VCH Presents Beethoven Heroic Years - Sharing Recital & Evening Concert

tang tee Khoon grand Series

The 10th edition

28 may 2017

herOic YearS

Sharing Recital Beethoven Piano Sonata No. 23 in f minor Op. 57 ‘Appassionata’ Allegro assai Andante con moto Allegro ma non troppo Ligeti Viola Sonata select movements Ligeti études for Solo Piano Book 3 Beethoven Cello Sonata No. 5 in D major Op. 102 No. 2 transcribed for viola and piano Allegro con brio Adagio con molto sentimento d’affetto Allegro – Allegro fugato

Evening Concert Beethoven String Quartet No. 11 in f minor Op. 95 ‘Serioso’ Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso – Più Allegro Larghetto espressivo – Allegretto agitato - Allegro Beethoven Sonata for Piano and Violin No. 10 in G major Op. 96 Allegro moderato Adagio espressivo Scherzo: Allegro Poco Allegretto Intermission Beethoven Piano Trio No. 7 Op. 97 ‘Archduke’ Allegro moderato Scherzo: Allegro Andante cantabile, ma però con moto Allegro moderato

aDrian BrenDel

Creative innovation and musical versatility rank high among the list of attributes cultivated by Adrian Brendel. The cellist, raised in central European tradition of music making, has forged strong and lasting partnerships with many artists and appeared with them at the world’s most prestigious festivals and concert halls. His love for contemporary music arose during his teens when he discovered works by Kurtág, Kagel and Ligeti; it has flourished since with commissions and collaborations with Thomas Adès, Harrison Birtwistle, Peter Eötvös and György Kurtág. Adrian’s musical passions also include jazz and world music. He joined Nash Ensemble in 2014.

As a champion of new music, Adrian always includes contemporary work in his programmes. He recently concluded a three-year project with Birtwistle that delivered the world premieres of cycle Bogenstrich and Trio for violin, cello and piano, recorded for ECM label. Other significant world premieres include York Hoeller’s Mouvements for cello and piano (2011) and Cello Concerto (2013), the latter presented alongside Zimmermann’s Canto di speranza with the NDR Sinfonieorchester in Hamburg.

Born in 1976, Adrian studied cello with William Pleeth, Alexander Baillie and Frans Helmerson in London and Cologne, and participated in masterclasses with Kurtág, Ferenc Rados, members of the Alban Berg Quartet and with his father, Alfred Brendel. A critically acclaimed recording of Beethoven’s cello sonatas with his father, made during their recital tours of 2003-04, is available on Philips.

Adrian works as a recitalist and chamber musician with partners including Aleksandar Madžar, Imogen Cooper, Till Fellner, Tim Horton and Kit Armstrong, and performs regularly with, among others, Henning Kraggerud, Lisa Batiashvili, Lars-Anders Tomter, Andrej Bielow, Katharine Gowers and Alasdair Beatson. As a concerto soloist, he appeared with Academy of St Martin in the Fields, Royal Scottish National Orchestra, Scottish Chamber Orchestra and many orchestras throughout Germany and Eastern Europe.

Adrian is artistic director of Plush Festival, held every summer since 1995. Its programme is devoted to classical and contemporary chamber music, lieder recitals, modern jazz, folk and world music concerts and has featured over 100 contemporary works and 200 leading artists and emerging musicians from around the world.

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luca Burat tO

Following 2015 Honens Prize Laureate Luca Buratto’s Wigmore Hall debut recital this January, Th e Guardian wrote: “Graceful, analytical, meticulous, Buratto is a name to watch”.

In addition to his success at Canada’s Honens Piano Competition, Buratto was awarded third prize at the International Robert Schumann Competition (Zwickau) and the special ‘Acerbi’ prize, awarded to a distinguished Finalist at Milan’s Shura Cherkassky Competition, both in 2012. He took inspiration from Italian tennis player Roberta Vinci’s upset over Serena Williams at the U.S. Open just hours before his Honens win. “There are many similarities between the psyches of tennis players and pianists,” he says, referring to David Foster Wallace’s epic novel, Infi nite Jest.

