SNYO Pre-Tour Concert
Sat 7 Jun 2025, 7.30pm
Esplanade Concert Hall Supported
Photo by Bryan van der Beek
Sat 7 Jun 2025
Esplanade Concert Hall
SNYO Pre-Tour Concert
Supported by Embassy of the Czech Republic in Singapore
Singapore National Youth Orchestra
Joshua Tan SNYO Music Director
Zhi-Jong Wang violin
TONY MAKAROME
Echoes from the Heartland 12 mins World Premiere
SHOSTAKOVICH
Violin Concerto No. 2 in C-sharp minor, Op. 129 30 mins
Intermission 20 mins
DVOŘÁK
Symphony No. 6 in D major, Op. 60 43 mins
Concert duration: 2 hrs (including 20 mins intermission)
Singapore National Youth Orchestra
The Singapore National Youth Orchestra showcases the extraordinary capability of our youth. It inspires them towards artistic excellence, nurtures them to reach beyond their potential and develops them through rigorous training within a vibrant, supportive, and diverse environment. Established formally in 1980, the Singapore National Youth Orchestra (SNYO) has welcomed generations of youths into the transformative world of orchestral music, performing locally and representing Singapore on prestigious international stages.
The SNYO family comprises two orchestras: the Singapore National Youth Orchestra and Singapore National Youth Sinfonia, with over 180 members aged 10 to 24 from more than 60 schools across Singapore, guided by professional musicians in rehearsals, sectionals, and masterclasses. Recognised by the Ministry of Education as a National Project of Excellence, members of the SNYO have their participation in the orchestra recognised as a Co-Curricular Activity.
Music Director Joshua Tan has been leading the SNYO since 2018 while Associate Conductor Seow Yibin has been in position since 2022.
Over the years, the SNYO has performed in concert venues and music festivals across Australia, Austria, China, Germany, Italy, Japan, Malaysia, and the United Kingdom. Other musical endeavours include collaborations with the Singapore Ballet, TwoSet Violin and side-by-side concerts with the Singapore Symphony Orchestra.
The SNYO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Orchestra and Singapore Symphony Choruses, as well as the Singapore International Piano Festival and the biennial National Piano & Violin Competition.
Joshua Tan
SNYO Music Director
2nd Prize winner of the 2008 Dimitri Mitropoulos International Competition, Singaporean conductor
Joshua Tan’s rise to prominence on the international scene has been marked by successful debuts in Carnegie Hall, Philharmonie Berlin, Mariinsky Hall and Bunkamura.
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, Bruno Walter Memorial Foundation Award, NACShell Scholarship, and the SSO/MOE Scholarship.
Joshua has conducted orchestras all around the world. These orchestras include the Mariinsky Theatre Orchestra, Beethoven Bonn Orchestra, Orchestre National des Pays de la Loire, Sydney Symphony Orchestra, Adelaide Symphony Orchestra, Melbourne Symphony Orchestra, New Zealand Symphony Orchestra, Ural Philharmonic Orchestra, Tokyo Philharmonic Orchestra, Tokyo Metropolitan Symphony Orchestra, Sapporo Symphony Orchestra, Okayama Symphony Orchestra, Hong Kong Philharmonic Orchestra, Hong Kong Sinfonietta, Taipei Symphony Orchestra, Taipei Philharmonic Orchestra, National Taiwan Symphony Orchestra, Evergreen Symphony Orchestra, Shanghai Symphony Orchestra, Guangzhou Symphony Orchestra, China Philharmonic Orchestra, Juilliard Orchestra, Toho Orchestra Academy amongst others. He has studied with various eminent conductors—James DePreist, Charles Dutoit, David Zinman and Kurt Masur—and worked with many others, such as Michael Tilson Thomas, Ingo Metzmacher and George Manahan.
