Singapore Symphony Orchestra Feb 2020 Programme

CONCERT PROGRAMME FEBRUARY 2020

A FAREWELL FOR TASMIN LITTLE MARTIN GRUBINGER • THE TEARS OF NATURE

A FAREWELL FOR TASMIN LITTLE SUPPORTED BY

MARTIN GRUBINGER • THE TEARS OF NATURE SPONSORED BY

CONCERTS FOR CHILDREN

Journey Around the World

21 & 22 Mar, 2pm & 4pm Victoria Concert Hall Tickets: $25, $32

Fauré: Cantique et Requiem 27 & 28 Mar, 7.30pm Victoria Concert Hall Tickets: $15 - $88

RED BALLOON SERIES

Penderecki Conducts Penderecki 8 May, 7.30pm Esplanade Concert Hall Tickets: $18 - $48

SSO GALA

Seong-Jin Cho 20 & 21 May, 7.30pm Victoria Concert Hall Tickets: $25 - $98

Feb 2020 A FAREWELL FOR TASMIN LITTLE 13 Feb 2020, Thu Esplanade Concert Hall

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MARTIN GRUBINGER • THE TEARS OF NATURE 29 Feb 2020, Sat Esplanade Concert Hall

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For the enjoyment of all patrons during the concert: • Please switch off or silence all electronic devices.

• Please minimise noises during performance. If unavoidable, wait for a loud section in the music.

• No photography, video or audio recording is allowed when artists are performing.

• Non-flash photography is allowed only during bows and applause when no performance is taking place.

Go green. Digital programme books are available on www.sso.org.sg.

Photographs and videos will be taken at these events, in which you may appear. These may be published on the SSO’s publicity channels and materials. By attending the event, you consent to the use of these photographs and videos for the foregoing purposes.

T Pre-concert Talk

SINGAPORE SYMPHONY ORCHESTRA

Since its founding in 1979, the Singapore Symphony Orchestra (SSO) has been Singapore’s flagship orchestra, touching lives through classical music and providing the heartbeat of the cultural scene in the cosmopolitan city-state.

In addition to its subscription series concerts, the orchestra is well-loved for its outdoor and community appearances, and its significant role educating the young people of Singapore.

The SSO has also earned an international reputation for its orchestral virtuosity, having garnered sterling reviews for its overseas tours and many successful recordings.

The SSO makes its performing home at the 1,800-seat state-of-the-art Esplanade Concert Hall. More intimate works and all outreach and community performances take place at the 673-seat Victoria Concert Hall, the home of the SSO. The orchestra performs over 60 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.

Under the Music Directorship of Lan Shui from 1997 to January 2019, 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

Orchestral playing at the peak of refinement and beauty Fanfare in London received critical acclaim in the major UK newspapers The Guardian and The Telegraph. The SSO has also performed in China on multiple occasions.

In July 2019, the SSO named Austrian conductor Hans Graf as its Chief Conductor designate, beginning in the 2020/21 concert season.

Notable SSO releases under BIS include a Rachmaninoff series, a “Seascapes” album, three Debussy discs “La Mer”, “Jeux” and “Nocturnes”, 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, 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 affiliate performing groups, we spread the love for music, nurture talent and enrich Singapore’s diverse communities.

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© BEN VANHOUTEN

Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and Seattle Symphony among others.

GERARD SCHWARZ conductor American conductor Gerard Schwarz serves as Music Director of the All-Star Orchestra, Eastern Music Festival, Palm Beach Symphony and Mozart Orchestra of New York, and is Conductor Laureate of the Seattle Symphony and Conductor Emeritus of the Mostly Mozart Festival. He also holds the post of Distinguished Professor of Music, Conducting and Orchestral Studies of the Frost School of Music, University of Miami.

Schwarz began his professional career as co-principal trumpet of the New York Philharmonic and has held Music Director positions with the Mostly Mozart Festival, Royal Liverpool Philharmonic, Los Angeles Chamber Orchestra and New York Chamber Symphony. He has worked with many of the world’s finest orchestras and has led the San Francisco, Washington National and Seattle Opera companies on many occasions. He is also a gifted composer and arranger with an extensive catalogue of works.

Schwarz has received honours including Emmy Awards, GRAMMY nominations, ASCAP Awards and the Ditson Conductor’s Award. He was the first American named Conductor of the Year by Musical America and has received numerous honorary doctorates. The City of Seattle named the street alongside the Benaroya Hall ‘Gerard Schwarz Place’ in his honour. His book, Gerard Schwarz. Behind the Baton, was released by Amadeus Press in March 2017.

His discography of over 350 albums includes recordings with The Philadelphia Orchestra, London Symphony, Berlin Radio Symphony, Orchestre National de France, 4

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TASMIN LITTLE violin

© B. EALOVEGA

Tasmin Little has performed on every continent and in some of the most prestigious venues of the world, including Carnegie Hall, Musikverein, Concertgebouw, Philharmonie Berlin, Vienna Konzerthaus, South Bank Centre, Barbican Centre and Royal Albert Hall, Lincoln Center and Suntory Hall.

Tasmin has performed concertos with the Adelaide, City of Birmingham, London, Melbourne, Seattle, St. Louis and Winnipeg Symphonies; the Berlin, New York, Hong Kong, Malaysian, London, Netherlands Radio, Royal Liverpool and Royal Philharmonics; the Gewandhaus, Ulster and all the BBC Orchestras; the Philharmonia Orchestra and Orquestra Sinfónica do Porto Casa da Música.

includes her multi-award winning recordings of the Elgar, Britten, Szymanowski, Walton, Beethoven Triple, Delius, Coleridge Taylor and Haydn Wood Violin Concertos, and Sonatas by Strauss, Beethoven, Ravel, Fauré, Bliss, Amy Beach, Dame Ethyl Smythe, and Britten. Her world premiere recording of Roxanna Panufnik’s Four World Seasons is coupled with Vivaldi’s Four Seasons.

As a recital and chamber music artist she returns to the Wigmore Hall and all UK Festivals regularly and has performed at the Hong Kong City Hall, Australian Festival of Chamber Music, Melbourne Recital Hall, Utzon Room, Sydney and Ukaria, Adelaide.

Tasmin Little was appointed an Officer of the Order of the British Empire (OBE) in 2012 and in December 2019 accepted the role of Co-President of the Yehudi Menuhin School alongside Daniel Barenboim. She plays a 1757 Giovanni Battista Guadagnini violin.

Tasmin is an exclusive recording artist for Chandos Records. Her extensive discography 5

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Orchestra, China National Symphony Orchestra and the Prague Chamber Orchestra.

One of Asia’s most sought-after conductors, Ang’s growing operatic profile includes performances of Don Giovanni and Rigoletto at the Mariinsky Theatre, Carmen at Estonian National Opera, Mozart operas in Bordeaux and Toulon, and Wagner in Singapore.