Recent and upcoming orchestral engagements include performances at Milan’s La Scala with Orchestra Sinfonica Giuseppe Verdi, Toronto Symphony, Calgary Philharmonic, Edmonton Symphony, Winnipeg Symphony, Symphony Nova Scotia and the London Philharmonic Orchestra. In summer 2016 Buratto performed for the Progetto Martha Argerich at the Lugano Festival (Switzerland), Ottawa International Chamber Music Festival (Canada), Busoni Festival (Italy) and was a resident artist at Marlboro Music Festival (USA). Th is summer he returns to the Marlboro Music and performs for the Honens Festival. In October, Buratto gives his Carnegie Hall recital debut.

Buratto has been featured on national radio broadcasts on BBC Radio 3, Classical 96.3, Radio Classica, Radio 3 R AI, WFMT and WQXR. A live recording of his performances from the 2015 Honens Piano Competition is available on the Honens label. His debut studio recording of works by Schumann was released

by Hyperion in April. “Buratto’s cohesive solidity deserves admiration and respect”. (Gramophone) Buratto earned his piano diploma from Milan Conservatory and his master’s from Bolzano Conservatory. He was a Theo Lieven Scholar at the Conservatory of Lugano, from which he received his Master of Advanced Studies. His teachers have included Fabio Bidini, Davide Cabassi, William Grant Naboré and Edda Ponti.

Buratto’s affi nity for the music of Robert Schumann is balanced by his curiosity for works of today’s composers such as Thomas Adès. He enjoys jigsaw puzzles and table tennis and has an interest in physics and American post-modern literature. Buratto lives in Milan.

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hSin-Yun huang

Hsin-Yun Huang has forged a career as one of the leading violists of her generation, performing on international concert stages, commissioning and recording new works, and nurturing young musicians. Ms. Huang has been soloist with the Berlin Radio Orchestra, the Tokyo Philharmonic, the Taiwan Philharmonic, the Russian State Symphony, and the London Sinfonia, among many others. She performs regularly at festivals, including Marlboro, Santa Fe, and Spoleto USA. Ms. Huang was the Artistic Director of the Sejong International Music Festival, which took place at the Curtis Institute of Music from 2013-15. The 2014-15 season saw the debut of a series of three chamber concerts presented by the 92nd Street Y. Other recent highlights include the complete Hindemith Viola Concerti with the Taiwan Philharmonic and Taipei City Symphony; and concerto appearances in the Alice Tully Hall and Central Park of New York City.

Ms. Huang has in recent years embarked on a series of major commissioning projects for solo viola and chamber ensemble. To date, these works include compositions from Steven Mackey (Groundswell), which premiered at the Aspen Festival; and Shih-Hui Chen (Shu Shon Key) and Poul Ruders (Romances), which featured in Ms. Huang’s 2012 recording for Bridge Records “Viola Viola”. Th is CD has won particular accolades from Gramophone and BBC Music Magazine.

A native of Taiwan, Ms. Huang received degrees from The Juilliard School and The Curtis Institute of Music. She has given master classes at the Guildhall School in London, the Royal Conservatory of Music in Toronto and the San Francisco Conservatory. And served on the jury of the 2011 Banff International String Quartet Competition as well as the 2015 Honen’s Piano Competition as a Collaborative Artist.

Ms. Huang fi rst came to international attention as the gold medalist in the 1988 Lionel Tertis International Viola Competition. In 1993 she was the top prize winner in the ARD International Competition in Munich. Ms. Huang now serves on the faculty of the Juilliard School and the Curtis Institute of Music. She is married to Misha Amory, violist of the Brentano String Quartet. They live in New York City with their two children, Lucas and Leah.

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min-YOung Kim

Violinist Min-Young Kim is a founding member and fi rst violinist of the internationally acclaimed Daedalus Quartet. Th e New York Times has praised the Daedalus Quartet’s “insightful and vibrant” Haydn, the “impressive intensity” of their Beethoven, their “luminous” Berg, and the “riveting focus” of their Dutilleux.

With the quartet, she performs regularly throughout the United States, Canada, Mexico, Europe and Asia. The quartet has been presented by many of the world’s leading musical venues including Carnegie Hall, Lincoln Center, the Library of Congress, the Musikverein in Vienna, the Mozarteum in Salzburg, and the Concertgebeouw in Amsterdam. Daedalus was in residence at the Chamber Music Society of Lincoln Center from 2005 to 2007 where it won the Martin E. Segal Award, and was presented by Carnegie Hall in its Rising Stars program. They are currently in residence at the University of Pennsylvania in Philadelphia. Current and upcoming highlights for the Daedalus Quartet include performances with legendary jazz bassist, John Patitucci, the Beethoven quartet cycle at University of Pennyslvania (a fi rst in Philadelphia), and the world premiere of Vivian Fung’s Clarinet Quintet at Lincoln Center’s Chamber Music Society.