Known as a versatile conductor, Joshua is at home with symphonic, operatic and ballet works. His substantial repertoire for opera includes La Traviata, Rigoletto, Das Rheingold, Der fliegende Holländer, Lohengrin, Carmen, Don Giovanni, Madama Butterfly, Così fan tutte, Turandot, among others. He has also served as cover conductor for Christoph Eschenbach and Lorin Maazel. He is also equally adept with music for ballet, film and multimedia. For the latter, his extensive work include Disney’s Fantasia and Pixar, all of BBC’s Blue Planet Series, West Side Story, Jurassic Park, Harry Potter, James Bond and more. The Singapore premiere of Bernstein’s Mass, conducted by Joshua, was voted the best classical concert of the year 2018 by The Straits Times. For an unprecedented second year, his performance of the opera Don Pasquale was also voted the best classical concert of the year 2019 by The Straits Times
Joshua is presently Music Director of the Singapore National Youth Orchestra and the Asia Virtuosi. He has served successful stints as Associate Conductor of the Singapore Symphony Orchestra, Resident Conductor of the National Centre for the Performing Arts (China) Orchestra, and as Principal Conductor of the Guiyang Symphony Orchestra. Highlights of this season include debuts with Orchestre National de Bretagne, Kanagawa Philharmonic Orchestra, Hiroshima Symphony Orchestra as well as return engagements to Hong Kong Philharmonic Orchestra, Shanghai Symphony Orchestra, Tokyo Metropolitan Symphony Orchestra, and with the Singapore Ballet in Romeo and Juliet and Cinderella.
Tony Makarome
Composer
Tony Makarome is a prolific Singaporean composer, arranger and educator. A passionate student of music, and his musical explorations have taken him down many different paths. He was a conducting student of Robert Spano, a Miroslav Vitous bass student, and studied jazz composition with Herb Pomeroy. He is also a mridangam student of vidwans T.R. Sundaresan, Chettiharaveetil Sreekanth (SIFAS), and R. Karthikeyan. He has also studied Carnatic vocals with K.R. Shyama from Trivandrum. Tony also completed his diploma at the Singapore Indian Fine Arts Society (SIFAS) and received the Vadya Visharad Award from the school.
As a composer and arranger, Tony’s works have been commissioned by the Singapore Symphony Orchestra, Singapore Chinese Orchestra, China Broadcasting Folk Orchestra (Beijing) and Yarn/Wire (New York). Recent premieres include Kuanzhai Xiangzi for percussion quartet (2022), The Jewel of Srivijaya (2019), Rain Konnakkol (2018, Baltimore), What Pattern? (2016, New York), Shiva (for soprano, tenor, mridangam, and piano, 2015), Scifi Lounge (Bangkok), Name with No Street (Shanghai).
Tony continues to teach solfege, music theory and jazz studies, and has been teaching at Yong Siew Toh Conservatory of Music since the early 21st century. Additionally, his studies in mridangam has influenced his research and development of a pedagogy that applies Carnatic rhythmic concepts in the training of students of Western music. To this end, he has published a popular article on Konnakkol (South Indian rhythmic vocalisation) in the Malaysian Music Journal.
As a bassist, he has performed with artists such as Louis Bellson, Tony Bennett, Anoushka Shankar, and Quartet West. As a mridangist, he has performed in Chennai and New York City. For several summers, he was an award-winning teacher of solfege at the Walden School (USA). He is also a member of the rock band Varsha.
Zhi-Jong Wang
Violin
Zhi-Jong Wang made her solo debut at the age of 14 with the Orchestre National de Lille under Sir Yehudi Menuhin in France. Since then, she has performed with prestigious orchestras such as Orchestre Philharmonique de Radio France, St. Petersburg Philharmonic Orchestra, Helsinki Philharmonic Orchestra, Turku Symphony Orchestra, Konzerthausorchester Berlin, Berliner Symphoniker (at the Berlin Philharmonie), Warsaw Philharmonic Orchestra, NHK Symphony, and several leading Chinese orchestras, including those in Beijing, Shanghai, Guangzhou, and Hangzhou. Her collaborations include some of the most distinguished musicians, such as Yehudi Menuhin, Yuri Temirkanov, Myung-Whun Chung, Gidon Kremer, Lynn Harrell, Matthias Bamert, Okko Kamu, John Storgårds, Lior Shambadal, Christian Arming, Muhai Tang, and many others. Notably, she became the first Chinese artist to perform a solo recital at the Lucerne Festival.
