SNYO in Concert: Vivaldi Piccolo Concerto and Dvorak's Eighth Symphony

SNYO in Concert

Vivaldi Piccolo Concerto and Dvořák Eighth Symphony 17 Jun 2022, 7.30pm Esplanade Concert Hall

Another extraordinary performance proudly presented by SNYO

2022 Auditions 19 MAR, 4 JUN, 10 DEC

www.snyo.org.sg/audition

The SNYO invites young musicians to join us in music-making & forging meaningful friendships for life.

Join in the fun and learning f rom professional musicians through rehearsals, sectionals & masterclasses!

_ Positions are available in all orchestral sections: strings, woodwinds, brass & percussion.

Pianists aged 13 and below who are interested in mastering a second orchestral instrument, as well as young violinists who are keen to learn the viola are also welcome to audition.

Managed by

_

SNYO.SG

Singapore National Youth Orchestra A National Project of Excellence

Recognised by

Fri, 17 Jun 2022, 7:30pm Esplanade Concert Hall Guest-of-Honor Mr Edwin Tong Minister for Culture, Community and Youth

SNYO in Concert

Vivaldi Piccolo Concerto and Dvořák Eighth Symphony Joshua Tan conductor Natalie Ngai piccolo

RIMSKY-KORSAKOV Overture to The Tsar’s Bride

7 mins

VIVALDI Piccolo Concerto in C major, RV 443 Intermission

12 mins

20 mins

DVOŘÁK Symphony No. 8 in G major, Op. 88

34 mins

Singapore National Youth Orchestra

A leading orchestra dedicated to the training of young orchestral musicians, the Singapore National Youth Orchestra (SNYO) occupies a special place in Singapore’s music community. SNYO alumni have gone on to become full-time musicians in Singapore and with orchestras around the world. Many are also educating the next generation of musicians and playing significant roles in the growth of Singapore’s vibrant cultural scene.

The Orchestra’s roots can be traced to the early 20th century before moving within the purview of Ministry of Education in 1980. In 2015, SNYO became part of the Singapore Symphony Group, which also manages the Singapore Symphony Orchestra.

Recognised by the Ministry of Education as a National Project of Excellence, members in mainstream secondary schools with sustained involvement in the SNYO will have their participation in the orchestra recognised in lieu of a school-based Co-Curricular Activity (CCA). Entry into the SNYO is by a comprehensive audition process.

2

The Orchestra currently comprises over 180 talented young musicians aged 10 to 21, representing more than 60 schools across Singapore.

Consisting of two orchestras – the main orchestra and a junior training orchestra, the SNYO boasts a distinctive music talent development programme where members receive tutoring from professionals, including those from the Singapore Symphony Orchestra.

Over the years, the SNYO has performed in concert venues and music festivals across Australia, Austria, Germany, Italy, Japan, Malaysia and the United Kingdom. The 2018/19 season also included performances at the Xinghai Concert Hall in Guangzhou, the Hong Kong Cultural Centre, and a side-by-side concert with the SSO featuring violinist Ray Chen at the Esplanade Concert Hall in Singapore.

At the start of the 2018/19 season, Joshua Tan assumed the position of Principal Conductor with the SNYO and Peter Stark was appointed as its first-ever Principal Guest Conductor.

3

Joshua Tan conductor

A graduate of The Juilliard School and the Eastman School of Music, Joshua Tan was Second Prize winner of the Dimitri Mitropoulos International Competition and an awardee of numerous scholarships and awards, including the Young Artist Award – Singapore, Bruno Walter Memorial Foundation Award, NAC-Shell Scholarship, and the SSO/MOE Scholarship. He was the first conductor to be presented the Charles Schiff prize from The Juilliard School. His performances of Bernstein’s Mass and the opera Don Pasquale were selected as the best classical concerts of the year 2018 and 2019 by The Straits Times.

Joshua has conducted orchestras all around the world. 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.

A versatile conductor, Joshua is at home with symphonic, operatic and ballet works. His repertoire for opera includes La Traviata, Rigoletto, Der Fliegende Holländer, Lohengrin, Carmen, Don Giovanni, Madama Butterfly, Così fan tutte, and Turandot. He is equally adept with music for ballet, film and multimedia, having worked for Disney’s Fantasia and Pixar, BBC’s Blue Planet series, West Side Story, Jurassic Park and more.