DARRELL ANG conductor

Born in Singapore, Ang studied composition with Leong Yoon Pin before studying in St. Petersburg with Leonid Korchmar, and Yale with Shinik Hahm. He became the Young Associate Conductor of the Singapore Symphony Orchestra (2008–2013) under the guidance of Music Director Lan Shui and also served as Music Director of the Singapore National Youth Orchestra. He took all three top awards at the 50th Besançon International Young Conductors’ Competition in 2007, leading to the Music Directorship of the Orchestre Symphonique de Bretagne (2012–2015). With support from the Allianz Cultural Foundation, he took on residencies with the London Philharmonic and Philharmonia Orchestra, under the tutelage of Lorin Maazel and Esa-Pekka Salonen.

Artistic Director and Chief Conductor of The Sichuan Orchestra of China (Sichuan Symphony), Grammy-nominated Darrell Ang last year opened the London Philharmonic’s season at Eastbourne, conducted Paris’s Orchestre de Lamoureux at the Théâtre du Champs-Elysées and made his debut with the Japan Philharmonic. In addition, he conducted Beijing’s National Centre for the Performing Arts Orchestra and released several recordings on the Naxos label to rave reviews. Recent appearances include with The Haydn Orchestra of Bolzano and Trento, Moscow State Symphony Orchestra, Mariinsky Orchestra, NHK Symphony 6

A versatile conductor, Joshua is at home with both symphonic and operatic works. His substantial repertoire for opera includes La Traviata, Rigoletto, Der Fliegende Holländer, Lohengrin, Carmen, Don Giovanni, Madama Butterfly, Così fan tutte, and Turandot, among others. He has also served as cover conductor for Christoph Eschenbach and Lorin Maazel. He is also equally adept with ballet productions and music for film/multimedia.

JOSHUA TAN conductor Second Prize-winner of the 2008 Dimitri Mitropoulos International Competition, Singaporean conductor Joshua Kangming Tan’s rise to prominence on the international scene has been marked by successful debuts in Carnegie Hall, Philharmonie Berlin, Mariinsky Hall and Bunkamura.

Joshua is presently Associate Conductor of the Singapore Symphony Orchestra, Principal Conductor of the Singapore National Youth Orchestra and Director of the Asia Virtuosi. He has served successful stints as Resident Conductor of the National Centre for the Performing Arts (China) Orchestra, and as Principal Conductor of the Guiyang Symphony Orchestra.

A graduate of The Juilliard School and the Eastman School of Music (High Distinction), he is an awardee of numerous scholarships and awards, such as the Young Artist Award, Singapore (2011), Bruno Walter Memorial Foundation Award, NAC-Shell Scholarship, and the SSO/MOE Scholarship.

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M A R T I N G R U B I N G E R • T H E T E A R S O F N A T U R E | 29 FEB 2020

Joshua has conducted orchestras all around the world. These orchestras include the Mariinsky Theatre Orchestra, Beethoven Bonn Orchestra, Tokyo Philharmonic Orchestra, National Taiwan Symphony Orchestra, Hong Kong Philharmonic, Sydney Symphony Orchestra, amongst others. He has studied with various eminent conductors such as James DePreist, Charles Dutoit, David Zinman and Kurt Masur.

M A R T I N G R U B I N G E R • T H E T E A R S O F N A T U R E | 29 FEB 2020

© SIMON PAULY

Spring 2014 saw the German premiere of Eötvös’s Speaking Drums with the Mahler Chamber Orchestra conducted by the composer. 2018/19 sees world premieres of new percussion concertos dedicated to Martin Grubinger by Fazıl Say and Daníel Bjarnason.

MARTIN GRUBINGER percussion Possibly the best multi-percussionist of the world, Martin Grubinger possesses an unusually broad repertoire ranging from solo works and chamber music with partners including his own Percussive Planet Ensemble, to percussion concertos.

Grubinger also appeared in the Rheingau Music Festival, Heidelberger Frühling Festival, Bregenzer Festspiele, Beethovenfest Bonn, Lucerne Festival and Salzburg Festival, at Baden-Baden Festspielhaus, the Brass & Percussion Festival in Tokyo’s Suntory Hall and the Grant Park Music Festival in Chicago. In 2013 he was Artiste Étoile at Lucerne Festival.

Born in Salzburg, Grubinger studied at the Bruckner Conservatory in Linz and at the Salzburg Mozarteum. He quickly garnered attention through appearances at several international competitions, including the second World Marimbaphone Competition in Okaya, Japan, and at the EBU Competition in Norway. Martin Grubinger holds teaching positions at Zurich University of the Arts and as Professor for Multipercussion at the University of Music and Dramatic Arts Mozarteum Salzburg.

Amongst the growing number of works written for Grubinger are Avner Dorman’s Frozen in Time (2007) and Friedrich Cerha’s Concerto (2008), performed and recorded with the Wiener Philharmoniker conducted

by Peter Eötvös on Kairos, as well as Tan Dun’s concerto, Tears of Nature (2012).

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SECOND VIOLIN Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Nikolai Koval* Chikako Sasaki* Margit Saur Shao Tao Tao Wu Man Yun* Xu Jue Yi* Yeo Teow Meng Yin Shu Zhan* Zhao Tian*

The Orchestra JOSHUA TAN Associate Conductor ANDREW LITTON Principal Guest Conductor

VIOLA

CHOO HOEY Conductor Emeritus

Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Luo Biao Julia Park Shui Bing Janice Tsai Wang Dandan Yang Shi Li

LAN SHUI Conductor Laureate EUDENICE PALARUAN Choral Director WONG LAI FOON Choirmaster

CELLO Ng Pei-Sian Principal, The HEAD Foundation Chair 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

FIRST VIOLIN Kong Zhao Hui# Associate Concertmaster Chan Yoong-Han Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Jin Li Kong Xianlong Cindy Lee Karen Tan William Tan Wei Zhe Ye Lin* Zhang Si Jing*

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

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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 Hoang Van Hoc

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

TROMBONE

Elaine Yeo Associate Principal

Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong

CLARINET

BASS TROMBONE

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

Wang Wei Assistant Principal

COR ANGLAIS

TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal

BASS CLARINET PERCUSSION

Tang Xiao Ping Assistant Principal

Jonathan Fox Principal Mark Suter Associate Principal Mario Choo Lim Meng Keh

TENOR SAXOPHONE Tang Xiao Ping BASSOON

HARP

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

Gulnara Mashurova Principal

CONTRABASSOON Zhao Ying Xue Assistant Principal

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

Kong Zhao Hui 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.

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

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Guest Musicians 13 FEB

DOUBLE BASS Haruna Ashizawa1 Ma Li Ming

FIRST VIOLIN Wang Jing Concertmaster Lim Shue Churn Yew Shan

FLUTE Hristo Dobrinov Principal

SECOND VIOLIN Lee Shi Mei Ikuko Schiøler Yen To-Chia1

PIANO/CELESTE Shane Thio

VIOLA Ho Qian Hui Yeo Jan Wea CELLO Lin Juan

29 FEB

FIRST VIOLIN Lim Shue Churn Yew Shan

FLUTE Hristo Dobrinov Principal PERCUSSION Michael Tan

SECOND VIOLIN Tsukasa Nitta2 Ikuko Schiøler

PIANO Shane Thio

VIOLA Yasuo Hayashi Yeo Jan Wea

CELESTE Aya Sakou

DOUBLE BASS Neil Tarlton Principal Raffael Bietenhader

1 2

Musician from Shanghai Orchestra Academy Musician from Tokyo Metropolitan Symphony Orchestra

Information correct at time of printing 12

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A FAREWELL FOR TASMIN LITTLE Bruch Violin Concerto 13 Feb 2020 Esplanade Concert Hall Singapore Symphony Orchestra Gerard Schwarz conductor Tasmin Little violin PROKOFIEV

Selections from Romeo and Juliet, Op. 64

16 mins

BRUCH

Violin Concerto No. 1 in G minor, Op. 26

24 mins 20 mins

Intermission

BRAHMS

Symphony No. 3 in F major, Op. 90

Concert duration: 1 hr 50 mins

Supported by

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Pre-concert Talk | 6.30pm, library@esplanade

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Autograph Session We regret that the autograph session has been cancelled.