Apart from her work in Daedalus Quartet, Ms. Kim has toured extensively with Musicians from Marlboro, American Chamber Players and the Orpheus Chamber Orchestra; and has collaborated with members of the Guarneri, Juilliard, Cleveland and Takács Quartets. She made her New York recital debut at Weill Recital Hall at Carnegie Hall in 2001 and has performed as a soloist with orchestras in Cleveland and Boston. With interests ranging from baroque to contemporary music, Ms. Kim has performed and recorded on baroque violin with Apollo’s Fire and New York Collegium, and has championed and commissioned leading American composers, including Elliott Carter, George Perle, Fred Lerdahl, and Joan Tower. Also strongly committed to education, Ms. Kim was one of the fi rst recipients of the Morse Fellowship at Juilliard, teaching music in inner city classrooms through creative activities.

A graduate of Harvard University, The Juilliard School, and the Cleveland Institute of Music, Ms. Kim currently teaches violin at the University of Pennsylvania. Her principal teachers have been Donald Weilerstein, Robert Mann and Shirley Givens.

She lives in Philadelphia with her husband and two children.

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tang tee KhOOn

Tang Tee Khoon has been described by Th e Straits Times Singapore as ‘a chamber musician of the highest order’, a ‘national treasure’, and her playing as ‘truly transcendent’.

Ms. Tang fi rst made her concerto debut with the NUS Symphony Orchestra in Singapore at age 12 and has since performed as a soloist with the Singapore Symphony Orchestra, the Singapore Arts Festival Orchestra, the Singapore Chinese Orchestra, and other orchestras in the U.S., Europe and Japan. Named one of the 40 under 40 faces to watch by Prestige Singapore, Tang Tee Khoon was the secondever violinist to be awarded the loan of a J.B. Guadagnini violin by the Singapore National Arts Council.

After being awarded the violin loan in 2009, Ms. Tang performed as soloist and recitalist at Kioi Hall Tokyo, Banff Centre for the Arts Canada, St. John Smith’s Square London and at Singapore’s celebration of 40 years of diplomatic ties with Philippines as soloist with the Philippines Philharmonic Orchestra.

Some of Tang Tee Khoon’s appearances at high profi le events include private performances for the late Singapore President Ong Teng Cheong, and the World Trade Organization Closing Ceremony in Singapore.

Ms. Tang has won numerous awards for her work, including being named the 2004 winner of the East and West International Artists Auditions in New York, which led to her successful debut recital at Weill Recital Hall the following year. Prizes and awards also include 2nd prize at the Klein International Competition U.S.A., 1st prize at Kocian International Violin Competition Czech Republic, the Myra Hess Award U.K., the Martin Musical Scholarship U.K., and the Singapore Shell-National Arts Council Arts Scholarship.

As a chamber musician, Tang Tee Khoon has collaborated with members of the Emerson, Takács and Borromeo String Quartets, Wu Han, Colin Carr, Midori, and Ian Swenson. Her appearances at chamber music festivals include Seiji Ozawa’s International Music Academy in Switzerland; Open Chamber Music Sessions at Prussia Cove, U.K.; and the Chamber Music Residencies at Banff Centre for the Arts, Canada.

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Tang Tee Khoon mentored with Donald Weilerstein at the New England Conservatory in Boston and David Takeno at the Guildhall School of Music & Drama in London U.K. 8

Ludwig van Beethoven (1770-1827) the emergence of his Heroic Years

When Beethoven was around 28 years old, which was six years after he had moved from Bonn to Vienna to study with Haydn, he started experiencing a weakening of his hearing. This was around the time when he started work on his most ambitious project to-date: a set of six string quartets now known as his Op. 18 String Quartets.

Beethoven kept the fact that his hearing was weakening, away from public knowledge. In the first three years of his ailment, he quietly sought help from a few doctors, who were all unsuccessful in treating it. Anxious that his future success as a musician would be affected by public knowledge of this condition, Beethoven kept his struggle under wraps and continued to work - producing in these three years his 1st Symphony in C, his popular Septet, his 2nd and 3rd Piano Concertos, in addition to the six Op. 18 String Quartets mentioned above. And he presented his first Akademie at the Burgtheater in 1800, showcasing some of his most recent compositions, in strength.

