Red Balloon Series: Rhythms, Rites And Renewals

RHYTHMS, RITES AND RENEWALS 3 MAY 2019 ESPLANADE CONCERT HALL PASCAL ROPHÉ, CONDUCTOR MARACA2, PERCUSSION CHRISTIAN SCHIØLER, TIMPANI

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

The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, and the Singapore National Youth Orchestra. The mission of the Group is to create memorable shared experiences with music. Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich Singapore’s diverse communities.

PASCAL ROPHÉ, CONDUCTOR

Current Music Director of the Orchestre National des Pays de la Loire and former Music Director of the Liège Royal Philharmonic Orchestra, Pascal Rophé regularly guest conducts orchestras all over the world including both orchestras of Radio France, the Philharmonia, BBC NOW, Ensemble intercontemporain, Orchestre de la Suisse Romande, Iceland Symphony, Norwegian Radio Symphony, NHK Symphony, Seoul and China Philharmonic Orchestras and the National Symphony Orchestra of Taiwan.

Recent highlights include concerts with the Budapest Festival Orchestra, Arctic Philharmonic, BBC Symphony, London Sinfonietta and the Croatian Radiotelevision Symphony Orchestra. He also premiered works by Dusapin with the Radio France Philharmonic and Mantovani with the Monte Carlo Philharmonic.

Dedicated to the lyric repertoire, Pascal has conducted the Glyndebourne Touring Opera, Opera di Roma, Der fliegende Holländer and Dialogue des Carmélites at the Budapest Spring Festival and given several premieres, including Akhmatova, by Bruno Mantovani at the Opera national de Paris.

Amongst numerous awards for his extensive discography, he received the 2018 Gramophone Award for his Dusapin recording with the Arditti Quartet and the Orchestre Philharmonique de Radio France.

Notable engagements in 2018/19 include performances with the SWR Symphonieorchester, New Japan, Osaka Philharmonic orchestras and of Ariane et Barbe-Bleu at the Toulouse Opera.

Pascal Rophé is delighted to make his debut with the Singapore Symphony Orchestra conducting two Asian premieres – Pereira’s Threshold and Aube by Jean-Frederic Neuburger – and Stravinsky’s Rite of Spring in their innovative Red Balloon series.

MARACA2, PERCUSSION DUO

Maraca2 percussion duo is an ensemble that has had significant impact on the development of the genre. Known for their virtuosic and high-energy performances, they have been regarded as one of the world’s leading percussion duos.

Since forming in 2004, Maraca2 have performed at percussion festivals and concert halls across the world. Media appearances have been diverse from live broadcasts on the BBC to appearances on television in such far-flung locations as Argentina, Serbia and Texas!

As keen educators, they have visited over 60 University and Conservatoire music departments, committed to enriching the potential of the next generation of percussionists around the world. As directors of the Maraca2 World Percussion Group, they have provided opportunities for flourishing percussionists to launch their own international careers.

Maraca2 premiered Threshold in 2018 in Los Angeles with Joseph Pereira and the Los Angeles Philharmonic, conducted

by Gustavo Dudamel. This concerto explores aspects of space, the spiritual and the social. Rhythm as ritual, space as sound. As part of the Red Balloon Series, Threshold represents ‘the new’ through this experimentation with space through time across the orchestra, contributing to the expansion of the percussion concerto.

CHRISTIAN SCHIØLER, TIMPANI Christian Utke Schiøler is from Copenhagen, Denmark, where he started his musical upbringing at the age of eight, playing in the Tivoli Boys Guard, an institution that has produced a vast number of musicians to take up positions in Danish orchestras.

After three years of studies at the Royal Danish Academy of Music (RDAM), Christian was appointed assistant timpanist/ percussionist with the Danish National Symphony Orchestra (DNSO) in 1992, a position he held up until joining the SSO in 2014. DNSO is Denmark's leading (radio) orchestra with weekly live broadcast concerts on national radio, numerous recordings, as well as extensive touring all over the world.

As a chamber musician, Christian is best known in Denmark for his work with saxophonist Jeanette Balland, with whom he formed DuoDenum, an ensemble dedicated to play original (con)temporary music for any sized saxophone and a lot of percussion. In 2004, DuoDenum released a CD, on Dacapo Records, of Danish works commissioned by, and written for the duo.

Christian has also performed with Gert Mortensen’s PERCURAMA Percussion Group, on recordings, as well as concerts in Denmark, Italy and China. From 2002-14 Christian was teaching timpani, percussion and chamber music at the RDAM. Christian’s teachers include Gert Mortensen and David Searcy.

AUBE (Asian Premiere) JEAN-FRÉDÉRIC NEUBURGER (b. 1986) In this piece of music, I wanted to evoke emotions that are connected to the mystery of dawn. The orchestration is inspired by numerous sounds of nature (the wind, the fall of dew, thunder, the buzzing of insects…).

It is also a study of the crescendo-diminuendo dynamic, which appears both in the composition’s macrostructure and microstructure: for me, this dynamic is particularly representative of nature, where everything grows to a certain point and then disappears.