33 mins

A F A R E W E L L F O R T A S M I N L I T T L E | 13 FEB 2020

SERGEI PROKOFIEV (1891–1953) Selections from Romeo and Juliet, Op. 64 (1935–1936) I II III IV

The Montagues and the Capulets Juliet – the Young Girl Minuet The Death of Tybalt

Romeo and Juliet is Shakespeare’s classic, timeless tale of the tragic love story between two young people from opposing forces of hatred. Prokofiev’s brilliant ballet adaptation of the “star-crossed lovers” premiered in 1938 after following a difficult path on its own. The ballet was originally commissioned

by Leningrad’s Kirov Ballet in 1934, but they backed out; Bolshoi Ballet stepped in, but ultimately rejected it as the dancers found it undanceable. However, the music was not the biggest problem. Prokofiev’s initial insistence on a happy ending led to furious protests. “Living people can dance,” he later wrote in defence of the decision, “but the dead cannot dance lying down.”

The premiere was eventually given in Brno, Czechoslovakia, with its revised ending matching that of Shakespeare’s.

The Montagues and the Capulets This movement introduces Verona’s two warring families. The menacing music accurately translates the bellicosity within the two clans, as if laying the groundwork for the tragedy that is about to unfold. A quieter episode, featuring a flute solo, provides accompaniment for Juliet’s first dance with Paris, an older suitor to whom she has been betrothed. Juliet dances ceremoniously and indifferently, against an icy background with harp, triangle, tambourine and celeste, brilliantly scored by the composer, as if exuding discomfort in the present situation.

The conflict then returns to bring the music to its conclusion.

Above: Romeo and Juliet

by Frank Dicksee, 1884.

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Above: Stamps of the USSR “The Soviet ballet”, 1961

Minuet The opening that accompanies the arrival of the guests at the Capulet ball.

Quoting an 18th-century polonaise with its processional function, the regal theme exudes a heavy quality with spondaic emphases on every beat. The guests remove elaborate mantles and shawls and slowly descend into the interior of the room.

their dead kinsman in the funeral scene and swear revenge on Romeo for his coruscating and hateful attack.

The Death of Tybalt Set in the scene of morning streets after Romeo and Juliet’s secret marriage, this movement telescopes the frantic atmosphere of the melee as Romeo seeks to avenge Mercutio’s death through a duel with his killer, Tybalt (Juliet’s cousin). Tightly packed with intense violin virtuoso runs, the music illustrates the fury of Romeo and Tybalt’s duel. The haunting music, highlighted by the terrifying tempo and cross-rhythms, almost matches the unpredictable footwork of swordplay.

Instrumentation 2 flutes, piccolo, 2 oboes, cor anglais, 2 clarinets, bass clarinet, tenor saxophone, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, cornet, 3 trombones, tuba, timpani, snare drum, suspended cymbals, tambourine, bass drum, triangle, glockenspiel, cymbals, xylophone, harp, piano, celeste, strings

The farcical dance climaxes with 15 powerful, hammering chords, signalling Tybalt’s fate, while the implacable rhythms of the final section accompany his demise.

In the end, the Capulets gather to mourn

World Premiere 30 Dec 1938, Brno First performed by SSO 13 Jan 1989 17

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Juliet – the Young Girl Juliet, our heroine, is portrayed as blissfully simple, naive and slightly mischievous as she unwillingly dresses for the ball. Fast scalic figurations played by the violins suggest the exuberant naiveté and vivacity of the teenage girl as she indulges in play. The playful gesture gives way to quiet and lyrical passages, perhaps depicting moments of tenderness as she catches sight of herself in the mirror and realises that adulthood will soon be upon her. Lower strings and woodwinds bring out Juliet’s deeper emotions and romantic reveries as well as developing maturity that subsequent events will awaken within her.

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MAX BRUCH (1838–1920) Violin Concerto No. 1 in G minor, Op. 26 (1866–1868) I II III

Vorspiel: Allegro moderato Adagio Finale: Allegro energico

Of the four great German violin concertos (the other three by Beethoven, Brahms and Mendelssohn), Bruch’s First Violin Concerto is described as “the richest and the most seductive”. Bruch went on to compose two other violin concertos but neither would come close to achieving the popularity of the ingenious first. Success did not come easily

His Violin Concerto No. 1 is what has kept his name firmly in the repertoire since the day of its premiere.

Vorspiel Instead of following compositional conventions slavishly, Bruch omits the usual orchestral exposition as well as the proportions of usual concertos. The concerto opens with an unusual Vorspiel (“prelude” in German), which serves as a lengthy introduction to the second movement.

Rather than being the weightiest movement of the work, it is less structured and more fantasy-like than the first movements of most concertos. The piece starts off slowly as Bruch makes room for two expansive melodies: the strong first theme and a very melodic second theme. The movement ends as it begins, with the virtuosic cadenzas more prominent than before. A single low note from the first violins connects the piece with the second movement.

melody was “the soul of music” and the violin was the best instrument for “singing” to the composer, however. The concerto had a lengthy gestation period, with sketches dating back to 1857, 11 years before its official premiere. He confided in his former teacher Ferdinand Hiller in a letter, “My Violin Concerto is progressing slowly – I do not feel sure of my feet in this terrain. Do you think that it is in fact very audacious to write a Violin Concerto?” He eventually sought the advice of Joseph Joachim, the violinist-composer who also assisted Brahms and Dvorák with their concertos. The piece was completed in 1868 and was premiered

by Joseph Joachim himself. For Bruch, melody was “the soul of music” and the violin was the best instrument for “singing”.

Adagio The heart of the concerto. It is warmly lyrical and exceptionally rich in melodic inventions. A powerful display of Bruch’s gift of melody, he assigns three heartfelt themes that are gradually taken up by the orchestra with increasing fervour as the violin becomes increasingly passionate and agitated. The poised and elegiac melody carries the music on a tide of emotion.

Finale The quiet suspense of the finale’s opening is broken by the grand entrance of the violin featuring a jaunty theme with 18

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Above: Bruch’s manuscript for the violin concerto, bearing the dedication: “Joseph Joachim in Verehrung zugeeignet”. The word “Verehrung” (respect) was crossed out by Joachim and substituted by “Freundschaft” (friendship). Source: The Morgan Library & Museum

Gypsy flair. This movement is fun, with contrasting interludes of soaring nobility. The piece eventually comes to a powerful accelerando, bringing the music to a highspirited conclusion.