Presently Principal Conductor of the Singapore National Youth Orchestra and Director of the Asia Virtuosi, he has served successful stints as Resident Conductor of the National Center for the Performing Arts (China) Orchestra, Principal Conductor of the Guiyang Symphony Orchestra and Associate Conductor of the Singapore Symphony Orchestra. Season 21/22 sees return engagements with the Hong Kong Philharmonic and Singapore Dance Theatre as well as debuts with the Gunma Symphony and Melbourne Symphony, and a new opera premiere in Hong Kong.

4

Natalie Ngai piccolo

Natalie Ngai first picked up the flute at the age of six and started learning the piccolo at the age of thirteen. Under the tutelage of Ms Wang Tong, Natalie was the 2nd Prize winner in her category at the 10th Singapore Flute Competition 2019. In 2020, she was admitted as Licentiate of Trinity College London (LTCL) in flute performance. More recently, Natalie was awarded the 2nd Prize in her category at the 2nd Hong Kong International Flute Competition (2022).

Currently a student at Dunman High School, Natalie was appointed concertmistress of the Dunman High School Symphonic Band in 2019.

A performer equally adept at both the flute and piccolo, Natalie has since played as a soloist in concerts with the band on the piccolo in 2020 and on the flute in 2022. As an active member of the SNYO since 2018, participating in many SNYO events has allowed her many opportunities to perform and develop as a musician.

5

SNYO Musicians FIRST VIOLIN Marea Toh CONCERTMASTER Callie Chin Ethan Chong Kayli Choo Galen Gay Colette Goh Khloe Gui Gwee Kang Ting Ng Zhi Ning Nikki Poon Samuel Soekarno Marc Sommen Raeanne Song Whelan Tan SECOND VIOLIN Esther Lam PRINCIPAL Chloe Chee Jacob Cheng Maximus Chia Hannah Chung Ashley Foong Regan Ho Elise Kuah Marisa Lee Aaron Lim Joshua Lim Lauren Loh Adele Wee Yeo See Kang VIOLA Caitlin Chin PRINCIPAL Lee Soohyurn PRINCIPAL Elliott Chan Skyler Goh Joya Hossain Jay Lim Lareina Lim Vernell Lim Laurel Loh Charlotte Morel Elvis Ng Ethan Ong Calista Tan Reegan Tan Samuel Tan Mark Yang

CELLO Han Chaeyoon PRINCIPAL Evan Khoo PRINCIPAL Eda Chua Zachary Lau Li Ziyi Dayna Ong Joel Ong Ephraim Tan Narella Widjaja Yan Yutong Aidan Yeong DOUBLE BASS Li Jiaying PRINCIPAL Tan Zhi Yi PRINCIPAL Matthew Chan Damien Chew Clarice Lim FLUTE Christie Chong PRINCIPAL Carolynn Choo Janelle Yuen^* PICCOLO Carolynn Choo OBOE John Fung PRINCIPAL Tok Rei COR ANGLAIS Tok Rei

HORN Rayney Poon PRINCIPAL Chua Jia Xuan Pia Ratnam Chapman Yap TRUMPET Koh Mi Yo PRINCIPAL Tobias Tan TROMBONE Reema Chatterjee PRINCIPAL Josh Kong Ezra Lim Toh Chang Hui Yeo Jun Jie BASS TROMBONE Martin Ong TUBA Ernest Foo TIMPANI Kilian Muliady Isaac Ng HARP Chloe Lam HARPSICHORD Shane Thio^

CLARINET Claudia Toh PRINCIPAL Ng Zhi Jian Qian Wanni Yap Fang Yi BASSOON Ang Jun En PRINCIPAL Kong Xianzhang Astelle Liew ^ Guest Musician * SNYO Alumnus

6

Schools represented in the Singapore National Youth Orchestra Anderson Secondary School Anglican High School Anglo-Chinese Junior College Anglo-Chinese School (Independent) Anglo-Chinese School (International) Bedok South Secondary School Bendemeer Primary School Bowen Secondary School Bukit Timah Primary School Cantonment Primary School Catholic High School (Primary) Catholic High School (Secondary) Changkat Changi Secondary School CHIJ St. Nicholas Girls' School (Secondary) CHIJ St. Theresa's Convent Chung Cheng High School (Main) Dulwich College (Singapore) Dunman High School Elias Park Primary School Eunoia Junior College Fairfield Methodist School (Secondary) Gan Eng Seng School Hwa Chong Institution Hwa Chong International School International Community School Mayflower Secondary School Methodist Girls' School (Secondary) Nanyang Academy of Fine Arts Nanyang Girls' High School Nanyang Primary School Nanyang Technological University

