Singapore Symphony Orchestra Mar 2020 Programme

CONCERT PROGRAMME MARCH 2020

PHILIPPE QUINT • THE RED VIOLIN THE GENTEEL HORN OF MR HAN FAURÉ: CANTIQUE ET REQUIEM

Cello Escapades

A HAPPY EXCURSION 23 Apr, 7.30pm Esplanade Concert Hall Tickets: $15 - $88

RED BALLOON SERIES

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

Nadia Sirota • Nico Muhly Viola Concerto A WINDOW ON THE INFINITE 1 May, 7.30pm Esplanade Concert Hall Tickets: $15 - $88

SSO GALA

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

Mar 2020 PHILIPPE QUINT • THE RED VIOLIN 5 Mar 2020, Thu Esplanade Concert Hall

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THE GENTEEL HORN OF MR HAN 13 Mar 2020, Fri Victoria Concert Hall

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FAURÉ: CANTIQUE ET REQUIEM 27 & 28 Mar 2020, Fri & Sat Victoria 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.

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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.

P H I L I P P E Q U I N T • T H E R E D V I O L I N | 5 MAR 2020

© DOMINIC PHUA

Litton was Principal Conductor of the Bournemouth Symphony from 19881994. As Music Director of the Dallas Symphony from 1994–2006, he hired over one third of the players, led the orchestra on three major European tours, and appeared four times at Carnegie Hall. His discography boasts over 130 recordings.

ANDREW LITTON Principal Guest Conductor Andrew Litton is Music Director of the New York City Ballet, Principal Guest Conductor of the Singapore Symphony Orchestra, Conductor Laureate of Britain’s Bournemouth Symphony and Music Director Laureate of Norway’s Bergen Philharmonic. Under Litton’s leadership the Bergen Philharmonic gained international recognition through extensive recording and touring. For his efforts, Norway’s King Harald V knighted Litton with the Norwegian Royal Order of Merit. His many honours also include Yale’s Sanford Medal, the Elgar Society Medal, and an honorary Doctorate from the University of Bournemouth.

This season, besides conducting over 30 ballets at the New York City Ballet, Litton returns to the Singapore Symphony, the Bournemouth Symphony, the Ulster Orchestra, the City of Birmingham Symphony Orchestra, the Deutsches SymphonieOrchester Berlin, the Colorado Symphony and the Orquesta Sinfónica de Galicia.

An avid opera conductor with a keen theatrical sense, Litton has led major opera companies such as the Metropolitan Opera, The Royal Opera Covent Garden, Opera Australia and Deutsche Oper Berlin. In Norway, he was key to founding the Bergen National Opera, where he led numerous acclaimed performances.

An accomplished pianist, Litton often performs as a soloist, conducting from the keyboard. He is also an acknowledged expert on and performer of Gershwin’s music and serves as Advisor to the University of Michigan Gershwin Archives.

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P H I L I P P E Q U I N T • T H E R E D V I O L I N | 5 MAR 2020

PHILIPPE QUINT violin Multi-Grammy Award nominee violinist Philippe Quint has established himself as one of the leading violinists of his generation. He regularly appears at venues ranging from the Gewandhaus in Leipzig to Carnegie Hall in New York and at prestigious music festivals such as Verbier, Colmar, Hollywood Bowl and Dresden Festspiele.

Born in St. Petersburg, Russia, Philippe Quint studied at Moscow’s Special Music School for the Gifted with the famed Russian violinist Andrei Korsakov. After moving to the United States from Soviet Union in 1991, he earned both Bachelor and Master degrees from the Juilliard School. His distinguished pedagogues and mentors included Dorothy DeLay, Cho-Liang Lin, Masao Kawasaki, Isaac Stern, Itzhak Perlman, Arnold Steinhardt and Felix Galimir.

He recently released a recording of new arrangements of works by Charlie Chaplin on the Warner Classics label and has taken the music on tour around the world.

Philippe Quint plays the magnificent 1708 “Ruby” Antonio Stradivari violin on loan to him through the generous efforts of The Stradivari Society.

© KIRILL BASHKIROV

Quint’s appearances in recent seasons have seen him perform with the London Philharmonic, Los Angeles Philharmonic, Chicago Symphony, Seattle Symphony, Detroit Symphony, Minnesota Orchestra, Bournemouth Symphony, Weimar Staatskapelle, Royal Liverpool Philharmonic, Orpheus Chamber Orchestra, Berlin Komische Oper Orchestra, Leipzig’s MDR performing under the batons of such renowned conductors as the late Kurt Masur, Edo de Waart, Andrew Litton, Tugan Sokhiev, Ludovic Morlot, James Gaffigan, Carl St. Clair, Michael Stern, Vladimir Spivakov, Cristian Macelaru, Kristian Järvi, Krzysztof Urbanski, Carlos Miguel Prieto, Tito Muñoz, Steven Sloane and Bramwell Tovey.

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T H E G E N T E E L H O R N O F M R H A N | 13 MAR 2020

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

T H E G E N T E E L H O R N O F M R H A N | 13 MAR 2020

HAN CHANG CHOU horn

© ALAN LIM

Han Chang Chou began studying the French horn at the age of 13. He has been a professional horn player for 41 years. Han has been Principal Horn at the Singapore Symphony Orchestra since 1987.

He was Visiting Principal Horn at the Guangzhou Symphony Orchestra, Shanghai Symphony Orchestra, Shenzhen Symphony Orchestra and the China Philharmonic Orchestra. He also played with the Berlin Philharmonic Orchestra, the Munich Radio Philharmonic, Boston Symphony, Saarbrucken Radio Symphony Orchestra and Dortmund Philharmonic Orchestra.

Claudio Abbado, Christoph Eschenbach, Stefan Dohr, Cho-Liang Lin and Riccardo Muti. In 2014, he recorded Horn Concertos No. 1 and 2 by Richard Strauss with the Singapore Metropolitan Festival Orchestra as part of Strauss’s 150th birthday celebration.

Han is Professor of the French horn at the Yong Siew Toh Conservatory of Music, National University of Singapore, a position he has held since 2003. Han studied at the Shanghai Music Conservatory under his father and renowned horn player, Han Xian Guang, as well as Lang Kechao and Wu Zhuxi. He also studied with Barry Tuckwell, Douglas Hill, Hans Pizka, Philip Myers and Gerd Seifert.

He was a soloist with the Singapore Symphony at the 27th International Horn Society workshop in Yamagata, Japan, and was one of the soloists in Schumann’s Konzertstück for Four Horns in Shanghai with the Shanghai Radio Symphony Orchestra. Han has collaborated with artists including Mstislav Rostropovich, Seiji Ozawa, 7

F A U R É : C A N T I Q U E E T R E Q U I E M | 27 & 28 MAR 2020

© KEITH SAUNDERS

the Diapason d’Or de l’Année in France, the Echo Klassik award in Germany, The Compact Award in Spain, and Australia’s Limelight Recording of the Year.

STEPHEN LAYTON conductor Stephen Layton is one of the most soughtafter conductors of his generation, whose ground-breaking approach has had a profound influence on choral music over the last 30 years. Often described as the finest exponent of choral music in the world today, Layton is regularly invited to work with the world’s leading choirs, orchestras and composers. His interpretations have been heard from Sydney Opera House to the Concertgebouw, and his recordings have won or been nominated for every major international recording award. He has two Gramophone Awards and a further ten nominations, five Grammy nominations,

The founder and director of Polyphony, Layton is also Fellow and Director of Music at Trinity College Cambridge and Music Director of Holst Singers. Former posts include Chief Conductor of Netherlands Chamber Choir, Chief Guest Conductor of Danish National Vocal Ensemble, Artistic Director and Principal Conductor of City of London Sinfonia, and Director of Music at the Temple Church, London.