The strings’ role, rather discrete at the beginning of the piece, only reveals itself in the end, when they take over one of the principal chords heard at the beginning, transforming it progressively into a chord of harmonic sounds which covers all the other musical elements.

Programme note by Jean-Frédéric Neuburger

THRESHOLD for solo timpani, two percussion and orchestra (Asian Premiere) JOSEPH PEREIRA (b. 1974) Threshold, Joseph Pereira’s new score reminds us, is two-faced, looking backwards and forwards. They separate and they connect, they open and they close. They represent opportunity and the path not yet taken; cross the threshold and you are committed to a new space.

“Music, and art in general, is really about creating space, and the thresholds within that space are what really interest me,” Pereira says. “At the time of writing this piece, I could not help but think about the world we now live in, how the ‘threshold’ of our current human experience of each other and the world has changed drastically. There are so many issues we are now faced with, issues that get thrown at us every day from the news – and now you have to question if any of it is even true.

“Whether you agree with certain issues or not, we are living in a polarized climate. In a way, there’s a concentration of intensity which questions the thresholds we live in. Because of this, life has become saturated with tension and anxiety – much like the feeling of this piece.”

The piece was written for the Maraca2 percussion duo at their suggestion. The solo parts are very virtuosic and create a sense of volatility and anxiousness. But though they are sometimes competitive with each other and have defined cadenzas, they are not in opposition with the orchestra, or contrasted against it, in conventional concerto dynamics. That is another freely explored and crossed threshold, as the sound of soloists and orchestra merge into a strong collective presence, expanding and relaxing as a sort of organic hyperinstrument.

Programme note by John Henken

THE RITE OF SPRING (LE SACRE DU PRINTEMPS) IGOR STRAVINSKY (1882 – 1971) First Part: The Adoration of the Earth Introduction—The Augurs of Spring (Dances of the Young Girls)—Ritual of Abduction—Spring Rounds—Ritual of Rival Tribes—Procession of the Sage—The Sage—Dance of the Earth Second Part: The Sacrifice Introduction—Mystic Circles of the Young Girls—Glorification of the Chosen One—Evocation of the Ancestors—Ritual Action of the Ancestors—Sacrificial Dance (The Chosen One) 29 May 1913, Paris – an event which has passed into legend, the Ballets Russes premiered a new ballet by an up-and-coming Russian composer, Igor Stravinsky. 31 that year, he had already built up a formidable partnership with impresario Serge Diaghilev of the Ballet Russes, who commissioned the scores for The Firebird (1910) and Petrushka (1911). For this latest commission, Stravinsky had initially titled the ballet Vesna svyashchennaya (“Holy Spring”), before the painter Léon Bakst suggested Le Sacre du Printemps during rehearsals. Finally, Diaghilev provided “The Rite of Spring” as a standard English translation in 1921.

There were rumours circulating about Le Sacre, both surrounding the music and Nijinsky’s choreography. Leaks from its 17 rehearsals testified of a confounded orchestra, and press releases described the “stammerings of a semi-savage humanity” and “frenetic human clusters wrenched incessantly by the most astonishing polyrhythm ever to come from the mind of a musician”, and promised “a new thrill which will surely raise passionate discussions, but which will leave all true artists with an unforgettable impression.”

The Théâtre des Champs Élysées was the scene of the scandal. While brand new, it had already developed a reputation for the avant-garde, with hackles raised during the premiere of Debussy’s Jeux the week before.

Audience members arrived – some armed with whistles, and many with an intention to “participate” in what has been generally described as a riot. Audience protests started almost as soon as the music began.

Stravinsky was perplexed, writing, “the music was so familiar to me; I loved it, and I could not understand why people who had not heard it wanted to protest in advance.”

Whistles, catcalls and fistfights broke out, soon escalating into fullfledged brawls, while slapping contests were held and duel challenges issued. Victims called out for medical assistance, as Diaghilev flipped the house lights on and off in a bid to restore order, while Nijinsky shouted numbers and directions to the dancers. Conductor Pierre Monteux conducted through this incredible tumult, firmly believing and ensuring that the show must go on.

Programme Notes by Nick Omiccioli and Kristin Shafel

Listening to Le Sacre today, it is hard to understand why the audience reacted so violently, especially since the piece did not cause any commotion at the dress rehearsal, or at subsequent performances. Given the uproar, it must have been difficult to listen to the music performed, especially since so much of it is actually pretty soft!

Stravinsky had his day a year later: after the first concert performance of the score, he was literally carried aloft amongst cheering crowds, in triumph. Le Sacre has since entered the repertoire of orchestras worldwide, and many, of all levels, have mastered its rhythmic complexities.

Written in two parts, “The Adoration of the Earth” and “The Sacrifice”, The Rite of Spring opens with a mournful bassoon singing a Lithuanian folk song. Different instruments, “represent[ing] the awakening of nature, the scratching, gnawing, wiggling of birds and beasts”, join in, as “the earth cracks” and awakes from its wintry hibernation.