National Junior College National University of Singapore Ngee Ann Primary School Ngee Ann Secondary School NUS High School of Mathematics and Science Pasir Ris Secondary School

Raffles Girls' School (Secondary) Raffles Institution River Valley High School School of the Arts, Singapore Seng Kang Secondary School Singapore American School Singapore Chinese Girls' School Singapore Polytechnic Springfield Secondary School St. Joseph's Institution St. Joseph's Institution International St. Stephen's School Tampines Meridian Junior College Tanjong Katong Girls' School Temasek Junior College Temasek Polytechnic United World College of South East Asia Unity Secondary School Victoria Junior College Victoria School

7

Nikolai Andreyevich Rimsky-Korsakov Nikolai Rimsky-Korsakov (1844-1908) was a Russian composer, educator and conductor from the Romantic period.

Rimsky-Korsakov was a member of the Russian Five, or the Mighty Handful. This was a group of five nationalistic Russian composers who wanted to create and popularise a uniquely Russian style of classical music. Rimsky-Korsakov’s contributions of educating the next generation of Russian musicians, and of preparing works by the Five, cement his legacy as a important figure in the history of Russian music. Other than a lifelong passion for music, Rimsky-Korsakov also greatly loved the ocean.

Just like the music by other composers of The Five, Rimsky-Korsakov’s music has a distinct Russian flavour. The Five wanted their music to have a more authentic Russian spirit, compared to the elite style of the Russian Conservatory. Unique characteristics of The Five’s style include Russian folk tunes and themes, usage of “oriental” scales such as the whole-tone and octatonic scales, and unstable or unclear tonal centres. However, Rimsky-Korsakov’s music also incorporates elements of Western harmony and form, reflecting the influences of Wagner and Tchaikovsky. Thus, his music presents a balance between a consciously Russian flavour and a traditional Western approach.

Rimsky-Korsakov’s most renowned works are the symphonic suite Scheherazade, the Flight of the Bumblebee, and the orchestral suite Capriccio Espagnol.

8

Overture to The Tsar’s Bride Although Rimsky-Korsakov’s orchestral music is most well-known, his contributions to opera are also noteworthy. He wrote 15 operas, many of which are staples of the Russian stage till this day.

The opera The Tsar’s Bride is a unique blend of Russian and Italian influences. Many consider this work one of Rimsky-Korsakov’s more “Western” operas, and it does have a Verdian flair. This opera was based on a drama of the same name by Lev Mey. The opera was composed in 1898, and premiered in 1899 at the Private Opera Society in Moscow.

The Tsar’s Bride’s plot is one of complicated love, a popular plot trope in Italian opera. Nevertheless, its narrative is based on a figure in Russian history. A “bride parade” is being held to find a suitable partner for the Tsar, Ivan the Terrible. Marfa, the daughter of a merchant, was one of the maidens selected. This complicates her existing relationship with Lykov, to whom she is going to be married to. Furthermore, an Oprichnik (royal guard) named Gryaznoy is infatuated with Marfa, and plots to force her to love him with the aid of a love potion. Gryaznoy’s lover, Lyubasha, is understandably upset about this, and swaps the love potion for a poison.

Before arriving at the Tsar’s palace to become his new bride, Marfa drinks the potion unwittingly. The opera ends with the false execution of Lykov, Lyubasha’s murder by the hands of Gryaznoy, Gryaznoy’s arrest and scheduled execution, and Marfa’s death by poison. Deranged and unhinged, the characters of this tragic opera all destroy each other in their quests for love.

What is an overture? An overture is the first movement of a ballet, opera or oratorio. It serves an an introduction or prelude, setting the mood of the story to come.

9

This opera starts with a dramatic and tumultuous overture, setting the dark atmosphere of the plot. The overture is written in sonata form, with a dark ascending first subject and a sentimental second subject. This overture could seem more “Western” in style, as Rimsky-Korsakov was trying to incorporate more traditionally Western ideas into his music when he wrote this piece.

The overture starts with a foreboding introduction, with strings and low winds playing the first subject quietly.

The second subject is lyrical and almost gentle, a nice change from the weight of the first subject.

The ascending chromatic bassline create tension, leading to louder restatements of the first subject, complete with copious brass fanfares.