Instrumentation 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings World Premiere 5 Jan 1868, Bremen (Joseph Joachim, violin) First performed by SSO 21 Sep 1979 (Kim Nam Yun, violin) 19

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JOHANNES BRAHMS (1833–1897) Symphony No. 3 in F major, Op. 90 (1883) I II III IV

Allegro con brio Andante Poco allegretto Allegro

Brahms wrote his Third Symphony in the summer of 1883 while vacationing in the German spa town of Wiesbaden. The then 50-year-old composer celebrated an important year of his life as he labelled it as an “important milestone on the road to death.” It was a time of taking stock, and introspection which in turn became the summit of Brahms’s orchestral output. On 2 December 1883, the Vienna Philharmonic Orchestra premiered the masterpiece under the direction of Hans Richter, who also acclaimed it as Brahms’s Eroica. It is the shortest of Brahms’s four symphonies but often considered the best of the set.

of the movement, evoking Schumann’s Third, the Rhenish Symphony. The motto of F-A-F returns but this time, Brahms builds a bigger, impassioned climax, seemingly conclusive but instead descends into a quiet and introspective end.

Andante Clarinets and bassoon open the next movement with a folk-song like theme, alongside added colours and texture of the horns and flute. Brahms then builds on the impression of cohesion by unifying his melodic ideas with ingenious interlinks and cross-references that run throughout the work. The melancholic and mysterious second theme played by the clarinet and bassoon, strongly contrasted to the homely first theme, returns later in the finale in a stormy and violent facade.

Allegro con brio The piece begins heroically with three powerful chords which highlight a personal stamp, a musical motto of three notes that he used in his music: F-A-F, Frei aber froh, or “free but happy”. The swinging momentum provides a steady, powerful undercurrent. A questioning dissonance occurs when Brahms flattens the third, which leads one to question the ambiguous nature of freedom in Brahms’s philosophy. The music turns sentimental when we hear a reminiscent of a much earlier work of Brahms, Begräbnisgesang, a “song of burial”. Many have argued that the element of loss might have been a tribute to Robert Schumann, Brahms’s mentor, a close friend and father figure. Hints of Schummanian influences can also be heard in the swinging momentum and first theme

Poco allegretto Like Schumann, Brahms was not just a fine symphonist, but a great composer of songs. The first theme in the third movement, introduced by the cello, then later taken up by the horn, is a great reminder of what a great composer of lieder Brahms was. In a way, this movement is hardly a scherzo; it is almost mournful.

Allegro The finale begins with a whispering and serpentine theme on the strings. We then hear a flashback of the second theme from the second movement but in a sinister and sombre quality this time through the use of contrabassoon. The music then quickens 20

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Above: Fawlty Towers (1975—1979) Basil Fawlty, when accused by his wife of “listening to that racket”, famously responds “Racket!? That’s Brahms! Brahms’s third racket!”

with drama and force as if rekindling some of the dramatic fire of the first movement.

Brahms’s signature F-A-F motto reappears in the final bars, this time winding downward towards the final serene F major chord on rustling strings.

Programme notes by Lin Tonglin

Instrumentation 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, strings World Premiere 2 Dec 1883, Vienna First performed by SSO 29 Aug 1980 21

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Another violin rarity comes in this performance of The Red Violin Concerto, a work based on the famous 1998 film of the same name.

THE GENTEEL HORN OF MR HAN

Our beloved Principal Horn Han Chang Chou will also soon step down from his position – come meet him in person at this special concert!

5 Mar Esplanade Concert Hall

13 Mar Victoria Concert Hall

Andrew Litton, conductor Philippe Quint, violin Singapore Symphony Orchestra

Darrell Ang, conductor Han Chang Chou, horn Singapore Symphony Orchestra

CELLO ESCAPADES

Another contemporary Chinese composer showcase, this time with the unusual pairing of cello and pipa, the traditional Chinese lute.

NADIA SIROTA NICO MUHLY VIOLA CONCERTO

A maven of contemporary classical music, the trailblazing Nadia Sirota is also a champion of the viola and curator of programmes designed to take classical music to a broader audience.

23 Apr Esplanade Concert Hall

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Yu Long, conductor Qin Li-Wei, cello Wu Man, pipa Zhang Manchin, viola Singapore Symphony Orchestra

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MARTIN GRUBINGER • THE TEARS OF NATURE Wizard of Percussion 29 Feb 2020 Esplanade Concert Hall Singapore Symphony Orchestra Darrell Ang conductor Joshua Tan conductor Martin Grubinger percussion

KNUSSEN TAN DUN

The Way to Castle Yonder SSO PREMIERE Percussion Concerto “The Tears of Nature” SSO PREMIERE

8 mins 30 mins

Intermission

20 mins

RACHMANINOFF Symphony No. 3 in A minor, Op. 44

39 mins

Concert duration: 1 hr 50 mins

Sponsored by

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Pre-concert Talk | 6.30pm, library@esplanade

Dear Friends, It is with great pleasure that Singapore Airlines partners the Singapore Symphony Orchestra (SSO) to bring in phenomenal percussionist Martin Grubinger. The Tears of Nature, a percussion concerto written by Chinese composer Tan Dun for Grubinger, will no doubt be this evening’s highlight. Tonight’s concert will also feature conductor Robert Spano’s tribute to the late British composer-conductor Oliver Knussen, as well as Rachmaninoff’s Third Symphony.

Since its inception in 1979, the SSO has endeavoured to cultivate artistic excellence to develop a mastery over divergent styles of musical traditions. Singapore Airlines firmly believes in supporting the arts in Singapore, and we hope to continue doing so by contributing to SSO’s growth as it gains recognition around the world as a premier Asian orchestra.

We wish all of you a memorable and enjoyable musical journey this evening.

Thank you.

Singapore Airlines Limited

M A R T I N G R U B I N G E R • T H E T E A R S O F N A T U R E | 29 FEB 2020

MESSAGE FROM SINGAPORE AIRLINES

The Way to Castle Yonder is a concise digest of orchestral interludes for my second operatic collaboration with Maurice Sendak, Higglety Pigglety Pop!, which is a theatrical requiem for his dog, Jennie, in the frame of a ‘quest’ opera. Castle Yonder is the animals’ theatrical heaven of Sendak’s imagination.

The Way to Castle Yonder is affectionately dedicated to Belinda and Colin Matthews, and the three continuous sections are: The Journey to the Big White House on a horse-drawn milk wagon driven by a catmilk-man. The music is based on Jennie’s aria which opens the opera. “The wagon drives off and the show curtain closes.

After a while, the pig is seen peeking out mysteriously from an arbour. He makes himself scarce when the milk wagon appears, crossing the stage in front of the show curtain.”

Kleine Trauermusik “A little orchestral meditation while Jennie dreams of lions” – a chorale with another variant of Jennie’s aria.

Instrumentation 3 flutes, oboe, cor anglais, 3 clarinets, bassoon, contrabassoon, 4 horns, 3 trombones, timpani, tam-tam, 2 chimes, suspended cymbal, vibraphone, tambourine, sleigh bells, castanets, bass drum, triangle, snare drum, glockenspiel, vibraslap, harp, piano, celeste, strings

The Ride to Castle Yonder “Chimes begin to sound in the distance. The characters climb on the Lion’s back. Mother Goose disappears as the bells get louder. The Lion springs forward, and the show curtain closes.” This final section grows from these images virtually in reverse, and the arrival at Castle Yonder briefly harks back to the Trauermusik chorale.

