Serenade with Soyoung Yoon

LAN SHUI Music Director

SUBSCRIPTION CONCERT

SERENADE WITH SOYOUNG YOON 29 November 2018

Esplanade Concert Hall

Performing Home of the SSO Michal Nesterowicz, conductor Soyoung Yoon, violin

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

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

Peter Stark SNYO Principal Guest Conductor

Tickets from $15

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

SSO.ORG.SG

Pacho Flores @ snyo.sg

29 Nov 2018, Thu

SERENADE WITH SOYOUNG YOON Singapore Symphony Orchestra Michal Nesterowicz, conductor HENRYK GÓRECKI

Three Pieces in Old Style 10’

LEONARD BERNSTEIN

Serenade, after Plato’s Symposium 30’

1. Phaedrus; Pausanias (Lento; Allegro marcato) 2. Aristophanes (Allegretto) 3. Eryximachus (Presto) 4. Agathon (Adagio) 5. Socrates; Alcibiades (Molto tenuto; Allegro molto vivace)

Soyoung Yoon, violin

Intermission 20’

Soyoung Yoon will sign autographs in the stalls foyer

LUDWIG VAN Symphony No. 8 in F major, Op. 93 26’ BEETHOVEN 1. Allegro vivace e con brio 2. Allegretto scherzando 3. Tempo di Menuetto 4. Allegro vivace

Concert duration: 1 hr 40 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.

Concert Hall. More intimate works and all outreach and community performances take place at the 673-seat Victoria Concert Hall, the home of the SSO. The orchestra performs 100 concerts a year, and its versatile repertoire spans all-time favourites and orchestral masterpieces to exciting cutting-edge premieres. Bridging the musical traditions of East and West, Singaporean and Asian musicians and composers are regularly showcased in the concert season. This has been a core of the SSO’s programming philosophy from the very beginning under Choo Hoey, who was Music Director from 1979 to 1996.

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

Since Lan Shui assumed the position of Music Director in 1997, the SSO has

performed in Europe, Asia and the United States. In May 2016 the SSO was invited to perform at the Dresden Music Festival and the Prague Spring International Music Festival.

This successful five‑city tour of Germany and Prague also included the SSO’s return to the Berlin Philharmonie after six years. In 2014 the SSO’s debut at the 120th BBC Proms in London received critical acclaim in the major UK newspapers The Guardian and Telegraph.

The SSO has also performed in China on multiple occasions.

Notable SSO releases under BIS include a Rachmaninoff series, a “Seascapes” album, two Debussy discs “La Mer” and “Jeux”, and the first-ever cycle of Tcherepnin’s piano concertos

and symphonies. The SSO has also collaborated with such great artists as Lorin Maazel, Charles Dutoit, Gennady Rozhdestvensky, Neeme Järvi, Vladimir Ashkenazy, Diana Damrau, Martha Argerich, Lang Lang, Yo-Yo Ma, Janine Jansen, Leonidas Kavakos and Gil Shaham.

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

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

Michal Nesterowicz conductor 2018/19 sees Michal Nesterowicz consolidate his position as one of Europe’s most sought-after rising conductors. He returns to the BBC Symphony Orchestra to conduct a Polish-themed programme in London and Szczecin including works by Elgar, Paderewski, Lutoslawski and Szymanski with other season highlights including his debuts with the hr-Sinfonieorchester, Orchestre Philharmonique de MonteCarlo, Portland Symphony, Vancouver Symphony Orchestra, and in Korea. He also maintains his regular relationships with Sinfonieorchester Basel (where he is Principal Guest Conductor), NDR Elbphilharmonie Orchester, Orchestre National de Lille, Singapore Symphony Orchestra and the Malmö SymfoniOrkester.

Nesterowicz’s 2017/18 season featured debuts with the Gewandhausorchester Leipzig, Netherlands Philharmonic Orchestra, Bruckner Orchester Linz, Staatsorchester Kassel, Lahti Symphony Orchestra, and Malaysian Philharmonic Orchestra. Following hugely successful visits in past seasons he returned to Orquestra Simfònica de Barcelona,

Sinfónica de Galicia, Orchestra Sinfonica Siciliana, Prague Radio Symphony Orchestra, National Taiwan Symphony Orchestra, and the Orquestra Filarmônica de Minas Gerais amongst others.