EXPOSITION

A flurry of key changes and sudden mood changes bring the overture into its relatively short development.

DEVELOPMENT

10

The first subject comes back in all its splendour; forceful and brash.

Violin, flute and clarinet play a wistful melody on top of choral accompaniment in the lower strings, woodwinds and harp. This is the start of an extended and quiet coda.

The coda ends with the flute and clarinet bringing the music to a series of soft chords, closing the overture in a tender fashion.

After a quiet repeat of the second subject, RImskyKorsakov rewrites the lyrical melody in a new glorious mood, creating a big sound.

RECAPITULATION

CODA

11

Antonio Lucio Vivaldi Antonio Vivaldi (1678-1741) was a renowned Italian musician from the Baroque era. He was a man of many talents, having been a composer, teacher, virtuoso violinist, and Roman Catholic priest.

Born in Venice, Vivaldi was exposed to music from a young age. He joined the priesthood in his teenage years and remained devoted to the Church for the rest of his life. In 1703, Vivaldi was hired to become the violin master at the Ospedale della Pietà, a convent and orphanage in Venice.

He later got a job as the Maestro di Cappella of the court of Prince Philip of Hesse-Darmstadt, where he wrote The Four Seasons and many operas.

Up till his death, Vivaldi would receive commissions from important figures as well.

Vivaldi’s musical style is exuberant and colourful. Notably, Vivaldi refined the form of a Baroque concerto. Many of Vivaldi’s works were written for the Ospedale della Pietà’s children to perform. Vivaldi wrote many works, having composed about 50 operas, more than 500 concertos, and a huge variety of other vocal and instrumental works. Many composers admired Vivaldi and expanded on his ideas, including Johann Sebastian Bach and French composers such as Michel Corrette.

His best-known works are the series of violin concertos known as The Four Seasons and the vocal work Stabat Mater.

12

Piccolo Concerto in C major, RV 443 Vivaldi perfected the concerto’s form, standardising the piece to be two fast movements sandwiching a slower, most contemplative middle movement. He wrote more than 500 concertos, of which many are for the violin, which Vivaldi played. He also wrote concertos for many other instruments such as cello, bassoon, lute, etc.

This piccolo concerto in C major is one of six written for flautino. This was probably written for his talented students at the Ospedale della Pietà during his career as violin master. One can assume that the quality of their music-making was high, as there are many difficult virtuoso passages for the soloist to play in this concerto.

Just like his other concertos, there is a constant dialogue between the soloist and the orchestra throughout. This is Vivaldi’s idea of the ritornello, or the “little return”, where soloist and orchestra pass thematic ideas to each other. Since the concept of a concerto is the “competition” between the soloist and orchestral forces, the ritornello idea is quite clever.

Was this concerto originally for piccolo? This concerto was originally written for an instrument called the “flautino”. There is a lot of speculation on what exactly that is, but it is generally agreed that this concerto can be played on a sopranino recorder or piccolo. The “flautino” may have been an actual instrument, but what it was exactly is now lost or forgotten.

13

I. Allegro The first movement of most Baroque concertos is usually a lively and stately one. The nature of the concerto, as a piece that features a musical “competition” between soloist and orchestra, is evident in this piece.

The orchestra starts with a lively orchestral refrain, which contains material that will be developed in the ritornello.

It is now the orchestra’s turn to play. The music is now in A minor.

The soloist enters with an incredibly athletic passage on top of the orchestra’s sparse accompaniment.

14

After a rapid series of modulations, the piccolo arrives at a high F. It then introduces a new triplet idea, which is quickly discarded as the orchestra comes in with its refrain once again.

The soloist leads the buildup into the orchestral passage once again.

The soloist displays virtuosic prowess, with flamboyance and gymnastics, leaping across the registers on the instrument. The first movement ends with the orchestral refrain in C major, just like in the beginning.

15

II. Largo This slow movement in E minor is expressive and sentimental, and is probably the most well-known out of the three movements in this piece. It is commonly used for auditions to showcase the soloist’s capacity for fluid phrasing and inventive ornamentation. This movement is structured almost like a theme and variations, with the original melody evolving as the music progresses.

The piccolo repeats the melody from before but with ornamentation to add some interest.

The soloist opens the movement, singing a melody with a lilting siciliana rhythm.

The piccolo’s melody starts undergoing some modulation with the rhythmic lilt providing a hypnotic presence.

16

Again, the soloist embellishes the melody with ornamentation to provide creative improvisatory flair to the music.