Layton guest-conducts widely, working with and inspiring the world’s finest choirs and orchestras. His interpretations of Bach and Handel have been heard with orchestras ranging from the Academy of Ancient Music to the London Philharmonic and Philadelphia orchestras. Performances include Messiah in Sydney Opera House, the first staged St John Passion with English National Opera, and regular BBC broadcasts.

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F A U R É : C A N T I Q U E E T R E Q U I E M | 27 & 28 MAR 2020

JASSY HUSK soprano Jassy Husk is an international award-winning singer who performs in both classical and popular genres. Husk has worked with opera world luminaries including Dame Kiri Te Kanawa, Richard Bonynge, Gerald Martin Moore and Richard Miller. Alongside her classical work, she has performed with dance music groups such as The Young Punx (2010) and Dutch housegroup, Beatfreakz (2006). She also featured on Pete Tong’s UK No. 1 album Ibiza Classics in 2017.

Komische Oper as well as a sponsorship by the Tate Memorial Trust, Australia.

Husk attended the Wales International Academy of Voice receiving a Master's degree with Distinction. Prior to this she attended the Royal College of Music. In 2005 she sang for the British Youth Opera, where she performed in Gounod’s Romeo and Juliet and Mozart’s Così Fan Tutti. In 2010, Husk joined English National Opera as part of its Opera Works programme.

Additional opera performances include Mozart’s Don Giovanni, The Marriage of Figaro and The Magic Flute; Beethoven’s Fidelio, Johann Strauss II’s Die Fledermaus and Puccini’s Tosca.

Husk has performed on the soundtrack for blockbuster films including The Hobbit and Snow White and the Huntsman.

She has received numerous awards: Bel Canto Award Italy, finalist in the McDonald’s Operatic Aria Award, Sydney Opera House; English Opera and Art Song, Sydney Eisteddfod; DJ Mazda Operatic Aria Award, Australia; Thomas Hopkins Vocal Championships; Australian National Association of Singing Teachers; NYIOP International Opera Auditions, Berlin, 9

© BERTIE WATSON

F A U R É : C A N T I Q U E E T R E Q U I E M | 27 & 28 MAR 2020

LAURENCE WILLIAMS baritone Acclaimed for his eloquent singing and lush tone, Laurence Williams is an international Bass-Baritone soloist, specialising in oratorio singing. He was runner up in the 2019 Patricia Routledge National English Song Competition.

Haydn’s Nelson Mass with John Butt and the OAE. His operatic roles have included Colline in Puccini’s La Bohème (Hampstead Garden Opera), Mr Gedge in Britten’s Albert Herring (Hampstead Garden Opera), Smirnov in Walton’s The Bear (Cambridge Opera Society & Leeds Chamber Ensemble), and Opera Scenes Various (The Guildhall School of Music and Drama).

He trained at The Guildhall School of Music and Drama and graduated with distinction and a Concert Recital Diploma in 2017.

He is widely praised for his lyrical tone and engaging communication of narrative. He was a finalist in the 2018 London Song Festival Masterclass.

​ is recent highlights include performing in H Bach’s Christmas Oratorio with the Orchestra of the Age of Enlightenment (OAE), the world premiere of Stephen McNeff’s The Waking Shadows with Canticum Choir at St Martinin-the-Fields, Bach’s St Matthew Passion with Stephen Layton and the Auckland Philharmonia, broadcast live on Radio NZ,

Laurence is a sought after musician in the United Kingdom, active with choirs such as Polyphony, The Gabrieli Consort and ORA. He is passionate about introducing young voices to choral music and has extensive experience directing children’s and youth choirs.

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F A U R É : C A N T I Q U E E T R E Q U I E M | 27 & 28 MAR 2020

WONG LAI FOON choirmaster

© JOSHUA SIM

As Choirmaster of the Singapore Symphony Children’s Choir (SSCC) and the Singapore Symphony Youth Choir (SSYC), Wong Lai Foon oversees a family of choral ensembles dedicated to the development of young voices, and the continuing appreciation of choral music. Under her leadership, both choirs have received praise for their impressive choral tone and polished performances. The SSCC’s recording of Bob Chilcott’s Little Jazz Mass, featured on their CD, And I’ll Sing Once More, has been complimented by the renowned composer for its “fine sound and style”.

Symphony Orchestra and Chorus in Kuala Lumpur, and a highly successful concert of Video Games Classics with Eímear Noone.

Committed to growing the body of treble choral works by local composers, Wong has commissioned works by Kelly Tang, Zechariah Goh, Chen Zhangyi, Darius Lim, and Lee Chin Sin. She is equally adept at the symphonic, operatic and a cappella choral repertoire, and has worked with ensembles including the Singapore Symphony Chorus, the Singapore Lyric Opera, and The Philharmonic Chamber Choir. She graduated from Westminster Choir College, under the tutelage of Joseph Flummerfelt.

Apart from performances with the Singapore Symphony Orchestra, Wong has led both choirs in collaborations with other ensembles. The Concert Choir has shared the stage with The King’s Singers, the Maîtrise de Radio France at the Philharmonie de Paris, and the Malaysian Philharmonic Youth Orchestra at the Dewan Filharmonik Petronas, Kuala Lumpur. Recent highlights for the Youth Choir include an all-Brahms programme with the Singapore 11

S ingapore S ymphony C H I L D R E N ' S C H O I R Wong Lai Foon choirmaster Gabriel Hoe rehearsal pianist Formed in 2006, the Singapore Symphony Children’s Choir has established itself as the leading children’s choir in Singapore. With over 200 members aged 9 to 18, the choir enriches young singers through holistic choral training that nurtures artistic growth and personal development.

The children’s choir has performed great choral masterpieces with the SSO and with distinguished conductors such as Lim Yau, Claus Peter Flor, Sofi Jeannin, François-Xavier Roth and Julie Desbordes. It has toured and performed at the Philharmonie de Paris in collaboration with Maîtrise de Radio France, as well as at Dewan Filharmonik Petronas in Kuala Lumpur with the Malaysian Philharmonic Youth Orchestra in concert.

In Singapore, the choir has an active performing calendar. It has sung at the Istana, shared the stage with critically acclaimed The King’s Singers, and recently presented at the 33rd ASEAN Summit. The choir actively commissions and performs works by Darius Lim, Zechariah Goh, and Cultural Medallion winner Kelly Tang, amongst many others. The choir released their first recording, And I'll Sing Once More.

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S ingapore S ymphony youth choir Wong Lai Foon choirmaster Evelyn Handrisanto rehearsal pianist Comprised of Singapore’s finest young choristers aged 17 to 28, the Singapore Symphony Youth Choir is an energetic ensemble inaugurated in 2016 to complement the SSO with a chorus of vibrant voices.

Exploring the best of different musical worlds and styles, the youth choir has performed Scriabin’s Prometheus, Puccini’s La Bohème, as well as recorded Borodin’s Polovtsian Dances and Mahler’s Symphony No. 2. In 2017, it also toured with the SSC and SSO, presenting Brahms’ Shicksalslied at the Dewan Filharmonik Petronas in Kuala Lumpur.