Nesterowicz has appeared on multiple occasions with the Tonhalle-Orchester Zürich, Münchner Philharmoniker, Orchestre Philharmonique de Nice, and Royal Liverpool Philharmonic Orchestra; and has worked with the likes of the WDR Sinfonieorchester Köln, Deutsches Symphonie-Orchester Berlin, Gulbenkian Orchestra, Orchestre Philharmonique du Luxembourg, Buffalo Philharmonic Orchestra, Copenhagen Phil, Orchestre National Bordeaux Aquitaine and Orchestra della Svizzera Italiana.

Michal Nesterowicz was the winner of the Cadaqués Orchestra European Conducting Competition in 2008 and among the prizewinners of the 6th Grzegorz Fitelberg International Conducting Competition in Katowice.

SOYOUNG YOON violin “Enormously talented, with a terrific temperament and a bouncy effervescent quality” - The Strad Soyoung Yoon is leader of the Basel Symphony Orchestra and performs internationally as soloist and chamber musician.

At the age of 17, Yoon won the Yehudi Menuhin Competition, and was subsequently a prize winner of the Tchaikovsky Competition in 2007, the Queen Elisabeth Competition in 2009, the International Violin Competition of Indianapolis in 2010, and the International Henryk Wieniawski Violin Competition in 2011, where she was awarded the First Prize.

As a soloist, Yoon has performed among others with the NDR North German Radio Symphony Orchestra, Russian National Orchestra, Belgian National Orchestra, Polish National Radio Symphony Orchestra, Bern Symphony Orchestra, Trondheim Symphony Orchestra, Trondheim Soloists and Zurich Chamber Orchestra. She has collaborated with conductors such as Gilbert Varga, Mario

Venzago, Krzysztof Urbanski, Muhai Tang and Jesko Sirvend.

Soyoung Yoon was a member of the Stradivari Quartet Zurich from 2009 to 2012. In 2012 she founded the ORION string trio with Veit Hertenstein and Benjamin Gregor-Smith. In 2016 the trio was awarded the First Prize and the Audience Prize in the 15th Chamber Music Competition “Migros Kulturprozent”, Zurich.

In 2015, after recording the Tchaikovsky and Sibelius Violin Concertos in 2012, Yoon released her second CD with Piazzolla’s Four Seasons and Mendelssohn’s Concerto for Violin and Piano in collaboration with Ksenia Kogan and the Korean Chamber Orchestra. The release led to concerts in Seoul, London and Berlin.

Yoon studied at the National University of the Arts in South Korea, with Zakhar Bron at the Cologne University of Music and Dance and at the Zurich University of the Arts. She plays a J. B. Guadagnini violin (ex-Bückeburg) made in 1773.

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

FIRST VIOLIN Igor Yuzefovich1 Concertmaster, The GK Goh Chair Lynnette Seah2 Co-Concertmaster Kong Zhao Hui* Associate Concertmaster Chan Yoong-Han Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Gu Wen Li Jin Li Cindy Lee Lim Shue Churn^ Karen Tan William Tan Wei Zhe SECOND VIOLIN Lisa Obert^ Principal Michael Loh Associate Principal Hai-Won Kwok Fixed Chair

Nikolai Koval* Lee Shi Mei^ Chikako Sasaki* Margit Saur Shao Tao Tao Lillian Wang Wu Man Yun* Xu Jue Yi* Ye Lin* Yeo Teow Meng Yin Shu Zhan* Zhang Si Jing* 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 CELLO Ng Pei-Sian Principal Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Song Woon Teng Wang Yan Wang Zihao* Wu Dai Dai Zhao Yu Er DOUBLE BASS Guennadi Mouzyka Principal Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Wang Xu

FLUTE

HORN

Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan

Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal

PICCOLO

TRUMPET

Roberto Alvarez Assistant Principal

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 COR ANGLAIS Elaine Yeo Associate Principal CLARINET Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping

TROMBONE Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong BASS TROMBONE Wang Wei Assistant Principal TUBA Hidehiro Fujita Principal TIMPANI

BASS CLARINET Tang Xiao Ping Assistant Principal

Christian Schiøler Principal Jonathan Fox Associate Principal

BASSOON

PERCUSSION

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

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

CONTRABASSOON Zhao Ying Xue Assistant Principal

HARP Gulnara Mashurova Principal

*With deep appreciation to the Rin Collection for their generous loan of string instruments.

Igor Yuzefovich plays an instrument generously loaned by Mr & Mrs G K Goh Lynnette Seah performs on a J.B. Guadagnini of Milan, c. 1750, donated by the National Arts Council, Singapore, with the support of Far East Organization and Lee Foundation. ^Musician on temporary contract Musicians listed alphabetically by family name rotate their seats on a per programme basis.