Beethoven was at a peak. He wrote to his close friend Wegeler ‘I have almost more commissions than I can carry out…for every composition I have six, seven publishers and even more…people no longer bargain with me, I demand and they pay.’ But right alongside this high, was his continuous struggle with the ailments of his health.

Apart from a constantly afflicted digestive system, Beethoven was struggling with a humming and buzzing in his ears, and difficulty in deciphering speech and hearing high notes from a distance. Only in 1801 did Beethoven admit to this suffering. In a long lamenting letter to Wegeler, he expressed both a will to defy this fate and a sense of resignation that closely followed.

However, instead of succumbing to this resignation, in a second letter to Wegeler that year, Beethoven newly expresses an intention to work ceaselessly; and to ‘seize Fate by the throat; it shall certainly not crush me completely’.

In 1801, Beethoven continued to work and produced his Op. 26, 27, and 28 Piano Sonatas. The next year, he decided to retreat to a small town north of Vienna, called Heiligenstadt, where he could be away from the noise of the city.

This was in a last attempt to cure his deafness. And here, Beethoven worked assiduously, completing a set of three commissioned piano sonatas and close to finished two new sets of variations Op. 34 and 35.

Yet, after six months of retreat from the city, Beethoven still found no improvement in his hearing.

In a state of despair, he sat down to write out what would now be famously known as the ‘Heiligenstadt Testament’.

Carefully preserved through his life, this letter, from the neatness of the

writing, suggests that there was much preliminary preparation for it and that sketches may also have been made.

Apart from addressing topics like being misunderstood as hostile and stubborn; recommending virtue which provides happiness; and providing logistics in regards to whom he would be leaving his instruments to, Beethoven addresses the central topic of his struggle against his incurable condition of becoming deaf.

He laments of this lasting infirmity that has forced him to live withdrawn from society; this trouble that he cannot bring himself to allow others to know of; this weakness of the one sense that should be more perfect in him than in others, which he once possessed in greatest perfection; this misfortune that means no relaxation for him in human company and no refined conversations, such that he would have to live like an outcast. How little it would take for him to end his life, Beethoven wrote.

But only art holds him back. It seemed impossible to Beethoven, for him to leave the world until he had produced all that he felt was within him; and he wrote that this is the reason he spares his life.

After having found a new resolve to continue, the first major work Beethoven produced after the Heiligenstadt Testament, was the oratorio Christus am Oelberge (Christ on the Mount of Olives). Focused strongly on the topic of extreme suffering and a triumph over it, with some of the text closely tied to parts of the Testament, this oratorio serves as a strong clue to the 10

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Heiligenstadt Testament being a turning point in Beethoven’s creative life – when he moved on to embark on significantly larger scaled works, that are more complex and difficult than what he had ever created before.

And in the next 10 years, what we would see is Beethoven overcoming and triumphing over his condition with an outpouring of works: his 3rd, 5th and 6th Symphonies, his Violin Concerto, the ‘Razumovsky’ Quartets, the ‘Waldstein’ and ‘Appassionata’ Sonatas, amongst others. ~ Inked in one of the sketches for his third ‘Razumovsky’ Quartet: ‘Let your deafness be no more a secret – even in art.’

György Ligeti (1923 – 2006) the 20th century rhy thmic revolutionist in parallel with Beethoven’s heroism Hungarian composer György Ligeti composed three Books of 18 études for solo piano late in his life, between 1985 and 2001. Following in the line of the piano études by Chopin, Liszt, Debussy and Scriabin, these etudes by Ligeti are considered one of the most significant set of piano studies written in the 20 th century.

Ligeti was hugely drawn to the exploration of complex polyrhythms.

His earlier works explored the subdivision of pulse, and his later music sought after the principles of African music in that a pulse is a basic unit that can be multiplied but not divided any further. The late works from the last two decades of Ligeti’s life are greatly recognized by their rhythmic complexity.

