible at the end of the phrase is the now-familiar motto. Clarinets and bassoons are the featured instruments, as they are for the second subject – a plaintive, nostalgic, gently rocking theme that will play a major role in the finale as well.

A lyrically flowing theme of autumnal beauty and infinite yearning sung by the cellos opens the third movement. Not only is this theme of unusual length, but it repeats and develops continuously, passing through other sections of the orchestra in a seamless flow. Eventually it pauses to allow a gracefully lilting new idea to be presented by the woodwinds, which introduces the second part of the movement. The first theme then resumes in the warm tones of the horn, then the poignant oboe, and finally violins soaring sweetly

in their uppermost register. In no symphony does Brahms exploit the warm, rich sounds of mid-range woodwinds (especially clarinets and bassoons) and horns to the extent he does here in the inner movements of the Third.

The finale is perhaps the symphony’s most fascinating movement. It begins with darkly mysterious murmurings, first in the strings, then the woodwinds.

We catch a brief reference to the second theme from the second movement, then a sudden violent outburst from the full orchestra. More outbursts follow.

The mood has been unsettled, even menacing, in the key of F minor, but suddenly, with a natural ease of which Brahms alone knew the secret, the music broadens out into a grandly heroic, soaring theme in C major for cellos and horn. A third theme follows for full orchestra in C minor – strongly rhythmic, granitic in its towering strength. With a total of five pieces of musical material to work with (the three new themes, the second movement theme, and the explosive outburst), Brahms spreads these out in a vast musical mosaic of cogent design and unassailable logic. Though not long in terms of minutes and seconds, the movement propels the listener through a great drama of elemental forces.

The struggle and turmoil at last subside. A sense of deep peace settles over the musical landscape, “like a rainbow after a thunderstorm” (Karl Geiringer).

The extended coda grows ever more autumnal in hue and nostalgic in mood as it develops the theme brought back from the second movement in warmly glowing sonorities. The three-note motto makes its final appearances, now in a mood of infinite tenderness and resignation, first by the oboe, then by the horn, and finally, as if setting a seal of benediction on the symphony, by the flute.

Programme notes by Robert Markow

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PLATINUM Aznan Abu Bakar Pauline Ang Hooi Yeong Cees & Raife Armstrong Kanti Bajpai Marcie Ann Ball Bao Zhiming Steven L Bernasek John & Eliza Bittleston Michel Blanc Chai Huei Chuen Chan Wai Leong Christopher Chen Cheng Wei Margaret Chew Sing Seng Chong Mi-Li Pamela Shang Thong Kai and Tiffany Choong Jennie Chua Kheng Yeng Maureen Derooij Ridzuan Farouk Warren Fernandez Christopher John Fussner Brian Holt Gambrill Rolf Gerber Goh Chiu Gak Andress Goh Lai Yan Goh Sze Wei Joseph Grimberg Jerry Gwee Mark Edward Hansen Donald Harding Guy J P Hentsch William H Hernstadt Ho Soo Foo Susanna Ho Choon Mei Liwen Holmes Ross & Florence Jennings Richard Jerram Matthew G Johnson Patrick Johnson Lilian Khoo Khor Cheng Kian André Klein Belinda Koh Yuh Ling Takashi Kousaka Michael Kuschel Kwee Nee Chia Irene Lai Kim Peng Mitchell Anonymous Vincent Lam Ho Ming

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b oa r d of dir ec tor s & COMMITTE e S patron President Tony Tan Keng Yam

board of directors Mr Goh Yew Lin (Chairman) Ms Yong Ying-I (Deputy Chairman) Mr Ang Chek Meng Mrs Odile Benjamin Mr Chng Hak-Peng Mr Lionel Choi Prof Arnoud De Meyer Mr Heinrich Grafe Mr Kwee Liong Seen Ms Liew Wei Li Ms Lim Mei Prof Lim Seh Chun Mr Andreas Sohmen-Pao Ms Tan Choo Leng Mr Paul Tan Dr Kelly Tang Mr Yee Chen Fah Nominating and Executive Committee Mr Goh Yew Lin (Chairman) Mr Paul Tan Ms Yong Ying-I Audit Committee Mr Yee Chen Fah (Chairman) Mr Kwee Liong Seen Ms Lim Mei