A passionate advocate for contemporary music, Zhi-Jong has performed works by composers including Gubaidulina, Lutosławski, Schnittke, and Ligeti, among others. In recent seasons, she premiered Ana Sokolovic’s Commedia dell’arte III and Nikolai Badinski’s Violin Concerto No. 2.
Her interest in ‘play-conducting’ emerged following her debut performance with the Ensemble Orchestral de Paris, where she led Mozart’s Violin Concerto No. 5 from the violin. Since then, she has combined performing and conducting in a diverse range of works, including Vivaldi/Piazzolla’s Four Seasons and several Mozart violin concertos.
In 2020, Zhi-Jong founded Ensemble Epoch, a project that has toured major cities across China and garnered widespread acclaim. As its artistic director, she shapes the ensemble’s vision and performs both as a soloist and conductor. The ensemble seeks to bring music to broader audiences through innovative interpretations of works from various eras and the exploration of new forms of ensemble performance.
Zhi-Jong is a laureate of numerous prestigious competitions. She won First Prize at the 1998 Yehudi Menuhin International Violin Competition, followed by the First Prize at the China National Violin Competition, where she was the youngest ever winner. Her competition successes continued with top prizes at the Sibelius, Lipizer, and Tchaikovsky Violin Competitions, attracting international attention. Critics have praised her “exquisite skill and rich expressive power,” and noted her versatility as one of “the most accomplished violinists of our generation.”
Her discography includes a highly acclaimed recording of the Sibelius and Stravinsky violin concertos with the Philharmonia Orchestra and conductor Thomas Sanderling, nominated for an ICMA award. Her second album features Chinese violin concertos, including Butterfly Lovers by He Zhanhao/Chen Gang and Shen Ye’s Violin Concerto, performed with the Tokyo Philharmonic Orchestra and Maestro Yang Yang. Zhi-Jong and Ensemble Epoch will be featured in an upcoming release.
A graduate of the Shanghai Conservatory of Music, where she studied with the renowned Professor Lina Yu, Zhi-Jong furthered her studies with Kolja Blacher at the Hochschule für Musik “Hanns Eisler” Berlin, also serving as Blacher’s assistant. She currently holds a professorship at the Shanghai Conservatory of Music, where she also serves as Deputy Director of the Orchestral Instruments Department. ZhiJong plays a Stradivarius 1716, kindly loaned by the China Foundation, and uses Il Cannone Gold strings by Larsen Strings.