Programme note by Oliver Knussen

World Premiere 31 Jan 1991, London (revised version) 27

M A R T I N G R U B I N G E R • T H E T E A R S O F N A T U R E | 29 FEB 2020

OLIVER KNUSSEN (1952–2018) The Way to Castle Yonder (1988–1990) SSO PREMIERE

M A R T I N G R U B I N G E R • T H E T E A R S O F N A T U R E | 29 FEB 2020

TAN DUN (B. 1957) Percussion Concerto “The Tears of Nature” (2012) SSO PREMIERE I II III

Summer (“Threat of Nature”) Autumn (“Tears of Nature”) Winter (“Dance of Nature”) taming of nature. This movement honours all spirits touched by the brutal force of nature in 2008.

I wrote this piece for my dear friend, a true percussion artist, Martin Grubinger.

Upon conclusion of this work I made a video demonstration for Martin, sharing the methods I used to draw out the many colours of percussion, using the video to show the unique techniques such as finger-flicking, rubbing, scraping, etc. While composing I thought about nature and focused on the passion of Martin Grubinger.

The second movement, Tears of Nature, was born as I watched the enormously heartwrenching live broadcast of the tsunami in Japan on television. For every inhalation of the tsunami waves – how many lives vanished? For every exhalation, how many spirits were washed away? I believe after nature’s brutality must come nature’s regret, its tears. The tragedy of the tsunami is represented by a sorrowful marimba solo crying for all of the victims of the tsunami.

Tremolos and cascading lines mirror the images of water in nature, nature’s tears: rain, rivers, and oceans.

Nature is the only suitable illustrator for the richness of percussion sounds and instruments. Nature does not just represent four seasons in a year, it can also depict the many animals it holds such as lions or tigers; animals that can take on many forms, that can be beautiful, threatening, friendly or loving. My Percussion Concerto is divided into three movements, each one representing a different colour of nature; the colour of nature’s thunder, the colour of nature’s passion and the colour of nature’s energy – each united with the human spirit.

The third movement, Dance of Nature, comes from my awe and affection for New York City and its residents. I love New York because it does not believe in wallowing in tears. After Hurricane Sandy all of lower Manhattan and many others were without power, but New Yorkers never lost their energy and confidence. Dance of Nature uses assorted percussion instruments, all placed in a circle. Shadowing the first two movements, I bring their motives back and mix them with the new melodies introduced.

The motives dance together causing the percussionist, in turn, to whirl around within the circle of percussion instruments symbolising both nature and the human spirit dancing together – reminding me of

The first movement, Threat of Nature, was prompted by my unforgettable memories and the unbearable, instantaneous loss of thousands during the Sichuan earthquake in 2008. Threat of Nature is depicted using the timpani, which shows both the gentle and explosive power of nature. The transformation from the beginning of the movement to the end employs various techniques on the timpani, from large mallets to finger-flicking, symbolising the 28

M A R T I N G R U B I N G E R • T H E T E A R S O F N A T U R E | 29 FEB 2020

New York and its ability to keep cheerful in spirits and dance even while suffering from loss – the spirit of New York is always strong.

Although the three movements in this concerto are about three natural disasters in different cities, they all share in the same memory, one where the human spirit stays strong. This concerto commemorates the human spirit as it lives, fights and dances with nature.

Programme note by Tan Dun

Instrumentation 3 flutes, 1 doubling on piccolo, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, harp, strings Four orchestral percussionists 6 tom-toms, 4 pairs of stones, 4 Chinese big drums, 4 Tibetan bowls, 5 wood blocks, 5 cowbells, 5 cans, 5 fish blocks, 2 slapsticks, bass drum, 2 brake drums Solo percussionist timpani, small Chinese cymbals, 1 pair of stones, marimba, vibraphone, glockenspiel, 8 paigu, 5 cowbells, 5 wood blocks, 4 nipple gongs, rainstick, bamboo chimes World Premiere 18 Aug 2012, Hamburg 29

M A R T I N G R U B I N G E R • T H E T E A R S O F N A T U R E | 29 FEB 2020

SERGEI RACHMANINOFF (1873–1943) Symphony No. 3 in A minor, Op. 44 (1935–1936) I II III

Lento – Allegro moderato Adagio ma non troppo Allegro

Rachmaninoff’s three symphonies span nearly his entire creative life. The First was premiered in 1895 when the composer was 22. It was such a dismal failure that he forbade further performances during his lifetime. The Second was written ten years later and became an instant success whose popularity has never waned. Rachmaninoff vowed this would be his last symphony, but near the end of his life he produced a Third, whose public acceptance lies somewhere between the general rejection of the First and the enthusiastic embrace of the Second.

where he had made his American conducting debut in 1909 and where scarcely a year went by without his appearing there either at the piano or on the podium. No fewer than four world premieres and several American premieres of his works went to that orchestra. Leopold Stokowski conducted the first performance of the Third Symphony on 6 November 1936.

Lento – Allegro moderato The symphony opens with a motto idea – scarcely a theme as it merely oscillates gently among three notes – but Rachmaninoff’s mastery of orchestral colour throughout the symphony is manifest in these very opening bars: the unison combination of a single clarinet, a single cello muted and a single horn handstopped. This motto serves, in the words of biographer Patrick Piggott, “not so much to make dramatic, brassy intrusions, (though on occasion it can do this to good effect), as to remind us sometimes by no more than a quietly hinted reference, that our destiny is inescapable and that however persuasive human eloquence may be, fate will have the last, inevitable word. All very much in the Russian tradition.” The two principal subjects of the movement are both lyrical and flowing in Rachmaninoff’s characteristic idiom, the first presented by woodwinds, the second by cellos in broadly sweeping phrases. The whole symphony is replete with examples of Rachmaninoff’s orchestral mastery, but one more passage must be singled out: midway through the first movement we hear a new sonority, that of the xylophone, which

Rachmaninoff wrote his Third Symphony in 1935 and 1936 while living in Switzerland.

It had been nearly two decades since he left his native Russia in 1917, and many of his works written during the years abroad are said to lack that quality of “Russianness” found in earlier works. But the Third Symphony was an exception. Lawrence Gilman, the distinguished New York critic, wrote of it: “This Symphony is characterized by a profusion of those sweeping cantabile phrases, darkened by moods of melancholy brooding, and impassioned stress, which are typical of Rachmaninoff’s instrumental creations. Sombre, lyrical, defiant, it is a work wholly representative of the Slavic genius and of Mr. Rachmaninoff in particular.”

The first performance went to the orchestra Rachmaninoff had come to think of as his favourite – The Philadelphia Orchestra, 30

is combined in its initial entry with piccolo and bassoon in a most striking blend of instrumental hues.

including Rachmaninoff’s old favourite, the medieval Dies irae motif. Rhythmic vitality, instrumental flamboyance, and memorable effects are found throughout; the symphony ends in a veritable riot of orchestral virtuosity.