1 2

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

Igor Yuzefovich, Concertmaster The GK Goh Chair

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

For more information about making a gift to the SSO, please write to peggykek@sso.org.sg

HEART F ELT THANK S TO S S O CORPORATE PATRON S AND SPON S OR S We would like to express our deepest appreciation to the following companies and organisations that support our mission to create memorable shared experiences with music.

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

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

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

Thank you for attending Serenade with Soyoung Yoon

You won't often get a chance to see a trumpet soloist, and even less often a female one. 31-year-old Norwegian trumpeter Tine (pronounced like "Tina") Thing Helseth is one of the finest of her generation. Meet her this January in this colourful programme of flamboyance and flamenco.

TINE THING HELSETH ARUTIUNIAN TRUMPET CONCERTO ESPLANADE CONCERT HALL 5 JAN 2019 Tine Thing Helseth, trumpet Jun Märkl, conductor

Soloist at our National Day Concert, Singaporean violinist Kam Ning returns with her Loco Motive Trio in an eclectic programme of off-the-beaten-track musical sunshine.

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

Note on change of programme: Ray Chen will perform the Prokofiev Violin Concerto No. 2 instead of the No. 1 previously announced. Written in 1935, it predates Bernstein's Serenade by about 20 years, and while more conventional by Prokofiev's standards, bears the hallmark lyric astringency of the Russian composer.

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

Chinese violinist He Ziyu debuted with the Vienna Philharmonic in their 2016/17 season, one of the youngest to have ever done so. He is 19 this year. This coming April, he performs Mozart's Violin Concerto No. 4 with us under our pioneering Maestro Choo Hoey.

MAESTRO CHOO HOEY ESPLANADE CONCERT HALL 18 APR 2019 He Ziyu, violin Choo Hoey, conductor

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HENRY K G ÓREC K I (193 3–2010) Three Pieces in Old Style 10’ Luminous, alluring, and hauntingly beautiful, the great twentieth-century Polish composer Henryk Górecki’s Three Pieces in Old Style (1963) exists as a boundary of stylistic transition from which his earlier and atonal manner was never entirely to return.

At first intended as no more than a lively riposte to a gauntlet tossed by a close friend who averred him incapable of writing melodic music, the pieces began as no more than sketches or ‘musical marginalia’ for which Górecki did not even give opus numbers. Brilliantly timeless and ageless, these pieces also anticipate the meditative, heart-felt, empathic, and liturgically informed music for which he was later known.

Formally, all three pieces here take the forms of Baroque-Classical minuets or arias. Later used in soundtracks to Polish films, the first two feature in Wojciech Jerzy Has’ The Sargossa Manuscript (1964) and the aria in Passacaglia for Sigismund’s Chapel (1966).

Scored entirely for violin, viola, cello and bass, the first movement, Minuet I, inventively takes the four-part or choir-like macrocosm and further subdivides one (the Violin II part) into a quartet of four distinct musical lines. This four-part second violin microcosm pedals a haunting basso

Instrumentation strings World Premiere 30 Apr 1964, Warsaw First performed by SSO 29 Nov 2018

ostinato – this time inventively in treble instead of the more expected bass – that opens and sustains the work, after which the rest of the orchestra in staggered parts follow. In effect overturning timbres more frequently associated with more conventional harmonic substructures and superstructures, Górecki also produces a range of startlingly pristine orchestral effects, like an other-worldly and singular use of sul D (“on the D string”). Building to a fortissimo climax, it ends brilliantly, radiant like a pool of light.

The second movement, Minuet II, features yet more inventive subdivisions that both multiplies as it divides. Now broken into a range of parts that pivot from eight to eleven at any given time, the string orchestra sings with music that is festive, exciting, and dance-like, wreathed by recurring harmonies that step alternately towards and then away from each other and back again. Filled with surprises, observe the unusual accents, how the first violins break away to form their own inset duo section, and other musical larks by way of a seemingly tart and out of place F-sharp — a modal or diatonic in-joke – which does finally resolve into

the anticipated F natural. Also, note the rousing false fortissimo finale, followed by a true ending in piano.