Singapore National Youth Orchestra
Joshua Tan Music Director
Seow Yibin Associate Conductor
Lim Meng Keh Percussion Tutor
FIRST VIOLIN
Jacob Cheng Concertmaster
Aidan Kwek Concertmaster
Amanda Ang
Hannah Chung
Fu Yu
Zoe Lam
Lee Seohyun
Lim Jing Rui
Annie Liu
Zanna Phua
Aubrey Tan
Tong Xinran
Janelle Yuen
SECOND VIOLIN
Samuel Soekarno Principal
Chloe Chee
Allison Chng
Kayli Choo
Goh Shi Eun
Ethan Gu
Khloe Gui
Isabel Heng
Joshua Lim
Lum Kai Ying
Ng Zu Ni
Amelia Phuah
Jesper Tai
Liam Young
VIOLA
Skyler Goh Principal
Samuel Tan Principal
Chang Zi Yi
Jayden Kwan
Chloe Lee
Annabel Ng
Calista Tan
Wang Qian Hui
Xu Hongmao
CELLO
Shavaun Toh Principal
Aidan Yeong Principal
Lloyd Loh
Sean Park
Jayden Qin
Ephraim Tan
Charlotte Tseng
Narella Widjaja
Christoph Yang
Natalie Yong
DOUBLE BASS
Gideon Yen Principal
Samantha Ang
Hoo Rei Hon
Lee Yan Yu
Lim Rui Yi
Ma Ruilin
FLUTE
Carolynn Choo Principal
Justin Damhaut Principal
Chan Xingwei
Zhou Shijie
PICCOLO
Chan Xingwei
Zhou Shijie
OBOE
Cho Dong Min Principal
Tay Kai Tze*
CLARINET
Qian Wanni Principal
Darren Sim Principal
Low Xin
BASS CLARINET
Low Xin
* Guest musician
BASSOON
Li Ruidan Principal
Dana Cervantes
CONTRABASSOON
Wang Xintong
HORN
Chloe Lau Principal
Joshua Goutama
Keak Jing Yi
Amira Qistina
Caden Rafiuly
TRUMPET
Domi Chen Principal
Sara Han
Koh Mi Yo
Joshua Tan
TROMBONE
Reema Chatterjee Principal
Calista Lee
BASS TROMBONE
Benjamin Lim
TUBA
Amos Ong
TIMPANI
Kilian Muliady
Isaac Ng
Christian Tan
PERCUSSION
Kilian Muliady
Isaac Ng
Christian Tan
Programme Notes
TONY MAKAROME (b. 1960)
Echoes from the Heartland (2025) World Premiere
I. Joget Taka
II. Yodaman
III. Getai Neon
Echoes from the Heartland is a work commissioned by the Singapore National Youth Orchestra. As a young person growing up in the Queenstown area, I remember the ad hoc setting up of stage platforms at different times of the year to showcase music or arts performances of various cultures. For example, there would be getai performances during the Hungry Ghost month; while other months may feature Malay or Indian music and dances. These memories are what inspired the three movements of my piece.
Movement 1, Joget Taka recalls older joget songs such as those composed by P. Ramlee and sung by legendary vocalist Saloma. Joget Pahang is one such song. For me, the attractive quality of a “traditional” joget is how the music has a lilting triplet groove. Hence, I tried my best to translate this into the context of a symphony orchestra.
Movement 2, Yodaman is my tribute to South Indian (or Carnatic) music. As a young person watching black and white television, Indian dance or music would come on in between Wong Fei Hung movies or other programs presented in Chinese dialects. I later learned that those dances I saw were a traditional form called Bharatanatyam. The rhythmic mastery demonstrated by the performers in intricate dance movements and, sometimes, konnakkol (vocalization of rhythmic phrases) really made a huge impression on my musical psyche. In this movement, I attempt to capture the spirit of Carnatic music in the melody and phrasing.
Movement 3, Getai Neon brings me back to the days of hearing loud getai music coming from a stage set up outside the market located downstairs from my old place. This movement was composed while hearing the sound of 1970s Chinese pop music (like You Ya, Teresa Teng and Liu Jia Chang) swirling in my brain and simultaneously channelling those old grooves of A-Go-Go and Offbeat Cha-Cha. If there is anything we can consider “uniquely Singapore”, I would think it might be this tradition we locals call “Getai”.
Notes by the composer, Tony Makarome
Instrumentation: 3 flutes, 2 oboes, 3 clarinets (1 doubling on bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, drum set, tambourine, 2 woodblocks, vibraphone, timbales, strings
DMITRI SHOSTAKOVICH (1906 – 1975)
Violin Concerto No. 2 in C-sharp minor, Op. 129 (1967)
I. Moderato
II. Adagio
III. Adagio – Allegro
The later Shostakovich compositions form a body of work rivalling (and perhaps exceeding) even Beethoven’s in profundity and scale. The boisterous energies of his youthful period are transformed into the private agonies of his fertile imagination, and the works from his last 15 years are filled with apocalyptic moods and political strife, roiling with uneasiness and tension.