Endowment Fund Committee Prof Cham Tao Soon (Chairman) Mr David Goh Mr Paul Supramaniam Mr Anthony Teo

SNYO Committee Ms Liew Wei Li (Chairlady) Mr Ang Chek Meng Ms Vivien Goh Dr Kee Kirk Chin Mrs Valarie Wilson SSO LADIES’ LEAGUE

SSO Council Prof Cham Tao Soon (Chairman) Mr Alan Chan Ms Chew Gek Khim Mr Choo Chiau Beng Dr Geh Min Mr Goh Geok Khim Mr Khoo Boon Hui Prof Tommy Koh Mr JY Pillay Dr Stephen Riady Ms Priscylla Shaw Dr Gralf Sieghold Mr Andreas Sohmen-Pao Dr Tan Chin Nam Ms Tan Choo Leng Mr Tan Soo Nan Mr Wee Ee Cheong 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

Mrs Odile Benjamin (Chairlady) Mrs Kwan Lui (Deputy Chairlady) Mrs Celeste Basapa Mrs Maisy Beh Mrs Kim Camacho Mrs Rosy Ho Ms Judy Hunt Prof Annie Koh Dr Julie Lo Mrs Clarinda 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 (SSO)

CORPORATE SERVICES

Mr Edward Loh Mr Chris Yong

Ms Kua Li Leng (Head) Ms Teo Chew Yen Ms Jolene Yeo

Mr Rick Ong (Head) Mr Alan Ong (Finance) Ms Goh Hoey Fen (Finance) Mr Mohamed Zailani bin Mohd Said

ORCHESTRA MANAGEMENT Mr Ernest Khoo (Head) Mr Chia Jit Min Ms Tan Wei Tian Stage Management Ms Kimberly Kwa (Stage Manager) Ms Chin Rosherna Mr Ramayah Elango Mr Abdul Wahab bin Sakir Mr Mohamed Zailani bin Mohd Said Mr Muhammad Fariz bin Samsuri Mr Radin Sulaiman bin Ali LIBRARY Mr Lim Yeow Siang (Head) Mr Lim Lip Hua Ms Priscilla Neo

Community Outreach Ms Kathleen Tan Ms Vanessa Lee Choral Programmes Ms Regina Lee Ms Whitney Tan PROGRAMMES (VCH) Ms Michelle Yeo (Head) Ms Erin Tan DEVELOPMENT & SPONSORSHIP Ms Peggy Kek (Head) Mr Anthony Chng Ms Nikki Chuang Ms Zhang Jingchao MARKETING COMMUNICATIONS & CUSTOMER EXPERIENCE Ms Cindy Lim (Head) Mr Chia Han-Leon Ms Myrtle Lee Ms Hong Shu Hui Ms Melissa Tan Ms Cheryl Pek Ms Khairani Basman Ms Dacia Cheang Ms Nur Shafiqah Bte Othman

HUMAN RESOURCES & ADMINISTRATION Mr Desmen Low Ms Shanti Govindasamy SINGAPORE NATIONAL YOUTH ORCHESTRA Ms Pang Siu Yuin (Head) Ms Shirin Foo Mr Tan Yong Qing Ms Tang Ya Yun ABRSM Ms Hay Su-San (Head) Ms Patricia Yee Ms Lai Li-Yng Mr Joong Siow Chong

Supporting the Local Arts and Cultural Scene Partner of SSO since 1978 NSL is a long-standing sponsor for Singapore Symphony Orchestra (SSO). We have been instrumental in helping the Orchestra reach out to the community-at-large as SSO brings music to the world.

A leading industrial group in the Asia Pacific with businesses in Precast & Prefabricated Bathroom Unit and Environmental Services, NSL believes that while achieving business goals is important, its actions need to also create a positive impact on the community, environment and all stakeholders.

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LEE FOUNDATION

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

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