Ligeti’s 18 solo piano études are arranged as in 6 études in Book 1 (1985), 8 études in Book 2 (1988-1994) and 4 études in Book 3 (1995-2001), with Book 3 left incomplete as Ligeti was too ill to follow through with his intention for more. The fascinating titles for each of the études are a mixture of technical terms and poetic descriptions, often only assigned by Ligeti after each work was completed.

At the same time Ligeti was working on Book 2 of his piano études, he was inspired by the playing of violist Tabea Zimmermann to write a solo viola sonata. This resulted in a 6-movement sonata that embraced a pattern reminiscent of the Baroque sonata, including a movement related to the French baroque dance ‘Loure’ and a ‘Chaconne’ as the closing movement.

Variation movements alternate with moto perpetuo movements in this sonata – while elements of Eastern European traditional music, free rhythms, jazz and Latin harmonies are incorporated by Ligeti into this work.

Allow Hsin-Yun Huang and Luca Buratto to exemplify in our intimate Sharing Recital, the close parallel between Beethoven’s push on the classical form during his Heroic Years and Ligeti’s bold experimentation with a new approach to rhythmic organization in the 20 th century – and their similar use of simple basic material as a growing organism.

And end off this Sharing Recital with a taste of the start of Beethoven’s last years with his Op. 102 No. 2 Sonata for piano and cello written in 1815 (transcribed for piano and viola).

after heroism – expansiveness, gentleness and a new compression

Shortly after his return to Vienna from Heiligenstadt in 1802, Beethoven completed the two sets of variations Op. 34 and 35. They broke new ground in that they featured an entirely new approach to the composition of variations on a theme.

So different were these two sets of variations from his previous works that Beethoven accorded them proper opus numbers, and continued to raise his sights – aiming for greater power, length and complexity in his works.

A long-awaited Akademie, previously cancelled in 1802, now took place in April 1803, and showcased Beethoven’s 1st and 2nd Symphonies, Christus am Oelberge, and his 3rd Piano Concerto.

It was so successful that Beethoven received a profit enough to sustain him for more than a year; and riding on this high, he set off to work on a new symphony, his 3rd. Sketches and plans for this symphony was first made around the time of the Heiligenstadt Testament, and it was already clear that Beethoven was planning for an unusually grandscaled work.

When the outline for this symphony was complete, Beethoven played it on the piano for his close friend Ries, who proclaimed after this hearing ‘I believe that Heaven and Earth must tremble beneath it when it is performed’.

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Beethoven also regarded it as the greatest 12

work he had yet written. It contained complex figuration, cross-rhythms and modulations to odd keys that would catch musicians off-guard at the first reading – something unusual in the practice of that time. After Beethoven abandoned the original thought of dedicating the symphony to Napoleon Bonaparte, the symphony ultimately received its full name of ‘Sinfonia eroica … composta per festeggiare il sovvenire di un grand Uomo’ (Heroic Symphony … composed to celebrate the memory of a great Man) Left ambiguous, ‘a great Man’ could refer to the final dedicatee Prince Lobkowitz, the original dedicatee Napoleon Bonaparte, or even the composer himself, ‘a great Man’ who overcame Fate and deafness to create an enduring masterpiece.

Heroism had always attracted Beethoven. And all his latest works and what would be to come exemplified this: the heroic Prometheus ballet, Christus am Oelberge, his Op. 26 Piano Sonata that contained a ‘Funeral March on the Death of a Hero’, the Eroica which embodied a sense of triumph over adversity, his opera ’Leonore’ which main character risks her life to save her husband, the Triple Concerto, the ‘Appassionata’ Piano Sonata Op. 57, and the three ‘Razumovsky’ String Quartets that Beethoven deemed suitable ‘for a later age’, the first of which embodies a grandeur beyond what we know of the

string quartet genre till then.

Yet within this heroism and newelevated aims, there was also a new great expansiveness in his music – where one could find gentleness. This, we can see in his 4th Piano Concerto and the Violin Concerto; and later on, as a central characteristic of his final sonata for Piano and Violin in G Op. 96, written in 1812, which you will hear tonight.

Interestingly enough, in the middle of what we consider the ‘middle’ period of Beethoven’s creative life, around 1809, there starts to be a disappearance of large-scale orchestral works. In the remaining 18 years of Beethoven’s life, he only wrote three more symphonies and no more concertos.