Adagio ma non troppo The second movement combines elements of slow movement and scherzo. The motto (solo horn) introduces the movement, which contains a wealth of melodic ideas and passages clothed in magical colours.

Another new sonority is heard in this movement, that of the celeste, which is used in only a few brief passages but to great effect. A rhythmically vigorous central section serves as a Scherzo, after which the nostalgic, lushly romantic material of the opening returns to end the movement quietly.

Programme note by Robert Markow

Instrumentation 2 flutes, 1 piccolo, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, alto trumpet, 3 trombones, tuba, timpani, bass drum, cymbals, snare drum, triangle, tam-tam, xylophone, tambourine, harp, celeste, strings

Allegro The finale is a long, brash and vivacious movement packed with surprises.

Among the interesting formal elements here are an extended fugal section based on the movement’s opening material, and a long coda containing additional ideas not used before in this symphony,

World Premiere 6 Nov 1936, Philadelphia First performed by SSO 7 Dec 1990 31

M A R T I N G R U B I N G E R • T H E T E A R S O F N A T U R E | 29 FEB 2020

Above: Villa Senar overlooking Lake Lucerne in Switzerland, where Rachmaninoff wrote his Third Symphony. The name of the estate originated from the names of Rachmaninoff and his wife: Sergei and Natalia, by combining the first two letters of each given name and the first of their surname.

Source: Google Maps

A Hug e T H A NK YOu f Or s HOw iNg YOur l Ov e!

It would be impossible for our national orchestra to continue to strive for artistic excellence, touch the hearts of Singaporeans with our music, and make Singapore proud, if we didn’t have benefactors like you.

Since November last year, through announcements in the concert hall and appeal letters to long-time patrons, we have raised almost $336,000 for the SSO’s operations. So an enormous THANK YOU for your love and encouragement!

We are hoping to get to $400,000. So if you haven’t yet made a gift and would like to show your support, please go straight to www.giving.sg/sso. Thank you!

Help us to continue making wonderful music memories — for you and for our communities.

The SSO is an arts charity and depends on donations and matching grants. For tax and other patron benefits, please visit www.sso.org.sg/support-us/patron-benefits.

For more information, contact Ms Nikki Chuang at nikki@sso.org.sg or 6602 4238.

2019/20 Season Patrons Our story began four decades ago when we played our first concert in January 1979.

This journey would not have been possible without patrons who believe in sharing the gift of music.

Thank you for your generosity.

PATRON SPONSOR Tote Board Group (Tote Board, Singapore Pools & Singapore Turf Club)

MAESTRO CIRCLE Mr & Mrs Goh Yew Lin Temasek Foundation The HEAD Foundation

SYMPHONY CIRCLE Aquilus Pte Ltd Embassy of France in Singapore G K Goh Holdings Christopher & Rosy Ho John Swire & Sons (S.E. Asia) Pte Ltd Lee Foundation NSL Ltd Singapore Press Holdings Ltd Mr Hsin Yeh & Family Anonymous

CONCERTO CIRCLE Far East Organization Ho Ching Holywell Foundation Limited Keppel Corporation Maisy Koh & Dr Beh Swan Gin Kris Foundation

Mr & Mrs Eugene Lai Clarinda & Christopher Martin Paige Parker & Jim Rogers Andreas & Doris Sohmen-Pao Neil & Mi Jong Tottman United Overseas Bank Ltd

OVERTURE PATRONS Su Pin & Mervin Beng Odile & Douglas Benjamin Bunli Holdings Lito & Kim Camacho Prof Cham Tao Soon Prof Chan Heng Chee Chan Wing Cheng Cara & Tamara Chang Chng Hak-Peng Mr & Mrs Choo Chiau Beng Prof Arnoud De Meyer Dr Geh Min Goh Swee Chen Hong Leong Foundation Judy Hunt Leong Wah Kheong Leong Wai Leng Liew Wei Li Beatrice Lim FC Mavis Lim Geck Chin Lin Diaan-Yi Marina Bay Sands

Micheal Lien Devika & Sanjiv Misra Kai S. Nargolwala Nomura Asset Management Singapore Ltd One North Capital Pte Ltd David Ong Eng Hui Petrochemical Corporation of Singapore Pte Ltd Dr Gralf Sieghold Sinfonia Ristorante Stephen Riady’s Group of Foundations Irene Tedja Total Trading Asia Pte Ltd TransTechnology Pte Ltd V3 Group Djafar Widjaja Peter C. Y. Wong Geoffrey & Ai Ai Wong Yong Ying-I Catherine & David Zemans Dr Thomas & Mrs Mary Zuellig Anonymous (3)

SERENADE PATRONS Ang Ming Yi & Tanyatorn Lewchaleamwong Charles Brooks Peter Chen Kwan Da Simon Cheong Chip Eng Seng Group Lionel Choi Hartley Clay Goh Sze Wei Jerry Gwee Steven & Liwen Holmes Angela Huang & Geo Chen Robert Khan Lee Kok Keong Mak Hoe Kit Dr Adrian Mondry

Soledad & Edgardo Mune nTan Corporate Advisory Pte Ltd Eddy Ooi Jenny Pan Doreen & Elbert Pattijn Mark Procyshyn Robin Ian Rawlings Dr June & Peter Sheren Ron & Janet Stride Dr Tan Chin Nam Ivan Tan Meng Cheng Tan Sook Yee Kennie Ting Manju & Arudra Vangal Anonymous

RHAPSODY PATRONS Ryoichi Akao Clemente & Juliana Benelli Vivian Chandran Dr Faith Chia Evelyn Chin Brendan Hannigan & Maria Carvalho Edmund Koh K C Lorinne Kon Aditi Krishnakumar KRPL Family Fund Mr & Mrs Patterson Lau Colin Lee Dr Lee Shu Yen Gilbert Leong

Brian Lo Mr & Mrs Willem Mark Nabarro Esmé Parish & Martin Edwards Lisa & Hervé Pauze Greet Pelckmans Dr Alban Salord Stuart Liventals Tibor Zoltan Szabady Andrew Tan Anthony Tay Mr & Mrs Wong Nang Jang Yeong Poh Yee Anonymous (2)

PRELUDE PATRONS Aloha Dental Pte Ltd Ang Seow Long Dennis Au Jocelyn Aw Lawrence & Celeste Basapa John & Eliza Bittleston Bryan Carmichael Pauline Chan & Jean Nasr Chan Ah Khim Jeanie Cheah Dr Cynthia Chee Dr Peter Chew Margaret Chew Sing Seng Pamela Chong Serene Chua Su Ling Sally Chy Rosa Daniel Arthur Davis Mark & Jennifer Dembitz Maureen Derooij Elizabeth Fong G & L Surgical Pte Ltd Gan Yit Koon Goh Chin Sean Goh Chiu Gak Michael Goh Mrs Goh Keng Hoong Goh Shin Ping Chiraporn Prof Goh Suat Hong Wynthia Goh Ilya Gutlin Owen Hawkes & Eunice Tan Dr Guy J P Hentsch Mr & Mrs Simon Ip Jordan Isac Jellycat Sg Peggy Kek Khor Cheng Kian Dr Koh Chee Kang & Ms Chang Ting Lee