The opening of this concerto hints at E major, but it takes Shostakovich into wild reaches of dissonance as the orchestral forces dip in and out of this slowlybuilding maelstrom. Unlike the much more well-known First Concerto, which is Mahlerian in its universal mourning, the Second portrays a man haunted by ghosts, and while outwardly the dryness of the orchestral commentary resembles a lot of Shostakovich’s symphonic writing, the violin eventually marshals the musical argument into an extended solo passage that is full of tortuous twists and turns, as if searching for an answer to a deep spiritual problem.
That this answer is the first C-sharp minor chord in the orchestra is no coincidence either. Shostakovich was only just recovering from a heart attack and saw, in his own struggles, parallels with other great composers: Beethoven’s own late C-sharp minor quartet is an easy reference, and the opening of Mahler’s Fifth Symphony is a funeral march in the same key — Mahler’s widow had approached him to complete the unfinished Tenth, a task that Shostakovich very wisely turned down. The movement makes a half-hearted attempt to get going again, but the energy has dissipated; pizzicato chords in the solo violin and a quiet, spare orchestral texture betray the march rhythm’s desire to keep going.
Shostakovich’s quasi-Baroque passacaglia-like second movement is directly in parallel with the huge third movement from the earlier violin concerto, but this is mourning of a much more inward fashion. The harmonies are simpler here, and Shostakovich plays fewer games with tonality: the music is modal, almost religious. Here, as in the first movement, is a cadenza, but spun out from a slow start into flights of folk-like virtuosic fantasy, only to return to the flute melody from the beginning of the movement. This is the finest poetry from the master’s quill, with every moment to be savoured carefully.
A lone horn note from the ending solo lingers into the final movement, with the solo violin picking it up and exploring new ideas. Here is a return to the sardonic Shostakovich, with a strange call-and-response between solo violin and muted horn bringing an Allegro dance to the fore. The humour in this movement is strident and acidic, and while the music moves in and out of various episodes, some recalling earlier moments in this piece and some looking further back into Shostakovich’s other compositions, it always returns to the dance tune, each time with some new surprises. The drums in the middle of the movement are unmissable, as is the moment when the orchestra drops out completely and the violin is left to struggle against silence by itself, taking fragments from the whole concerto and putting them together in mad combinations. It is eventually joined by oboe and clarinet in a weird chamber-music episode before the rest of the orchestra crashes back in to try to affirm a bright D-flat major. Whether that is triumph or forced laughter in the face of doom — each listener must decide for themselves.
Notes by Thomas Ang
Instrumentation: flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, timpani, tom-tom, strings
ANTONÍN DVOŘÁK (1841 – 1904)
Symphony No. 6 in D major, Op. 60 (1880)
I. Allegro non tanto
II. Adagio
III. Scherzo (Furiant). Presto
IV. Finale. Allegro con spirito
Two years before the disastrous premiere of Tchaikovsky’s Violin Concerto, Hans Richter and the Vienna Philharmonic gave the Viennese premiere of Dvořák’s third Slavonic Rhapsody. Elated at its success, Richter had commissioned Dvořák to write a symphony, and the latter agreed. After a year of procrastination, Dvořák’s Sixth Symphony was completed in a burst of creativity in August 1880, and dedicated to Richter.
Though Richter was elated by the symphony, the members of the Vienna Philharmonic were much less so, and voted against performing it. The symphony was then premiered in Prague in 1881, and Richter finally had the chance to conduct it in London in 1882.
Horns and violas provide a soft, syncopated accompaniment while the first theme of the first movement is introduced. It grows very quickly (in about 50 bars) to giant proportions and is subdued just as quickly; the listener is taken along on a journey through Dvořák’s melodic inventions built from the opening two-note motif, not unlike a tour in Willy Wonka’s fantastical chocolate factory.