In the 2018/19 season, the youth choir performed independently for the first time, under the baton of esteemed conductor Eímear Noone.

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The Chorus Maya Bessarab Bryan Carmichael Anne-Sophie Cazaubon Ariane Cazaubon Ashley Chai Chan Li Ting Andrea Chee Serene Cheong Elizabeth Chew Chin Jia Yu Choo Yong Han Mavis Chua Beatrice Decruz Megan Fung Goh Chen Xi Sue-Ann Ho Huang Ziyan Tristan Hui Janice Lim Jayden Lai Hana Kasai Jadyn Koh Zoe Koh Trinetra Kumarasan Amelia Law Laura Lee Lee Yun Ling Emma Lee-Goh Melina Leong Zoe Li Giselle Lim Sherilyn Lim Trixi Lim Zachary Lim Kerris Loh Loy Sheng Rui Lu Huaiyao Lu Kaixuan

Alisha Malika Khayil Matthew Ng Yi Poh Kaylee Nga Chloe Ong Ong Sherlyn Violet Ong Alethea Poh Por Kate Yi Summer Quek Suri Rao Ellissa Sayampanathan Desiree Seng Joy Sim Navya Singh Jien Nee Tai Tiffany Tam Bernice Tan Tan Carine Emily Tan Freda Tan Gabriel Tan Joshua Tan Kate Tan Sophia Tan Tan Yulin Tan Yuqing Dora Tay Oliver Tay Shannen Tay Aricia Te Shanaia Teo Bryan Watt Raeanne Wong Mao Yamaura Abigail Yeo Kassia Yeo

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Tote Board’s goal is to help build a

flourishing society. We want to inspire positive change and contribute towards building an inclusive, resilient and vibrant community, while fostering a caring and compassionate nation.

As a broad-based grantmaking organisation, Tote Board works closely with stakeholders and partners to support broad and diverse worthy projects in the sectors of Arts & Culture, Community Development, Education, Health, Social Service and Sports. Through these projects, Tote Board helps to uplift the community by giving hope to vulnerable groups and improving the lives of all in Singapore.

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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

BASS CLARINET

TIMPANI

Tang Xiao Ping Assistant Principal

Christian Schiøler Principal Jonathan Fox Associate Principal

COR ANGLAIS

TUBA Tomoki Natsume Principal

BASSOON PERCUSSION

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

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

CONTRABASSOON HARP

Zhao Ying Xue Assistant Principal

Gulnara Mashurova 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 5 MAR

DOUBLE BASS Julian Li

FIRST VIOLIN Katharina Kang Concertmaster Lim Shue Churn

BASSOON Hugh Ponnuthurai Principal

SECOND VIOLIN Yuko Yasui Principal Ikuko Schiøler Yew Shan

HORN Bryan Chong PERCUSSION Michael Tan

VIOLA Yasuo Hayashi Ho Qian Hui Yeo Jan Wea

PIANO/CELESTE Shane Thio

CELLO Khachatur Khachatryan Lin Juan

13 MAR

FIRST VIOLIN Lynnette Seah Concertmaster PIANO/HARPSICHORD Shane Thio THEORBO Christopher Clarke

27 & 28 MAR

ORGAN Gregory Drott

Information correct at time of printing 18

PHILIPPE QUINT • THE RED VIOLIN A Journey Across Time And Music 5 Mar 2020 Esplanade Concert Hall Singapore Symphony Orchestra Andrew Litton conductor Philippe Quint violin

BERNSTEIN CORIGLIANO

Overture to Candide The Red Violin, Concerto for Violin and Orchestra

5 mins 36 mins

Intermission

20 mins

SHOSTAKOVICH Symphony No. 10 in E minor, Op. 93

57 mins

Concert duration: 2 hrs 10 mins

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Pre-concert Talk | 6.30pm, library@esplanade

P H I L I P P E Q U I N T • T H E R E D V I O L I N | 5 MAR 2020

LEONARD BERNSTEIN (1918–1990) Overture to Candide (1956) Many terms have been used to describe the extraordinary career of Leonard Bernstein, but perhaps the most accurate would be “versatile”. Aside from his activities as conductor, lecturer, author, philosopher and pianist, Bernstein’s versatility was reflected in his music, which ranges from the deeply serious, classical and “cultured” to the world of the popular and vernacular. In his allencompassing range of musical activities, in his popular appeal, and in his assimilation of America’s musical idioms, both classical and popular, Bernstein may be regarded as the quintessential American composer.

The aperitif on tonight’s concert is a delectable, five-minute morsel that sparkles with all the brilliance and wit of the original book. Voltaire’s novel Candide first appeared in 1759 as a biting, satiric attack on the philosophical folly of believing that “all is for the best in this best of all possible worlds”.

Nearly two centuries later (1 December 1956), a comic operetta based on Voltaire’s novel opened on Broadway, adapted by Lillian Hellman and with lyrics by Richard Wilbur. The play failed, but the overture soon took on a life on its own, and has become one of the most popular orchestral works of the 20th century. The composer conducted the New York Philharmonic in the first concert performance on 26 January 1957. Bright sonorities, jazzy syncopations, energetic melodies, irresistible charm and a sassy ambiance constitute the mix of ingredients that bubble and froth to produce the Overture to Candide.

Instrumentation 2 flutes, piccolo, 2 oboes, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, snare drum, tenor drum, triangle, glockenspiel, xylophone, harp, strings World Premiere 26 Jan 1957, New York First performed by SSO 8 Aug 1985 21

P H I L I P P E Q U I N T • T H E R E D V I O L I N | 5 MAR 2020

JOHN CORIGLIANO (b. 1938) The Red Violin, Concerto for Violin and Orchestra (2003) I II III IV

Chaconne Pianissimo Scherzo Andante Flautando Accelerando Finale tradition. No cold, clinical dissection of a work would flow from his bow.

My third film score (“The Red Violin”) gave me an opportunity to visit my own past, for my father, John Corigliano (I was a “jr.”) was a great solo violinist and the concertmaster of the New York Philharmonic for more than a quarter of a century. My childhood years were punctuated by snatches of the great concertos being practiced by my father, as well as scales and technical exercises he used to keep in shape. Every year, he played a concerto with the Philharmonic, and I vividly remember the solo preparation, rehearsals and the final tension-filled concerts (where I would sit backstage in the Carnegie Hall green room, listening to my father over a small speaker breathlessly playing the work in my head and listening to make sure everything came out all right.)

The story of The Red Violin is perfect for a lover of the repertoire and the instrument.

It spans three centuries in the life of a magnificent but haunted violin in its travels through time and space.

A story this episodic needed to be tied together with a single musical idea. For this purpose I used the Baroque device of a chaconne: a repeated pattern of chords upon which the music is built.

Against the chaconne chords I juxtaposed Anna’s theme, a lyrical yet intense melody representing the violin builder’s doomed wife. Then, from those elements, I wove a series of virtuosic etudes for the solo violin, which followed the instrument from country to country, century to century. I composed these elements before the actual filming, because the actors needed to mime to a recording of these works since their hand motions playing the violin would have to synchronize with the music.

It is no wonder that the concerto form, and the violin concerto in particular, has a deep place in my heart. I have written a halfdozen concerti, but this is my first one for my first love, the violin. It is an “in the great tradition” kind of concerto, because I wrote it in an attempt to write the piece my father would love to play. Because he inspired it, it is dedicated to his memory.