Helen Koh Belinda Koh Yuh Ling Winston Kwek & Valerie Cheah Colin Lang Lau Soo Lui Mr & Mrs Winson Lay Lee Li-Ming Lee Miew Boey Dr Norman Lee Willy Lee Liak Wee Viktor & Sonja Leendertz Lek Lee Yong Dr Leong Keng Hong Wendy Leong Marnyi Leow Oon Geok Dr Bettina Lieske Alvin & Christina Liew A.D. Lim Charmaine Lim Edith & Sean Lim Janet Lim Hong Eng Suzanne Lim Chin Ping Candice Ling Ling Yu Fei Tony & Serene Liok Firenze Loh Low Boon Hon Fabian Lua Capt Isac Mattews Meng Gillian & Kurt Metzger Michael Schlesinger Izumi Miyake Dr Agnes Ng Ng Pei-Sian Joyce, Swee Meng Ng & family Ngiam Shih Chun Monique Ong Audrey Phua Preetha Pillai

Ian & Freda Rickword Robert Khan & Co Pte Ltd Charles Robertson Toby & Margit Alexey Rumyantsev Andreas Ruschkowski Caroline Seow Retno Setyaningsih Naoyoshi Nick Shimoda Susan Sim Soh Leng Wan Veiter Soo Casey Tan Khai Hee Tan Cheng Guan Gordon H L Tan Tan Kok Kiong Tan Lian Yok Tan Soo Nan Tan Yee Deng Daniel Tando Aileen Tang Tang Li Ping Teo Chun-Wai, Benedict Alicia Thian & Brian Bonde Andrew & Stephanie Vigar Nicole Wang Remes Kris Wiluan Andrew & Sybil Wong Wicky Wong Wu Guowei Ivan Yeo Dr Yeo Ning Hong Darren Yong & Connie Chaird Yong Seow Kin Zhang Xinyue Anonymous (17)

This list reflects donations that were made from 1 Feb 2019 to 31 Jan 2020.

We would like to express our sincere thanks to donors whose names were inadvertently left out at print time.

The Singapore Symphony Group is a charity and a not-for-profit organisation. Singapore tax-payers may qualify for 250% tax deduction for donations above $50. You can support us by donating at www.sso.org.sg/donate.

Heartfelt Thanks to SSO Corporate Patrons and Sponsors Our deepest appreciation to the following organisations that support our mission to create memorable shared experiences with music.

CORPOR ATE PATRONS Temasek Foundation The HEAD Foundation John Swire & Sons (S.E. Asia) Pte Ltd Singapore Press Holdings Ltd Aquilus Pte Ltd G K Goh Holdings Lee Foundation Santa Lucia Asset Management Pte Ltd Keppel Corporation NSL Ltd

CORPOR ATE SPONSORS SMRT Symphony 924 Singapore Airlines Ltd Conrad Centennial Singapore

PATRON BENEFITS Our donors are precious to us. As a valued patron of the SSO, you will receive many benefits.

If you would like to make a gift towards your orchestra today, please visit www.sso.org.sg/donate, write to us at sharing_music@sso.org.sg or speak to Chelsea Zhao at +65 6663 4251.

PATRON CATEGORIES (updated on 18 April 2019) PRELUDE

RHAPSODY

SERENADE

OVERTURE

CONCERTO CIRCLE

$1,000 - $2,499

$2,500 - $4,999

$5,000 - $9,999

$10,000 - $24,999

$25,000 AND ABOVE

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–

–

TAX BENEFITS PRIORITY BOOKING DISCOUNTS FOR ALL SSG CONCERTS INVITATION TO SPECIAL EVENTS (e.g., rehearsals, receptions, meet-themusicians sessions) DONOR LISTING: 1. Public acknowledgement in SSO concert booklets and website 2. Public acknowledgement on Donor Wall situated at Victoria Concert Hall (Home of the SSO)

COMPLIMENTARY TICKETS TO THE FOLLOWING CONCERT TYPES: 1. Subscription or Chamber Concerts 2. SSO Gala Concerts, Annual Christmas Concerts, or POPS Concerts 3. SSO Special Gala Concerts

6 TICKETS

10 TICKETS

12 TICKETS

16 TICKETS

20 TICKETS

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–

2 TICKETS

4 TICKETS

6 TICKETS

–

–

–

–

2 TICKETS

*The benefits above do not apply to supporters who give through an event.

BeCOMe A COrpOrATe pATrON Support Singapore’s national orchestra and form a special relationship with one of the country’s most celebrated arts groups. Starting this concert season, we are introducing a new Corporate Patron recognition scheme that caters to the changing needs of corporate philanthropy. Our concerts provide classy entertainment and prestigious branding opportunities. By committing to growing the arts through the SSO, you can increase your name recognition among an influential and growing audience. Corporate donors may also enjoy attractive tax benefits.

Corporate Patron packages begin at $30,000. Benefits include: 1. Tax Benefits 2. Patron of the Arts Nomination 3. Acknowledgement - Public acknowledgment in SSO concert booklets and website - Public acknowledgement on Donor Wall situated at Victoria Concert Hall (Home of the SSO) 4. Complimentary tickets 5. Priority booking 6. Discounts for ALL SSG concerts 7. Invitations to special events (e.g., rehearsals, receptions, meet-the-musicians sessions)

For more details, please write to us at director_development@sso.org.sg or speak to Chelsea Zhao at +65 6663 4251 * The benefits above do not apply to supporters who give through an event.

s H A re T H AT l uC K Y HONg B AO! In the Year of the Golden Rat, how about making a difference by sharing your ‘Hong Bao’?

Go to SSO ‘Share Hong Bao’ campaign on www.giving.sg/sso/sharehongbao.

In 2019, donations enabled 8,000 youngsters – including those from less privileged backgrounds, to attend a live music performance. Children from charities such as Daughters of Tomorrow, Child at St11, and The Purple Symphony were delighted to experience the SSO, many for the first time.

Help us to continue making wonderful music memories — for you and for our communities.

The SSO is an arts charity and depends on donations and matching grants. For tax and other patron benefits, please visit www.sso.org.sg/support-us/patronbenefits.

For more information, contact Ms Nikki Chuang at nikki@sso.org.sg or 6602 4238.

Happy Lunar New Year!