Chugging chords and displaced accents usher in The Augurs of Spring, which takes on a sinister slant in the Ritual of Abduction.

High woodwinds in Spring Rounds restore a semblance of innocence, before braying horns lead the boisterous Ritual of the Rival Tribes.

Crashing tam-tams herald the Procession of the Sage, before an oasis of silence prevails as The Sage kisses the earth. The earth seems to quake in response and a rhythmic maelstrom churns, as the bass drum and tam-tam issue volcanic eruptions of sound in the Dance of the Earth.

The otherworldly Introduction to The Sacrifice has inspired music for alien locales as far flung as Tatooine. Six violas lead the eerie Mystic Circles of the Young Girls as the sacrifice is chosen, and tension ramps up, culminating in the famous, pounding 11/4 bar which introduces the Glorification of the Chosen One. Awkwardly violent leaps give way to the Evocation of the Ancestors with its rather jazzy riffs, leading to the ceremonial Ritual Action of the Ancestors, topped by a tambourine and alto flute playing a sinuously turning line below muted trumpets.

The music gradually becomes more menacing, as the ritual intensifies with a bass clarinet leading the descent into its climatic point – The Sacrificial Dance. Furious energy abounds, punctuated by incredibly tense yet quiet moments, and the rhythms create an incessant groove that changes ever so slightly each time. The two tubas, tam-tam and bass drum lead the brutal tread with increasing anticipation, before a violin trill prefaces the moment of sacrifice.

Programme note by Christopher Cheong

SSO MUSICIANS FIRST VIOLIN

VIOLA

Igor Yuzefovich1 Concertmaster, The GK Goh Chair Helena Wood^ Concertmaster Lynnette Seah2 Co-Concertmaster Kong Zhao Hui* Associate Concertmaster Chan Yoong-Han Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Gu Wen Li Jin Li Cindy Lee Ikuko Schiøler^ Karen Tan William Tan Wei Zhe

Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Ho Qian Hui^ Marietta Ku Luo Biao Julia Park Shui Bing Tan Wee-Hsin Janice Tsai Wang Dandan Yang Shi Li

SECOND VIOLIN Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Nikolai Koval* Lee Shi Mei^ Yoko Mano^ Priscilla Neo^ Chikako Sasaki* Margit Saur Shao Tao Tao Edward Tan^ Wu Man Yun* Xu Jue Yi* Ye Lin* Yeo Teow Meng Yin Shu Zhan* Zhang Si Jing* Zhao Tian*

CELLO Ng Pei-Sian Principal Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Jamshid Saydikarimov^ Song Woon Teng Wang Yan Wang Zihao* Wu Dai Dai Zhao Yu Er

DOUBLE BASS Vasily Andreev^ Principal Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Ma Li Ming^ Jacek Mirucki Guennadi Mouzyka Wang Xu

FLUTE Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Cheryl Lim^ Miao Shanshan

PICCOLO Roberto Alvarez Assistant Principal

OBOE

TRUMPET

Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Hu Qiuzi^ Elaine Yeo

Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong Sergey Tyuteykin Douglas Waterston^

COR ANGLAIS

TROMBONE

Elaine Yeo Associate Principal

Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong

CLARINET Ma Yue Principal Li Xin Associate Principal Deng Yung Ping^ Liu Yoko Tang Xiao Ping

BASS CLARINET

BASS TROMBONE Wang Wei Assistant Principal

TUBA Hidehiro Fujita^ Brett Stemple^

Tang Xiao Ping Assistant Principal

TIMPANI BASSOON Wang Xiaoke Principal Liu Chang Associate Principal Cheung King Lun^ Christoph Wichert Zhao Ying Xue

CONTRABASSOON

Christian Schiøler Principal Jonathan Fox Associate Principal

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

Zhao Ying Xue Assistant Principal

HARP HORN Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Mindy Chang^ Hoang Van Hoc Amir Sharipov^ Vadim Shvedchikov^

Gulnara Mashurova Principal Huang Yu Hsin^

PIANO Shane Thio^

CELESTE Aya Sakou^

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

Igor Yuzefovich plays an instrument generously loaned by Mr & Mrs G K Goh

2 Lynnette Seah performs on a J.B. Guadagnini of Milan, c. 1750, donated by the National Arts Council, Singapore,

with the support of Far East Organization and Lee Foundation. ^Musician on temporary contract Musicians listed alphabetically by family name rotate their seats on a per programme basis.

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a chamber weekend with musicians of the Singapore Symphony Orchestra

17 MAY 7.30pm

Death and the Maiden

18 MAY 7.30pm

Temptation of the Saintly Pot

19 MAY 4pm

Brass Ensemble of the SSO

featuring strings of the SSO

featuring woodwinds of the SSO

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R E D B A L L O O N . O R G . S G Background photos: Alex Holyoake, Ben Sweet, Chaitanya Tvs, Christian Fregnan, Daniel Frank, Will H Mcmahan, Vinicius Amano