Then, during the summer of 1997 while the film was being shot all over the world, I remained at home and composed the 17-minute The Red Violin: Chaconne for Violin and Orchestra, a concert work based on the existing elements, and given its world premiere in San Francisco with Josh and Robert Spano in the fall of that year. After

The event that galvanized my energies into composing this concerto was, of course, the scoring of the film The Red Violin, directed

by Francois Girard, and featuring the sublime young virtuoso, Joshua Bell as the voice of the violin. Josh’s playing resembles that of my father, he is an artist in the grand 22

P H I L I P P E Q U I N T • T H E R E D V I O L I N | 5 MAR 2020

Above: 1720 Mendelssohn Stradivarius that inspired the screenplay of The Red Violin Image source: www.elizabethpitcairn.com

More importantly for me, the Chaconne had given me the opportunity to strip away any inhibitions and write a passionate and romantic essay that I probably would not have written had it not been accompanying a film. It bypassed my “censor button” that made it necessary for me to not only write a piece, but “rediscover” the form in the piece (like my three woodwind concerti.) I liked what I heard, and it came very naturally.

that, I had only a few weeks to provide the underscoring (the music that is not seen on camera) for the recording dates around Christmas 1997 in London.

The violin and orchestra Chaconne then became a concert work, performed by Josh (and others) around the world. But, as a moderate length single-movement work, it fell into a category of works that must be paired with other works to complete a soloist’s guest appearance with an orchestra. Great works like Ravel’s Tzigane, the Chausson Poème, or the Beethoven Romances, have the same problem.

So, like Schumann, I decided to add some movements to the existing Chaconne (he to his piano and orchestra fantasy) and make it a full-length concerto. In my case, that 23

P H I L I P P E Q U I N T • T H E R E D V I O L I N | 5 MAR 2020

meant composing another three movements to balance the large first one.

the lyrical counterpoint to the high spirits of this final movement. Near the end of the work, the original chaconne from the first movement comes back to complete the journey of this violin concerto.

The other movements are connected to the first (and the film) in different ways:

Programme note by John Corigliano

Pianissimo Scherzo The first is a fleet “Pianissimo Scherzo” in which the dynamics are soft, but the action wild and colorful. I wanted to break the romantic mood of the first movement with sonoric and timbral effects that create a sparkling, effervescent energy. A central trio is distantly related to Anna’s theme, but here heard in knucklebreaking double harmonics by the soloist – high, ethereal, and dance like.

Andante Flautando The third movement starts with an intense recitativo that is more closely related to the film’s main theme, but soon gives way to a gentle, rocking melody played by the soloist in an unusual manner that results in his sound changing to that of a flute (‘flautando’). He and the alto flute pair up as a complementary duo in this theme.

Instrumentation 3 flutes (2 doubling on piccolos, 1 doubling on alto flute), 2 oboes, 2 clarinets (1 doubling on bass clarinet), 2 bassoons (1 doubling on contrabassoon), 4 horns, 2 trumpets, 3 trombones, tuba, timpani, glockenspiel, crotales, xylophone, vibraphone, chimes, bell tree, 2 metal plates, triangle, suspended cymbal, ride cymbal, tam-tam, slapstick, ratchet, tambourine, wood blocks, temple blocks, castanets, snare drum, piccolo snare drum, bass drum, 3 tenor drums, rototoms, tom-tom, harp, piano, celeste, strings

Accelerando Finale The final movement, as the title suggests, is a rollicking race in which the opposed forces of soloist and orchestra vie with each other. They each accelerate at different times and speeds, providing a virtuoso climate befitting a last movement. Some other unusual techniques are used here: the violin (and orchestral strings) are asked to press so hard on their strings that there is no pitch at all, just a crunch. This percussive and unusual sound provides energy, especially during the races.

A major theme from the film that was not used in the concert chaconne was that given to Moritz, the contemporary violin expert who discovers the mystery of the Red Violin.

It is a sadly romantic theme, and becomes

World Premiere 19 Sep 2003, Baltimore First performed by SSO 2 Nov 2006 (Alexander Souptel, violin) 24

I II III IV

Moderato Allegro Allegretto Andante – Allegro

The death of both Joseph Stalin and Sergei Prokofiev on 5 March 1953 marked the beginning of a significant new chapter in Shostakovich’s career. For the next 22 years, Shostakovich would remain in the eyes of the Western world as the Soviet Union’s most prominent living composer.

Shostakovich’s artistic integrity had not withered during the cultural drought brought on by the repressive measures of Stalin’s cultural cohorts, and shortly after the death of Stalin, Shostakovich returned to his own deeply personal, often darkly introspective style to write the symphony many consider his greatest of all, the Tenth. The world premiere in Leningrad (St. Petersburg today) on 17 December 1953, conducted

by Yevgeny Mravinsky, and the subsequent performance in Moscow twelve days later, won exuberant public acceptance. The Soviet official world reserved judgment until it had studied the work at an extensive three-day seminar the following spring. The committee decided in Shostakovich’s favour, and he was later named “People’s Artist of the U.S.S.R.”, the highest artistic honour awarded by the Soviet Union.

“Faustian”. Finally the clarinet enters with the second subject, an infinitely sad yet lyrical idea that slowly unwinds, growing by small increments to the first of the movement’s big climaxes. Eventually a third subject is introduced – a languid, waltz-like theme first heard in the sombre low range of the flute.

Allegro The breathless silence that ends the first movement could not stand in greater contrast to what follows. For sheer demonic fury and searing, white-hot intensity, there are few moments in all music to match this symphony’s second movement, the musical equivalent of a tornado ride through hell. Though only four minutes in length, it inevitably leaves the listener emotionally drained by the time the last wall of sound has roared to an abrupt stop.

Allegretto If the first movement is the symphony’s most awesome in design, and the second is most viscerally exciting, the third might be considered the philosophical centrepiece. A gentle, folk-like tune for strings alone sets things in motion, beginning with the same series of three pitches that opened each of the previous movements. A sinister, dance-like tune intrudes, written for the entire woodwind choir accompanied only by timpani and triangle. A new element enters the picture: a five-note call announced by the solo horn.

Moderato Shostakovich’s command of musical material is seen at its finest in the opening pages. Working with little more than a six-note motif, he presents a long (60 bars), quiet passage for strings alone.

The scope and darkly brooding quality of the music have led some to describe it as 25

P H I L I P P E Q U I N T • T H E R E D V I O L I N | 5 MAR 2020

DMITRI SHOSTAKOVICH (1906–1975) Symphony No. 10 in E minor, Op. 93 (1953)

P H I L I P P E Q U I N T • T H E R E D V I O L I N | 5 MAR 2020

Pervading this movement is the composer’s musical signature, a four-note motif derived from his name in German orthography: DSCH (Dmitri SCHostakowitsch), in which “S” corresponds to “Es” (E-flat in English) and “H” to B natural; hence, D, E-flat, C, B, or its equivalent in various transpositions.

Andante – Allegro The finale opens with one of the longest slow introductions in the entire symphonic repertory, amounting almost to a movement in itself. The mood of the Andante is tense, ominous, foreboding.