From our Year of the Rat musicians (L-R) Yang Zheng Yi, Ng Pei-Sian, Xu Jue Yi

UPCOMING CONCERTS

Mar 5 Mar | Esplanade Concert Hall Andrew Litton conductor Philippe Quint violin Singapore Symphony Orchestra

12 Mar | Victoria Concert Hall

PHILIPPE QUINT • THE RED VIOLIN BERNSTEIN Candide Overture CORIGLIANO The Red Violin, Concerto for Violin and Orchestra SHOSTAKOVICH Symphony No. 10 in E minor, Op. 93

LUNCHTIME CONCERT @ VCH

FREE

Darrell Ang conductor Singapore Symphony Orchestra

13 Mar | Victoria Concert Hall Darrell Ang conductor Han Chang Chou horn Singapore Symphony Orchestra

15 Mar | Gardens by the Bay Darrell Ang conductor Singapore Symphony Orchestra

20 Mar | Victoria Concert Hall Dance Studio Cindy Lee violin Musicians of the SSO

21 & 22 Mar | Victoria Concert Hall Jessica Gethin conductor Singapore Symphony Orchestra

27 & 28 Mar | Victoria Concert Hall Stephen Layton conductor Jassy Husk soprano Zhou Zhengzhong baritone Singapore Symphony Orchestra and Choirs

29 Mar | Victoria Concert Hall Zhou Zhengzhong baritone Lim Yan piano

THE GENTEEL HORN OF MR HAN LULLY Overture and Dances from Le Bourgeois gentilhomme MOZART Horn Concerto No. 2 in E-flat major, K.417 R. STRAUSS Le Bourgeois gentilhomme, Op. 60

SYMPHONY IN THE GARDENS GARDENS BY THE BAY

FREE

VCHPRESENTS: INTIMATE MOMENTS THE COLOURFUL WORLD OF ANIMALS Music by Haydn, Schubert, Fauré and Saint-Saëns

CONCERTS FOR CHILDREN JOURNEY AROUND THE WORLD FAURÉ: CANTIQUE ET REQUIEM FAURÉ Cantique de Jean Racine, Op. 11 BRITTEN Simple Symphony, Op. 4 PÄRT Cantus in memory of Benjamin Britten FAURÉ Requiem in D minor, Op. 48

VCHPRESENTS: CHAMBER SONGS OF NOSTALGIA A programme of heartfelt opera arias contrastingly paired with Chinese songs of nostalgia

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BOARD OF DIRECTORS & COMMITTEES CHAIR Mr Goh Yew Lin BOARD OF DIRECTORS

SSO COUNCIL

Ms Yong Ying-I (Deputy Chair) Mr Ang Chek Meng Mrs Odile Benjamin Mr Chang Chee Pey Mr Chng Hak-Peng Mr Chng Kai Fong Mr Lionel Choi Mr Warren Fernandez Prof Arnoud De Meyer Mr Heinrich Grafe Ms Liew Wei Li Mr Sanjiv Misra Mr Paul Tan Dr Kelly Tang Mr Geoffrey Wong Mr Yee Chen Fah

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 Ms Lim Mei Mr JY Pillay Dr Stephen Riady Ms Priscylla Shaw Dr Gralf Sieghold Mr Andreas Sohmen-Pao Prof Bernard Tan Dr Tan Chin Nam Ms Tan Choo Leng Mr Tan Soo Nan Mr Wee Ee Cheong

NOMINATING AND EXECUTIVE COMMITTEE Mr Goh Yew Lin (Chair) Prof Arnoud De Meyer Mr Paul Tan Ms Yong Ying-I

HUMAN RESOURCES COMMITTEE Ms Yong Ying-I (Chair) Prof Arnoud De Meyer Mr Yee Chen Fah Dr Kelly Tang ENDOWMENT FUND COMMITTEE Mr Goh Yew Lin (Chair) Mr David Goh Mr Sanjiv Misra AUDIT COMMITTEE Mr Yee Chen Fah (Chair) Mr Heinrich Grafe Ms Lim Mei SNYO COMMITTEE Ms Liew Wei Li (Chair) Mr Ang Chek Meng Ms Vivien Goh Dr Kee Kirk Chin Mrs Valarie Wilson

SSO MUSICIANS’ COMMIT TEE Mr Jon Paul Dante Mr Jamie Hersch Mr Ng Pei-Sian Mr Mark Suter Mr Christoph Wichert Ms Elaine Yeo Mr Yeo Teow Meng

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

SINGAPORE SYMPHONY GROUP MANAGEMENT

CHIEF EXECUTIVE OFFICER Mr Chng Hak-Peng

ARTISTIC PLANNING

CEO OFFICE

Mr Hans Sørensen (Head)

Ms Shirin Foo Mr Lim Yeow Siang

Programmes (SSO) Ms Kua Li Leng Ms Teo Chew Yen Ms Jodie Chiang Community Outreach Ms Vanessa Lee Ms Samantha Lim Choral Programmes Ms Regina Lee Ms Whitney Tan Programmes (VCH) Ms Erin Tan Ms Lynnette Chng ORCHESTRA MANAGEMENT Mr Ernest Khoo (Head) Orchestra Mr Chia Jit Min Ms Karis Ong Concert Operations Ms Kimberly Kwa Ms Chin Rosherna Ms Chen Chin-Hsuan Mr Ramayah Elango Mr Md Fariz bin Samsuri Library Mr Lim Lip Hua Ms Priscilla Neo Ms Wong Yi Wen

Customer Experience Mr Randy Teo Ms Dacia Cheang Ms Nur Shafiqah bte Othman DEVELOPMENT & PARTNERSHIPS Ms Peggy Kek (Head) Corporate Communications Ms Leong Wenshan Ms Haslina Hassan

CORPORATE SERVICES Ms Lillian Yin (Head) Finance, IT & Facilities Mr Rick Ong Mr Alan Ong Ms Goh Hoey Fen Mr Md Zailani bin Md Said Human Resources & Administration Mr Desmen Low Ms Melissa Lee Ms Evelyn Siew Legal Mr Edward Loh

Development Ms Chelsea Zhao Ms Nikki Chuang Ms Charmaine Fong

SINGAPORE NATIONAL YOUTH ORCHESTRA

MARKETING COMMUNICATIONS

Ms Pang Siu Yuin (Head) Mr Tan Yong Qing Ms Tang Ya Yun

Ms Cindy Lim (Head) Mr Chia Han-Leon Ms Elizabeth Davis Ms Myrtle Lee Ms Jana Loh Ms Hong Shu Hui Ms Sherilyn Lim Ms Melissa Tan

ABRSM Ms Hay Su-San (Head) Ms Patricia Yee Ms Lai Li-Yng Mr Joong Siow Chong

2019/20 Season

CHAMBER

BAROQUE FESTIVAL

SONGS OF NOSTALGIA 29 Mar, 4pm Zhou Zhengzhong, baritone Lim Yan, piano

GENIUS OF ROME 11 Apr, 7.30pm ORPHEUS OF ROME 12 Apr, 4pm

Bojan Cicic, violin/conductor Musicians of the SSO Open rehearsal: 11 Apr, 10am Free admission

CHAMBER

THE STRADIVARI QUARTET PLAYS MAHLER 17 Apr, 7.30pm THE STRADIVARI QUARTET PLAYS BEETHOVEN 19 Apr, 4pm Stradivari Quartet Musicians of the SSO

SUPPORTED BY

sso.org.sg/VCHpresents

PATRON SPONSOR

Supported by

Patron Sponsor

Matched By

Major Donors

MR & MRS GOH YEW LIN

Season Partners Official Radio Station

Official Airline

Season Patrons

CHRISTOPHER & ROSY HO

AQUILUS PTE LTD

LEE FOUNDATION

The mission of the Singapore Symphony Group is to create memorable shared experiences with music.

Through the SSO and its affiliated performing groups, we spread the love for music, nurture talents and enrich our diverse communities.

The Singapore Symphony Orchestra is a charity and not-for-profit organisation. You can support us by donating at www.sso.org.sg/donate.

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