The Adagio is colourful, graceful and lush, evocative of the peaceful Bohemian woodland and countryside. Even though its opening has been compared to that of the Adagio from Beethoven’s Ninth Symphony, the Czech character in the music is unmistakably Dvořák’s.
The Scherzo-Furiant is the most overtly folk-like music of the symphony, its main theme alternating in duple and triple time despite its main time signature of 3/4. A more fragile trio section features ‘pastoral’ woodwinds for contrast, before the furiant returns to conclude the movement.
The opening of the Sixth Symphony’s finale was a huge nod to his mentor Brahms, especially the corresponding point in the latter's Second Symphony. Although the structural integrity and tightness of form and development can be attributed to Brahms, the audience is also shown the side of Dvořák that Brahms admired: the unlimited inventiveness of his melodic material, and his remarkable sense of proportion in time and duration.
In marrying rich Bohemian nationalism with classical Viennese forms, the Sixth Symphony was the first symphony that gave Dvořák the recognition and fame he deserved throughout Europe.
Notes by Natalie Ng
Instrumentation: 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, strings
Schools represented in the Singapore National Youth Orchestra
Ai Tong School
Anderson Serangoon Junior College
Ang Mo Kio Secondary School
Anglican High School
Anglo-Chinese Junior College
Anglo-Chinese School (Barker Road)
Anglo-Chinese School (Independent) (Junior College)
Anglo-Chinese School (Independent) (Secondary)
Anglo-Chinese School (International)
Broadrick Secondary School
Bukit Panjang Government High School
Bukit Timah Primary School
Canadian International School
Catholic High School (Primary Section)
Catholic High School (Secondary)
Changkat Primary School
CHIJ Our Lady of the Nativity
CHIJ Secondary (Toa Payoh)
CHIJ St. Nicholas Girls’ School (Primary)
CHIJ St. Nicholas Girls’ School (Secondary)
Chung Cheng High School (Yishun)
Clementi Town Secondary School
Crescent Girls’ School
Dulwich College (Singapore)
Dunman High School (Junior College)
Dunman High School (Secondary)
Dunman Secondary School
Edgefield Secondary School
Eunoia Junior College
Fairfield Methodist School (Secondary)
Gan Eng Seng School
Hai Sing Catholic School
Hong Wen School
Hwa Chong Institution (Junior College)
Hwa Chong International School
Jurong Pioneer Junior College
Mayflower Secondary School
Meridian Primary School
Methodist Girls’ School (Primary)
Methodist Girls’ School (Secondary)
Nan Chiau Primary School
Nanyang Academy of Fine Arts
Nanyang Girls’ High School
Nanyang Junior College
Nanyang Primary School
Nanyang Technological University
National Junior College
National Junior College (Secondary)
National University of Singapore
NUS High School of Mathematics and Science
Pei Hwa Presbyterian Primary School
Raffles Girls’ School (Secondary)
Raffles Institution (Junior College)
Raffles Institution (Secondary)
River Valley High School (Secondary)
School of the Arts, Singapore
Singapore American School
Singapore Chinese Girls’ School
Singapore Management University
St. Andrew’s Secondary School
St. Gabriel’s Secondary School
St. Hilda’s Primary School