Extended solos for woodwinds intensify the mood of haunting loneliness. Suddenly all anxiety is thrust aside with the intrusion of a sprightly, affirmative theme in the violins (Allegro). Churning strings, brass fanfares, and a sinister military march derived from material in the second movement all contribute to the summation and resolution of inner conflicts spanning nearly an hour of music. The symphony ends in E major, with the DSCH motif exultantly proclaimed by horns, trombones and timpani in turn.

Programme notes (except for The Red Violin) by Robert Markow

Instrumentation 2 flutes (1 doubling on piccolo), piccolo, 3 oboes (1 doubling on cor anglais), 3 clarinets (1 doubling on E-flat clarinet), 3 bassoons (1 doubling on contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, tam-tam, triangle, tambourine, xylophone, cymbals, bass drum, strings World Premiere 17 Dec 1953, St. Petersburg First performed by SSO 2 Apr 1982 26

THE GENTEEL HORN OF MR HAN Music For A While 13 Mar 2020 Victoria Concert Hall Singapore Symphony Orchestra Darrell Ang conductor Han Chang Chou horn LULLY

Overture and Dances from Le Bourgeois gentilhomme (ed. Darrell Ang) SSO PREMIERE

10 mins

MOZART

Horn Concerto No. 2 in E-flat major, K.417 SSO PREMIERE

16 mins

R. STRAUSS

Le Bourgeois gentilhomme, Op. 60 SSO PREMIERE

36 mins

Concert duration: 1 hr 20 mins

T

Pre-concert Talk | 6.30pm, VCH Music Studio (Level 3)

T H E G E N T E E L H O R N O F M R H A N | 13 MAR 2020

Han Chang Chou, Principal Horn Singapore Symphony Orchestra 1987-2020

Farewell, Mr Han Dear Mr Han, 韩老师, 小光: It’s been a wonderful 33 years with you at the SSO. You’ve been a great friend, an outstanding musician, and an inspiring teacher. You bring life and laughter to colleagues on stage and backstage, and every one of your solos has been a highlight for audiences. Thank you for being our Principal Horn since 1987, thank you for your music. Happy Retirement!

Read our tribute to Mr Han at sso.org.sg/bravissimo

instruct Jourdain. The second group, The Turkish Ceremony, accompanies the pompous and comical ceremony where the disguised Cléonte enters – the Turkish March is one of Lully’s most famous melodies and is a prime example of the European craze for Turkish-flavoured exotica (Mozart’s Turkish March is another).

The final group, Ballet of the Nations accompanies the ‘official ennoblement’ of the deliriously happy Jourdain with the fictitious title of “Mamamouchi” and the happy ending.

Lully is known as a towering figure of the French Baroque style, but it is often forgotten that he was born in Florence, Italy, as Giovanni Battista Lulli, and introduced to France through noble connections – just as Italian cuisine gave birth to French through Catherine de Medici’s cooks a generation before him.

Le Bourgeois gentilhomme (“The Bourgeois Gentleman”) of 1670 was a comedy-ballet, a French genre of play mixing singing, dancing, and music, much like the musicals of today. Lully’s music accompanies the play by Molière, which bitingly satirises both the snobbish aristocracy and the vulgar pretentious nouveau riche (new-money) types. In short, Monsieur Jourdain, a middleaged wealthy cloth merchant with delusions of grandeur, hires a succession of teachers to instruct him in fencing, philosophy, music, and dancing. He is led on by an impoverished nobleman who despises him but loves his money, and who keeps promising to introduce him to the royal court. Jourdain dreams of marrying off his daughter Lucille to a lord and refuses the request of Cléonte, a member of his own class, to marry his daughter. Cléonte then masquerades as the crown prince of the Ottoman Sultan of Turkey and requests to marry Lucille – Jourdain is overjoyed and agrees. A happy ending ensues, or at least till Jourdain finds out after the play is over.

Instrumentation 2 flutes, 2 oboes, 2 cor anglais, 2 bassoons, bass drum, finger cymbals, castanets, sleigh bells, tenor drum, tambourine, snare drum, triangle, claves, cabasa, harpsichord, theorbo, strings

Lully’s music covers the whole range of aristocratic dances popular at the court of King Louis XIV, and the first group depicts the frustrated dancing teacher trying to

World Premiere 14 Oct 1670 29

T H E G E N T E E L H O R N O F M R H A N | 13 MAR 2020

JEAN-BAPTISTE LULLY (1632–1687) Overture and Dances from Le Bourgeois gentilhomme (1670) (ed. Darrell Ang) SSO PREMIERE

T H E G E N T E E L H O R N O F M R H A N | 13 MAR 2020

WOLFGANG AMADEUS MOZART (1756–1791) Horn Concerto No. 2 in E-flat major, K.417 (1783) SSO PREMIERE I II III

Allegro maestoso Andante Rondo. Più allegro The Horn Concerto No. 2 in E-flat major, K.417, was the first to be completed, and follows the usual three-movement format:

Wolfgang Amadeus Mozart needs no introduction – witty and good humoured, and his personality shines through in all of his works. What may be missed is that many of his works were written for specific singers and players, whose own personalities are also imprinted on the works.

Allegro maestoso The opening is in sonata form, with broad noble melodies demanding precise breath control and considerable agility, not to mention increasing chromaticism and a succession of key modulations no less impressive than in his piano concerti – Mozart must have had the utmost faith in Leutgeb.

In the case of the four horn concerti, the personality is that of his friend Joseph Ignaz Leutgeb, who had been principal horn in the orchestra of Mozart’s early patron Hieronymus von Colloredo, PrinceArchbishop of Salzburg. Leutgeb later toured France in 1770, joined Leopold and Wolfgang Mozart as they toured Italy in 1773, and in 1777 moved to Vienna, where he bought a small house with financial assistance from Leopold Mozart.

The younger Mozart seems to have enjoyed making savage fun of Leutgeb’s slow wit, calling him an “ox, ass, and fool”, inserting snarky comments such as “even a sheep could trill that”, “you ass”, “get at least one note in tune”, and “thank heavens, that’s enough” in the solo part of the score. At another point he writes the solo part in four different colours to confuse the player.

Despite all this, the two appear to have been loyal friends, as Leutgeb was later instrumental in helping Mozart’s widow Constanze organise his manuscripts after his tragically early death.

Andante This is a serenading romance in the dominant key of B-flat major, and has a song-like structure with a contrasting middle section.

Rondo. Più allegro The vivacious finale brings us to the home setting of the horn – the hunt. At each return of the rondo theme, a persistent earworm, the horn leads the hunt, followed by the orchestra, full of fanfares and jolly dialogues.

Instrumentation 2 oboes, 2 horns, strings World Premiere Unknown 30

I II III IV V VI VII VIII IX

Overture Minuet The Fencing Master Entry and Dance of the Tailors Lully’s Minuet Courante Entry of Cléonte Intermezzo The Dinner

After the success of Der Rosenkavalier, the German composer Richard Strauss decided to compose incidental music for a new, shortened version of Molière’s play in 1911.

In 1920, he created a charming concert suite, and this became a favourite of his.

Strauss’s use of a reduced orchestra gives the work a feel closer to the work of Haydn at times, vividly evoking an earlier age.

accompanied by a quote from Wagner’s opera Das Rheingold. Saddle of Mutton gets sheep music from Strauss’s own Don Quixote. Various poultry dishes are accompanied by the dawn birdsong from Der Rosenkavalier, a quotation from Verdi’s ‘La donna è mobile’ (“Woman is fickle like a feather in the wind”). The final course is a surprise omelette, from which a kitchenhand jumps out and shows off with a waltz.