That year of 1809, Beethoven dabbled in some songs, folksong settings, composed a relatively normal String Quartet Op. 74 and engrossed himself in studying scores and great works of literature. The following year, he wrote incidental music for Goethe’s play Egmont and in the summer, started sketching his String Quartet Op. 95 ‘Serioso’ and his final Piano Trio ‘Archduke’ Op. 97.

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Archduke Rudolph was the youngest brother of the emperor and the only composition student Beethoven ever had. Archduke Rudolph was a very generous patron of Beethoven – one of the three patrons who set up a life-long salary agreement with Lobkowitz and Prince Ferdinand Kinsky for Beethoven, such that he could be free to compose whatever he wanted, without

having to promote his compositions to patrons and publishers.

As a result of more than a decade of friendship, Archduke Rudolph was the dedicatee of many of Beethoven’s works, including his Piano Trio Op. 97, his Missa solemnis, the Grosse Fuge and the Hammerklavier Sonata.

After finishing his striking Op. 95 String Quartet in the autumn of 1810 (which you can read more about in the next paragraph), Beethoven completed the Op. 97 Piano Trio in a matter of two short weeks the following year.

This piano trio that closes our evening tonight, represents the crowning achievement of Beethoven’s middle creative period with its spacious opening theme, noble expansive variation movement and a Hungarian-flavored finale. It was the repeat performance of this piano trio that saw Beethoven appearing in public as a performing pianist for the very last time.

And in contrast, we begin tonight with a compressed work headed ‘Quartetto serioso’, Beethoven’s f minor String Quartet Op. 95, about which he wrote: ‘(it) is written for a small circle of connoisseurs and is never to be performed in public.’ He considered this highly charged and intimate work to be suitable only in a small setting, and it is appropriate that this work, which recalls the mood and key of his ‘Appassionata’ Sonata Op. 57, and which ends with an extraordinary deliverance from overbearing oppression, will start off our evening tonight.

Tang Tee Khoon Grand Series works to bring timeless music to communities.

Each year, the team presents two projects consisting of formal Evening Concerts, interactive Concerts for Children (led by the same international and local artists), and activities within the communities like open rehearsals, school workshops, listening sessions and an internship program.

Through their Concerts and activities, TTK Grand Series seeks to use music and the arts to cultivate compassionate understanding and connection between people, and to inspire the love of classical music in all.

The Series’ second set of Concerts in 2017 will be held on 10th & 11th November at the Esplanade, featuring Bach’s 6 Solo Cello Suites and his 6 Sonatas and Partitas for Solo Violin, presented by solo British cellist Colin Carr and Singaporean homegrown solo violinist Tang Tee Khoon.

For a chance to have a taster of these masterpieces, fill in the accompanying contact form and hand it over to the team at the Welcome Desk before the night is over, to exchange for a pair of free tickets to ‘Bach: A Prelude’ held tomorrow, 29th May, at 7:30pm at the Esplanade Recital Studio.

For all news and updates, email the team at contact@teekhoontanggrandseries.com or visit tangteekhoongrandseries.com

SPECIAL DINNER MENU AT FOO’D BY DAVIDE OLDANI Pair your experience at “Beethoven Heroic Years” with a special three-course dinner at FOO’D by Davide Oldani – a Cucina Pop restaurant located within the iconic Victoria Concert Hall. This special menu is available only to patrons of “Beethoven Heroic Years” Sharing Recital and Evening Concert at $38++ if advance reservations are made at www.foodbydo.com by 6pm on 28 May. 14

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ACKNOWLEDGEMENTS Beethoven Heroic YeaRS is supported by National Arts Council FOO’D by Davide Oldani Nanyang Girls’ High School Higher Music Program Markono, Asia’s leading on-demand book printer Publicity and Rehearsal Venue support Yamaha Music (Asia) Pte Ltd Official Hotel Partners PARKROYAL on Beach Road Pan Pacific Orchard, Singapore ‘Beethoven Heroic Years’ Concerts for Children and activities within the Community are supported by a.r.t.s. Fund National Youth Council Young ChangeMakers Grant Visual Designers Clarence Aw – Design & Art Direction Cheryl Ong – Design & Illustration (Concerts for Children) cargocollective.com/cherylol Interns Joyce Qiao Si Chen Zhou Xuanle Jessie Goh Jessica Li Li Yundi Calista Liaw Angela Yang Concert Photography Dr Jonathan Cheah Clarence Aw clarenceaw.com

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