LEONAR D B ERN S TEIN (1918–19 9 0)

Opening with yet another instance of a uniquely inverted treble harmonic pedal by way of soaring secondary Violin I line, the third movement, Aria, is open, spare, and stirring. Beginning in mezzo piano, the warm and mellow alto range moves to higher and lighter ground via soaring halves of the now entirely divided string orchestra. Note the almost eerie timbre of Górecki’s having the entire orchestra play tutti senza vibrato (“together without vibrato”) and the final and blisteringly rousing fff ending, molto allargare, that sounds strikingly like the glorious peal of an organ.

Serenade, after Plato’s Symposium 30’ One of the greatest violin works of the mid-20th century, Leonard Bernstein’s Serenade, after Plato’s Symposium for solo violin and orchestra was composed in 1954.

Scored, iconically, for strings, harp, and percussion, sans woodwinds and brass, Bernstein’s ancient soundscape is shorn of musical anachronisms. The presence of a harp also provides yet another eruditely pleasing touch by way of the allusion to the Greek kithara or lyre.

Premiered in Venice in September 1954 with Stern as soloist and Bernstein himself conducting, the modestly titled Serenade is startlingly appropriate as the term is

PROGRAMME NOTES

Both a commission for the Koussevitzky Foundation and a response, in part, to his friend Isaac Stern, it is based on Plato’s spectacularly kaleidoscopic multi-character discourse on human and romantic love or desire. Set in an after-dinner drinking party in celebration of the tragedian Agathon’s recent victory at the competitions – a symposium, the Serenade is less sceneby-scene synopsis or paraphrase of the Symposium’s key philosophical ideas than it is a range of sweepingly variegated, cinematic and passionate character sketches that capture the thought, conviviality, and spirit of Plato’s oratorical enterprise.

linked with love, kinship, and the night.

It is also a genre where, like Mozart’s Haffner, a solo violin may prominently feature.

A blazing admixture of virtuosity and lyricism, the violin part may be characterised by gentle, soaring descants, toweringly high lines, and vivid scales and sinuosities by way of rapid and whirligig-like chromatic curls and runs.

Also essential is Bernstein’s incorporation, throughout, of both the vertical and horizontal within a dialogic solo line.

Described by Bernstein as “a series of [inter-]related statements in praise of love”, the Serenade is, as a whole, structurally and brilliantly concatenated.

Like the dialogue, Bernstein carefully interweaves elements from prior movements into the newer ones, making something structurally akin to the interlinked leaves of a Grecian and laurel crown.

A five-movement work, the first movement opens with a searching and exploratory fugato by the solo violin – a paean or invocation to Eros after which the muted orchestra enters (Phaedrus). Soaring into high registers, the music then transitions into the jaunty and jocular (Pausanias).

The second movement is both in soloist and orchestral part sweetly polyphonic, gently thoughtful, and impossibly bright.

Featuring rapid call-and-response echoing dialogue with a near homophonic orchestra, the third movement is effulgent and brims with considerable demotic verve.

Instrumentation timpani snare drum, tenor drum, bass drum, triangle, suspended cymbals, xylophone, glockenspiel, chimes, Chinese block, tambourine harp strings World Premiere 9 Sep 1954, Teatro La Fenice, Venice First performed by SSO 17 Jan 2004 (Kam Ning, violin)

The fourth movement opens with muted and rocking strings over which the solo violin sings sweetly, gently, and beseechingly. Soaring to a pensive philosophical high, Bernstein called this a “simple three-part song”.

The final movement, the most ancient of them all, opens with a knell that evokes the scene of sudden commotion with which the dialogue suddenly ends.

Observe how the solo violin and cello in dialogue depicts Diotima and Socrates, as well as the jazzy race to the end.

L UDWIG VAN B EETHOVEN (1770 –18 27 ) Symphony No. 8 in F major, Op. 93 26’ Nicknamed “my little symphony in F” and further, perhaps, to distinguish it from the Sixth (Pastoral Symphony) with which it shares a key, Beethoven’s Eighth Symphony was composed in 1812, the year he met the great German writer Goethe.

Evincing both Beethovenian as well as anti-Beethovenian qualities, the wittily “Classical” work corresponds to Beethoven’s pattern to think suprasymphonically, having designed each ‘odd’ and ‘even’ symphony as ‘epic and radical’ and ‘more Classical’ respectively.

In 1814, it was finally premiered alongside the Seventh – with which it was roughly contemporary – and in Beethoven’s own pairing similar to the side-by-side premiere of the Fifth and Sixth. Here, Beethoven’s remarkable predispositions to think comparatively, across symphonies, and also to treat or recall entire symphonies synoptically become especially evident.