An Overture in modern pastiche style sets the scene in Jourdain’s Paris home, followed by a Minuet depicting the Dancing Master, then The Fencing Master, and an Entrance and Dance of the Tailors who bring Jourdain’s outlandish clothes with a gavotte and a polonaise.

A common thread through all the works is comedy and humour. Music and good humour both serve a common purpose – by bringing us out of the drudgery of daily life, they remind us that we are, in the words of Thomas Aquinas, made for happiness.

Programme notes by Edward C. Yong

Strauss uses material from Lully as the basis for the next four movements: Minuet, Courante, Entry of Cléonte where Jourdain turns down the request of Cléonte to marry his daughter, and Intermezzo, Prelude to Act II where Jourdain welcomes guests to dinner. While much of the melodic material is Lully’s, the orchestration, chromatic harmony, and arrangements are distinctly in Strauss’s own more modern style.

Instrumentation 2 flutes (both doubling on piccolos), 2 oboes (1 doubling on cor anglais), 2 clarinets, 2 bassoons (1 doubling on contrabassoon), 2 horns, trumpet, trombone, timpani, snare drum, tambourine, triangle, bass drum with cymbals attached, cymbals, glockenspiel, harp, piano, strings

The Dinner is Strauss’s chance to insert several musical jokes. Rhine salmon is

World Premiere 31 Jan 1920, Salzburg 31

T H E G E N T E E L H O R N O F M R H A N | 13 MAR 2020

RICHARD STRAUSS (1864–1949) Le Bourgeois gentilhomme, Op. 60 SSO PREMIERE

FAURÉ: CANTIQUE ET REQUIEM Eternal Rest 27 & 28 Mar 2020 Victoria Concert Hall Singapore Symphony Orchestra Stephen Layton conductor Jassy Husk soprano Laurence Williams baritone Singapore Symphony Children’s Choir Treble Voices of the Singapore Symphony Youth Choir Wong Lai Foon choirmaster FAURÉ

Cantique de Jean Racine, Op. 11 SSO PREMIERE (ed. Rutter)

BRITTEN

Simple Symphony, Op. 4

PÄRT

Cantus in memory of Benjamin Britten

Requiem in D minor, Op. 48 (1893 version) (ed. Rutter/ed. Layton for SSAA)

Concert duration: 1 hr 40 mins

T

17 mins 6 mins 20 mins

Intermission

FAURÉ

6 mins

Pre-concert Talk | 6.30pm, VCH Music Studio (Level 3)

35 mins

F A U R É : C A N T I Q U E E T R E Q U I E M | 27 & 28 MAR 2020

GABRIEL FAURÉ (1845–1924) Cantique de Jean Racine, Op. 11 SSO PREMIERE (ed. Rutter) Gabriel Urbain Fauré was an influential French composer, pianist, organist and teacher. Born into a cultured but not particularly musical family, he was talentspotted at the age of nine and enrolled into the School of Classical and Religious Music in Paris, where he boarded for the next eleven years, counting Saint-Saëns among his teachers. This friendship was to last 60 years till the latter’s death. While at the school, at the age of 19, he wrote the Cantique de Jean Racine, which won a first prize. The first performance occurred on 4 August 1866, with the dedicatee César Franck conducting.

The text is by the French baroque poet Jean Racine, and is a French paraphrase of Consors paterni luminis (“Coequal of the Father’s Light”), a Mediaeval Latin hymn.

Restrained and subtle, the Cantique de Jean Racine radiates serenity in its long flowing melodies, and looks forward to Fauré’s mature style as seen in his later Requiem.

Above: Painting of Fauré in 1889

by John Singer Sargent

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Cantique de Jean Racine

Song of Jean Racine

Verbe égal au Très-Haut, notre unique espérance, Jour éternel de la terre et des cieux, De la paisible nuit nous rompons le silence: Divin Sauveur, jette sur nous les yeux.

O Word, equal of the Most High, Our sole hope, eternal day of earth and the heavens, We break the silence of the peaceful night.

Divine Saviour, cast Thine eyes upon us!

Répands sur nous le feu de ta grâce puissante, Que tout l’enfer fuie au son de ta voix; Dissipe le sommeil d’une âme languissante Qui la conduit à l’oubli de tes lois.

Shed the light of Thy mighty grace upon us.

Let all Hell flee at the sound of Thy voice.

Dispel the slumber of a languishing soul That leads it to the forgetting of Thy laws!

Ô Christ, sois favorable à ce peuple fidèle, Pour te bénir maintenant rassemblé; Reçois les chants qu’il offre à ta gloire immortelle, Et de tes dons qu’il retourne comblé.

O Christ, be favourable unto this faithful people Now gathered to bless Thee.

Receive the hymns it offers unto Thine immortal glory And may it return laden with Thy gifts.

Medieval Latin Breviary hymn

Translation: Anonymous

Instrumentation harp, lower strings World Premiere 4 Aug 1866 34

ARVO PÄRT (b. 1935) Cantus in memory of Benjamin Britten (1977)

Written for and premiered by amateur string ensemble, the Simple Symphony

by Benjamin Britten, was written when he was all of 20 years old. Britten wrote four movements, each quoting two themes from his earlier works. And by “earlier”, we mean when he was between the ages of 9 and 12.

The four movements with their playful titles and their source material are:

Estonian composer Arvo Pärt is known best for his distinct style, evocative of freezing glaciers and northern winds, partly inspired by chant. His Cantus in memory of Benjamin Britten, for string orchestra and bell, was written in 1977 as an elegy for the 1976 death of Benjamin Britten. Pärt greatly admired Britten and felt he was a kindred spirit, and had looked forward to meeting him someday.

I

Boisterous Bourrée – Second movement (Bourrée) from Suite No. 1 in E for piano – A Country Dance (“Now the King is home again”)

II

Playful Pizzicato – Scherzo and Trio from Sonata for Piano in B-flat major, Op. 5 – The Road Song of the “Bandar-Log”

III

Sentimental Sarabande – Prelude from Suite No. 3 in F-sharp minor for piano, Op. 25 – Waltz in B major for piano

IV

Frolicsome Finale – Finale from Piano Sonata No. 9, in C-sharp minor, Op. 38 – Song (1925)

The strings each play only notes from the A minor scale, with patterns repeated at various speeds, octaves, and intervals, giving a swirling effect of increasing tension.

The resolution, as it were, happens when all the parts settle on an A minor chord, but as they die away, the bell strikes a single A – but with the natural overtones of a major third, giving the subtle effect of a note of hope and redemption, like a shaft of coloured light from a stained-glass window piercing the gloomy semi-darkness of a cathedral.

Instrumentation strings

Instrumentation bell, strings

World Premiere 1934

World Premiere 7 Apr 1977, Tallinn

First performed by SSO 11 Mar 2007

First performed by SSO 14 May 1993 35

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BENJAMIN BRITTEN (1913–1976) Simple Symphony, Op. 4 (1933–1934)

F A U R É : C A N T I Q U E E T R E Q U I E M | 27 & 28 MAR 2020

GABRIEL FAURÉ Requiem in D minor, Op. 48 (1893 version) (ed. Rutter/ed. Layton for SSAA) I II III IV V VI VII

Introït et Kyrie Offertoire Sanctus Pie Jesu Agnus Dei Libera me In paradisum Introït et Kyrie The opening Requiem aeternam (“Eternal rest”) begins with an orchestral fortissimo, which dies away as the chorus begins, sad and hopeful, building up to a crest of serenity amidst the darkness of D minor - the same key as Mozart’s Requiem and the Overture to Don Giovanni. The Kyrie (“Lord, have mercy”) continues the waves of serenity, slightly battered by stormy orchestral interjections.