St. Joseph’s Institution (Junior College)
St. Joseph’s Institution (Secondary)
St. Margaret’s School (Secondary)
St. Patrick’s School
Stamford American International School
Tanglin Trust School
Tanjong Katong Girls’ School
Tao Nan School
Temasek Junior College
Temasek Polytechnic
United World College of South East Asia
Unity Secondary School
Victoria Junior College
Victoria School
Yishun Innova Junior College
Yuying Secondary School
Singapore Symphony Group Administration
CHIEF EXECUTIVE OFFICER
Kenneth Kwok
DEPUTY CEO, PROGRAMMES & PRODUCTION
Kok Tse Wei
DEPUTY CEO, PATRONS & CORPORATE SERVICES
Jenny Ang
CEO OFFICE
Shirin Foo
Musriah Bte Md Salleh
ORGANISATION DEVELOPMENT
Lillian Yin
ARTISTIC PLANNING
Hans Sørensen (Head)
Christopher Cheong
Artistic Administration
Jodie Chiang
Terrence Wong
Jocelyn Cheng
Michelle Yeo
OPERATIONS
Ernest Khoo (Head)
Library
Wong Yi Wen
Cheng Yee Ki
Orchestra Management
Chia Jit Min (Head)
Charis Peck Xin Hui
Kelvin Chua
Production Management
Noraihan Bte Nordin
Nazem Redzuan
Leong Shan Yi
Asyiq Iqmal
Khairi Edzhairee
Khairul Nizam
Benjamin Chiau
Digital Production
Avik Chari
COMMUNITY IMPACT
Community Engagement
Kua Li Leng (Head)
Samantha Lim
Whitney Tan
Lynnette Chng
Darren Siah
Choral Programmes
Kua Li Leng (Head)
Lu Heng
Chang Hai Wen
Mimi Syaahira
Singapore National Youth Orchestra
Ramu Thiruyanam (Head)
Tang Ya Yun
Tan Sing Yee
Ridha Ridza
ABRSM
Patricia Yee
Lai Li-Yng
Joong Siow Chong
Freddie Loh
May Looi
PATRONS
Development
Chelsea Zhao (Head)
Nikki Chuang
Sarah Wee
Kevin Yeoh
Communications,
Digital & Marketing
Cindy Lim (Head)
Communications
Nikki Loke
Elizabeth Low
Clairene Tan
Digital & Marketing
Chia Han-Leon
Calista Lee
Myrtle Lee
Hong Shu Hui
Jana Loh
Lim Wen Jie
Kashmira Kasmuri
Carrie Woo
Customer Experience
Randy Teo
Dacia Cheang
Joy Tagore
CORPORATE SERVICES
Finance, IT & Facilities
Rick Ong (Head)
Alan Ong
Goh Hoey Fen
Loh Chin Huat
Md Zailani Bin Md Said
Human Resources & Administration
Valeria Tan (Head)
Janice Yeo
Fionn Tan
Netty Diyanah Bte Osman
Acknowledgements
WITH SUPPORT FROM MINISTRY OF EDUCATION, ARTS EDUCATION BRANCH
Mrs Clara Lim-Tan Director, Arts Education
Mr Low Ying Ning Deputy Director, Music & Drama
Ms Chek Yui Hong Assistant Director, Visual and Performing Arts CCA & Singapore Youth Festival
Mr Jasper Lee Arts Education Officer, Music
THE SINGAPORE NATIONAL YOUTH ORCHESTRA WISHES TO THANK
National Arts Council
Tutors of the Singapore National Youth Orchestra
Parents of the Singapore National Youth Orchestra members
Principals of the participating schools
Upcoming Events
SSO Organ Series: Golden Age of the Organ
Sun, 27 Jul 2025
Victoria Concert Hall
Boey Jir Shin organ
Singapore Symphony Chorus
Anglican Chamber Ensemble
Musicians of the Singapore National Youth Orchestra
Eudenice Palaruan Choral Director
Elliot Titcombe bass
SNYO 45th Anniversary Gala
Sat, 6 Dec 2025
Victoria Concert Hall
Joshua Tan SNYO Music Director
SNYO × Choruses Concert
Wed, 18 Mar 2026
Esplanade Concert Hall
Singapore National Youth Orchestra
Singapore Symphony Chorus
Singapore Symphony Youth Choir
Singapore Symphony Children’s Choir
Joshua Tan SNYO Music Director
Eudenice Palaruan Choral Director
Wong Lai Foon Choirmaster
For more details, visit SSO.ORG.SG/SNYO