Alongside vivid and almost anachronistic classicisms, Beethoven also includes the sounds of the fledgling chronometer. A precursor of the modern metronome – then newly invented by friend and compatriot, Johann Maelzel – Beethoven works its progressive musical ticking into the second movement’s rhythmically striking soundscape.

Beginning with a sudden and almost comedic, boisterous burst of sound, the first movement opens joyously and in the realm of blisteringly pastoral rapture. A variant of Beethoven’s signature Allegro con brio, Allegro vivace e con brio, at first glance it appears to be an out-ofplace minuet. Sometimes with somewhat inappropriate beats, it is nevertheless unmistakeably classical and in near exemplary sonata allegro form.

Set in the B-flat major subdominant, the second movement is a brief and somewhat startling Allegretto scherzando.

It takes the form of a ‘sonatina’, or sonata without development section. Beethoven here sidesteps the anticipated slow second movement in place of a quick and cheerful one that sings with alacrity. Observe the Haydn-esque humour and appearance of hemidemisemiquavers, by which the chronometer and music appears to spin awry.

PROGRAMME NOTES

Praised by Robert Schumann for its “profound humour”, the Eighth is filled with all manner of musical jokes both subtle and surprising. Jocund, thunderously classical, and always delightfully tuneful, the symphony sings with many a twist, archaism, and unexpected turn.

A marvel of somewhat miniaturist invention, the penultimate symphony is, in many ways, the musical equivalent of the 18th-century architectural and garden folly – a miniature temple, ruin, or landmark commonly found in Enlightenment landscape gardening and in Beethoven’s day.

The third movement takes the form of Beethoven’s only symphonic minuet.

Rapturously dance-like, it moves, nevertheless, with typically Beethovenian heft.

The final movement, Allegro vivace, is a musical wonder to behold. Filled with overwhelming joy, it is significantly endweighted, like his penultimate Piano Sonata No. 30, and with a coda that takes almost half of the entire movement. With many an ebullient and gorgeously melodic and harmonic (or enharmonic) twist and turn, observe, also, an errant C-sharp (D-flat?) later correctively annotated as D-flat; an enharmonic joke. Observe, also, Beethoven’s moving and evocative use of bass registers, later especially present in the Ninth. The music closes with a blazing finish.

Programme notes by Duana Chan

RECOMMENDED LISTENING Sibelius & Tchaikovsky: Violin Concertos Soyoung Yoon, Gorzow Philharmonic Orchestra & Piotr Borkowski (DUX, 2013)

Instrumentation 2 flutes 2 oboes 2 clarinets 2 bassoons 2 horns 2 trumpets timpani strings World Premiere 27 Feb 1814, Vienna First performed by SSO 5 May 1979

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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

CEO OFFICE

PROGRAMMES (VCH)

CORPORATE SERVICES

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

Ms Erin Tan

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

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

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

HUMAN RESOURCES & ADMINISTRATION Mr Desmen Low Ms Melissa Lee Ms Evelyn Siew SINGAPORE NATIONAL YOUTH ORCHESTRA Ms Pang Siu Yuin (Head) Ms Yuen May Leng Mr Tan Yong Qing Ms Tang Ya Yun ABRSM Ms Hay Su-San (Head) Ms Patricia Yee Ms Lai Li-Yng Mr Joong Siow Chong

40 NEVER SOUNDED SO GOOD! The SSO is turning 40 and we hope that you're still enjoying our music.

If you’ve loved our concerts, please do consider making a donation for our birthday.

Your gift to our national orchestra will give less well-off students and other underserved communities the chance to come to our concerts for free, or on discounted tickets.

Did you know?

Our free concerts and events delight over 45,000 people every year Ticket revenue accounts for less than 10% of our total budget To keep our concerts accessible, we keep ticket prices as low as $10 The government and the Tote Board together provide more than half of our funding needs, but a large part of it is in the form of matching funds, where the money will only get to us if we raise funds from the public.

And that’s you.

So won’t you join us to make a gift of music please?

Ways You Can Donate: Visit www.sso.org.sg/donate Scan the QR code in PayLah! or PayNow (provide your email under 'Reference No.') Contact Ms Nikki Chuang at 6602 4238 or nikki@sso.org.sg

From all of us at the SSO, thank you for your generous support! *Singapore tax-payers may qualify for 250% tax deduction for donations above $50 made by 31 December 2018.

Supported by

Official Hotel

Patron Sponsor

Official Radio Station

Official Outdoor Media Partners

Official Airline

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.

sso.org.sg