Returning to Fauré, but in his mature form, we have his Requiem in D minor, Op. 48.

This work was written in 1888 while Faure was in his 40s, shortly after the death of his father. The subsequent death of his mother soon after the premiere gives the work even greater poignancy.

The text is taken from the standard Roman Catholic Latin Mass for the Departed. Fauré chose to omit certain sections of the mass which speak of judgement and damnation, notably the Dies Irae (“Day of wrath”), which provides other composers a chance for some dramatic fire and brimstone.

Although he served for many years as organist at the Church of the Madeleine in Paris, the composer was openly agnostic.

His skepticism inclined him toward the more generally spiritual aspects of the Mass — whose expression best suited his art. The result is marked by a prevailing impression of intimate tenderness and lyrical serenity, and great solace, emphasising the blessed repose and peace of those who have gone before us. In comments to the violinist Eugène Ysaÿe, Fauré describes it as “Elle est d’un caractère doux comme moi-meme” (“It is gentle in character, like myself”).

Offertoire The Offertorium (“Offertory”) starts with an expressive string introduction followed by the middle voices who begin an a cappella section reminiscent of Bruckner. The strings join in before long. The next section is a major-key baritone solo with long lines accompanied by strings, a sustained prayer mirroring the priest at the altar preparing the offerings of bread and wine. The chorus returns with their original material but now in the major key, with an atmosphere of light sweetness. At the final “amen”, the orchestra drops out and the voices float up in a sublime moment of prayer.

Sanctus The Sanctus (“Holy”), the hymn of the angels, is overwhelmingly optimistic. An undulating harp line flows while the sopranos and altos engage in 36

F A U R É : C A N T I Q U E E T R E Q U I E M | 27 & 28 MAR 2020

angelic dialogue, and the violins float about sprinkling sparkling gossamer threads, building to a triumphant climax of affirmation at “Hosanna in excelsis” (“Hosanna in the highest”).

Pie Jesu The Pie Jesu (“Merciful Jesus”) is perhaps the most famous movement, and is often performed as a standalone soprano piece in concerts. Heartfelt in its simple sincerity, it combines a genuine feeling of loss with a confidence in eternal happiness.

Agnus Dei The relative major of F major appears at the Agnus Dei (“Lamb of God”), where the sopranos and altos take turns in alternating. Once again a melody of serene hope is buffeted by threatening minor-key interjections, and the delayed resolution builds up tension. These doubts are dispelled by the glowing D major ending.

Libera me A baritone solo starts the Libera me (“Deliver me”) as an earnest prayer, with the chorus joining in at tremens (“trembling”). Suddenly the horns enter at the mention of the day of judgement, spreading an atmosphere of worry and fear, but the chorus returns with the original melodic material, and the soloist returns at the end with a touch of resignation.

Above: L'église Sainte-Marie-Madeleine, on the right of this poster from 1878.

Faure's Requiem was premiered here in 1888.

In paradisum The final movement (“Into paradise”) dispels any remaining gloom, and we are transported to the bliss of heaven. As the chorus comes in, the sonorities in gentle waves remind us of the circles and clouds of heaven, enfolded by peaceful love, the love which Dante in his Paradiso calls “l’amor che move il sole ed altre stelle” (“the love which moves the sun and other stars”).

Instrumentation 2 horns, harp, organ, solo violin, lower strings World Premiere 21 Jan 1893 (1893 version)

Programme notes by Edward C. Yong

First performed by SSO 1 Mar 1996 37

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I. lntroitus - Kyrie Chorus Requiem aeternam dona eis Domine et lux perpetua luceat eis.

Grant them eternal rest, O Lord, and may perpetual light shine upon them.

Te decet hymnus, Deus in Sion et tibi reddetur votum in Jerusalem.

Thou, O God, art praised in Sion, and unto Thee shall the vow be performed in Jerusalem.

Exaudi orationem meam ad te omnis caro veniet.

Hear my prayer, unto Thee shall all flesh come.

Kyrie eleison, Christe eleison.

Lord, have mercy, Christ, have mercy.

II. Offertorium Chorus O Domine, Jesu Christe, rex gloriae libera animas defunctorum de poenis inferni et de profundo lacu.

Lord Jesus Christ, king of glory, deliver the souls of all the faithful departed from the pains of hells and from the bottomless pit.

O Domine, Jesu Christe, rex gloriae libera animas defunctorum de ore leonis ne absorbeat eus Tartarus ne cadant in obscurum.

Lord Jesus Christ, king of glory, Deliver them from the lion’s mouth, neither let them fall into darkness, nor Hell swallow them up.

O Domine, Jesu Christe, rex gloriae ne cadant in obscurum.

Lord Jesus Christ, king of glory, let not them fall into darkness.

Baritone solo Hostias et preces tibi Domine, laudis offerimus tu suscipe pro animabus illis quarum hodie memoriam facimus.

Fac eas, Domine, de morte transire ad vitam Quam olim Abrahae promisisti et semini eius.

We offer unto Thee this sacrifice of prayer and praise Receive it for those souls whom today we commemorate.

Allow them, O Lord, to cross from death into the life which once Thou didst promise to Abraham and his seed.

38

Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hells and from the bottomless pit. lest they fall into darkness.

Amen.

III. Sanctus Chorus Sanctus Dominus Deus Sabaoth Pleni sunt coeli et terra gloria tua.

Hosanna in excelsis.

Holy, Lord God of Hosts heaven and earth are full of Thy glory.

Hosanna in the highest.

IV. Pie Jesu Soprano solo Pie Jesu, Domine, dona eis requiem dona eis requiem sempiternam requiem.

Merciful Jesus, Lord, grant them rest grant them rest, eternal rest.

V. Agnus Dei Chorus Agnus Dei, qui tollis peccata mundi dona eis requiem.

Agnus Dei, qui tollis peccata mundi dona eis requiem, sempiternam requiem.

O Lamb of God, that takest away the sins of the world, grant them rest.

O Lamb of God, that takest away the sins of the world, grant them everlasting rest.

Lux aeterna luceat eis, Domine Cum sanctis tuis in aeternum, quia pius es.

May eternal light shine on them, O Lord, with Thy saints forever, for Thou are merciful.

Requiem aeternam dona eis Domine, et lux perpetua luceat eis.

Grant them eternal rest, O Lord, and may perpetual light shine on them.

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Chorus O Domine, Jesu Christe, rex gloriae libera animas defunctorum de poenis inferni et de profundo lacu ne cadant in obscurum.

Amen.

F A U R É : C A N T I Q U E E T R E Q U I E M | 27 & 28 MAR 2020

VI. Libera me Baritone solo Libera me, Domine, de morte aeterna in die illa tremenda, Quando coeli movendi sunt et terra Dum veneris judicare saeculum per ignem.

Deliver me, O Lord, from everlasting death on that dreadful day, when the heavens and the earth shall be moved when Thou shalt come to judge the world by fire.

Chorus Tremens factus sum ego et timeo dum discussio venerit atque ventura ira

I quake with fear and tremble awaiting the day of account and the wrath to come.

Dies illa dies irae calamitatis et miseriae dies illa, dies magna et amara valde

That day, the day of anger, of calamity, of misery, that day, the great day, and most bitter.

Requiem aeternam dona eis Domine et lux perpetua luceat eis

Grant them eternal rest, O Lord, and may perpertual light shine upon them.

VII. In Paradisum Chorus In Paradisum deducant angeli in tuo adventu suscipiant te martyres et perducant te in civitatem sanctam Jerusalem.

May the angels receive them into Paradise, at thy coming may the martyrs receive thee and bring thee into the holy city Jerusalem.

Chorus angelorum te suscipiat et cum Lazaro quondam paupere aeternam habeas requiem.

There may the chorus of angels receive thee, and with Lazarus, once a beggar, mayest thou have eternal rest.

Text: Roman Catholic Missal

Translated by Edward C. Yong

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M aestro C ircle Mr & Mrs Goh Yew Lin Temasek Foundation The HEAD Foundation

S ymphony C ircle 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 Geoffrey & Ai Ai Wong 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 BINJAITREE 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 Vivien Goh 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 Michael Lien Devika & Sanjiv Misra Kai S. Nargolwala Nomura Asset Management Singapore Ltd One North Capital Pte Ltd David Ong Eng Hui Pavilion Capital 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 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

R hapsody P atrons 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 Dr Dang Vu & Ms Oanh Nguyen Mr & Mrs Wong Nang Jang Yeong Poh Yee Anonymous (2)

P relude P atrons 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.

patron B enefits 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 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.

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.

corporate 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

corporate sponsors SMRT Corporation Symphony 924 Singapore Airlines Ltd Conrad Centennial Singapore

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.

“The SSO brought Yo-Yo Ma, Lang Lang and Leonidas Kavakos to me in Singapore!”

“I have many happy memories with my children at the SSO Babies’ Proms…”

“The SSO Christmas concert is an annual tradition for my whole family…”

“We love orchestral music and there is nothing like a live orchestral performance!”

Did you know?: Ticket sales revenue makes up only 10% of our total operating budget.

The SSO is an arts charity and depends on donations and matching grants. If you love the SSO, please do consider making a donation to support your orchestra — every gift makes a difference.

For tax and other patron benefits please visit www.sso.org.sg/support-us/patron-benefits

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

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

upcoming concerts

Apr 3 Apr | Esplanade Concert Hall Gerard Salonga conductor Carla Guevara-Laforteza vocals Lara Maigue vocals David Ezra vocals Sean Ghazi vocals Singapore Symphony Orchestra

4 Apr | Victoria Concert Hall Eudenice Palaruan choral director Singapore Symphony Chorus Musicians of the SSO Isaac Lee organ

11 Apr | Victoria Concert Hall Bojan Cicic violin /conductor Musicians of the SSO

12 Apr | Victoria Concert Hall Bojan Cicic violin /conductor Musicians of the SSO

17 Apr | Victoria Concert Hall Stradivari Quartet Musicians of the SSO

19 Apr | Victoria Concert Hall Stradivari Quartet

S S O

POPS TO BROADWAY, WITH LOVE An exuberant evening filled with great overtures, show stopping ballads, finger-snapping and toe-tapping tunes.

F O R T Y - S S I M O

THE WELCOME CELEBRATION! MAURICE DURUFLÉ Requiem Op. 9 FRANCESCO DURANTE Magnificat in B-flat major DAN FORREST Dance of Exultation

V C H P R E S E N T S

BAROQUE FESTIVAL — GENIUS OF ROME Be lifted by the colourful artistry of Rome's musical genius: the source of inspiration for a whole host of composers from Handel to Stradella.

V C H P R E S E N T S

BAROQUE FESTIVAL — ORPHEUS OF ROME Continue your journey into the music of Baroque Rome – the Eternal City of art and inspiration, with familiar names such as Vivaldi, Corelli, Locatelli and Valentini.

V C H P R E S E N T S :

CHAMBER THE STRADIVARI QUARTET PLAYS MAHLER STRAUSS Capriccio, Op. 85 ENESCU Romanian Rhapsody in A major, Op. 11 No. 1 MAHLER (arr. Klaus Simon) Symphony No. 1 in D major for Chamber Orchestra

V C H P R E S E N T S :

CHAMBER THE STRADIVARI QUARTET PLAYS BEETHOVEN BEETHOVEN String Quartet No. 11 in F minor, Op. 95 “Serioso” TAN DUN Eight Colors for String Quartet BEETHOVEN String Quartet No. 8 in E minor, Op. 59 No. 2

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23 Apr | Esplanade Concert Hall Yu Long conductor Qin Li-Wei cello Wu Man pipa Zhang Manchin viola Singapore Symphony Orchestra

CELLO ESCAPADES CHEN QIGANG The Five Elements ZHAO LIN A Happy Excursion – Double Concerto for Cello and Pipa R. STRAUSS Don Quixote, Op. 35

May 1 May | Esplanade Concert Hall Hannu Lintu conductor Nadia Sirota viola Singapore Symphony Orchestra

4 May | Victoria Concert Hall Koh Jia Hwei organ Cheryl Lim flute

8 May | Esplanade Concert Hall Krysztof Penderecki conductor Radovan Vlatkovic horn Singapore Symphony Orchestra

10 May | Singapore Botanic Gardens Joshua Tan conductor Singapore Symphony Orchestra

15 May | Victoria Concert Hall Milos Karadaglic guitar Musicians from re:mix

NADIA SIROTA • NICO MUHLY VIOLA CONCERTO RAUTAVAARA Manhattan Trilogy NICO MUHLY Viola Concerto SCHUMANN Symphony No. 4 in D minor, Op. 120

V C H P R E S E N T S :

O R G A N

FREE

SECOND WIND

Works by Vierne, Franck, Martin, and the extraordinary French composer Jehan Alain.

R E D

BALLOON PENDERECKI CONDUCTS PENDERECKI Krysztof Penderecki conducts the SSO in his own compositions, while horn legend Radovan Vlatkovic takes on the solo for the composer’s dazzling Horn Concerto.

SSO MOTHER’S DAY CONCERT

FREE

Spend a delightful evening with your family and friends at this concert dedicated to all mums!

V C H P R E S E N T S :

EXCITE! MILOS KARADAGLIC – HERE COMES THE SUN Milos returns for a full concert dedicated to his guitar artistry with signature tracks from his Beatles’ album Blackbird.

20 & 21 May | Victoria Concert Hall Shiyeon Sung conductor Seong-Jin Cho piano Singapore Symphony Orchestra

S S O

GALA SEONG-JIN CHO BEETHOVEN Prometheus Overture BEETHOVEN Piano Concerto No. 2 in B-flat major, Op. 19 BEETHOVEN Symphony No. 2 in D major, Op. 36

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board of directors & C O M M I T T E e S chair Mr Goh Yew Lin board of directors

S S O C ouncil

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

S S O M usicians ’ C ommittee 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

BAROQUE FESTIVAL CHAMBER

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 with Musicians of the SSO

THE STRADIVARI QUARTET PLAYS BEETHOVEN 19 Apr, 4pm

THE PAVEL HAAS QUARTET THE GREAT FUGUE 29 May, 7.30pm

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.

sso.org.sg