17

III. Allegro molto The piece concludes on a chirpy and bright note in this last movement.

Just like the first movement, the orchestra introduces the main musical idea in the refrain.

After a series of virtuosic playing from the piccolo, complete with ornamentation such as trills, the orchestra plays its refrain in the new key of G major.

18

The orchestra plays a short passage, and the piccolo plays with a slightly more laid-back mood before the music picks up once more.

The piccolo engages in a final series of brilliant cadenzalike passages above minimal accompaniment.

The refrain arrives once more, this time in A minor.

19

The piece ends in a celebratory mood.

Antonín Leopold Dvořák Antonín Dvořák (1841-1904) was a famous Czech composer from the Romantic period.

Other than being an accomplished composer, Dvořák was a proficient instrumentalist, playing the violin, viola, organ, and piano. Earlier in life, he played the viola in a dance orchestra, which then grew to become the Provisional Theatre orchestra in 1862. However, Dvořák would leave the orchestra in 1871 to pursue a full-time career as a composer. Although it was a risky decision, Dvořák’s career as a composer did grow steadily.

He was awarded with multiple grants, had his music promoted by the eminent German composer Johannes Brahms, and was supported by many other important figures in publishing and composition. Today, Dvořák’s music is widely performed and celebrated, showing the strength of his legacy as a great composer.

Dvořák’s music is filled with the tunes of folk and dance music, most notably those of his Czech hometown, Bohemia. It can be argued that he was a Nationalistic composer who wanted to make his music sound more Czech, but this is not entirely the case. Dvořák also incorporated elements of folk music from other cultures. For instance, he was interested in Native American and African-American music, and wrote music with themes inspired by African-American spirituals.

His most well-known works include Symphony No. 9 ‘From the New World’, the piano cycle Humoresques, and String Quartet No. 12 ‘American’.

20

Symphony No. 8 in G major, Op. 88 Although this symphony contains moments of pensiveness and turbulence, it is mostly sunny and optimistic. Symphony No. 8 is a unique gem in Dvořák’s collection of symphonies. He wrote this in 1889 in Bohemia, and conducted its premiere in 1890. He dedicated this piece to the Bohemian Academy of Science, Literature and Arts, as it was composed to commemorate his admission into the Academy. However, this symphony was more than just a composition. It was an ambitious symbol of Dvořák’s nationalistic pride, and thus he initially refused to publish the score with a German title. It was also a contemplation on some of Dvořák’s greatest losses in life, reflected in the dark moments between hopeful passages.

This symphony is filled with lush musical imagery. Singing birds and, hunting horns echo across the hills, depicting landscapes of the Czech countryside painted with great detail and love. Alongside this imagery, Dvořák also features many dance-inspired ideas in this symphony.

Conductor Rafael Kubelik once declared, “Gentlemen, in Bohemia the trumpets never call to battle – they always call to the dance!”

This symphony is quite distinct from Dvořák’s other works. Firstly, its overall character is different from its predecessor, the Symphony No. 7.

Compared to the complexity of No. 7, No. 8 is clear and direct without losing its craftsmanship. This may have been a decision to appease the more conservative Viennese audience. Dvořák clearly also wanted a more folk-like sound, writing this symphony in a simple and approachable style just like Bohemian folk music.

21

I. Allegro con brio The first movement presents an important musical question to be contemplated during the symphony: is the music moving from light into darkness, or darkness into light? Regardless of the answer, the first movement’s beauty lies in its complexity and ambiguity. The music is marked as Allegro con brio (fast and spirited), yet some moments are decidedly dark and slow. The contrast between dark and light adds meaning and weight to the music.

A flute plays a simple tune in the parallel G major, which sounds like birdsong at dawn.

The symphony starts with a mournful theme in G minor played by the cello, clarinet, bassoon and horn.

After a gentle string chorale complete with the sound of birds, flutes and clarinets start a new melody accompanied by uneasy strings.

More orchestral forces gradually join in, and the music grows into a spirited dance. The theme previously played by the flute is now passed around the entire orchestra.

EXPOSITION

22

The mournful theme from the beginning is heard again.

After a brief moment of quiet playing from the bassoons and horns, the music grows into a lively conversation. Violins and oboes call out to the rest of the orchestra, and the conversations ends with a warm brass fanfare.

Woodwinds lead the music into a light-hearted, pastoral folk dance.

Lower strings and winds play a more serious rendition of the birdsong theme initially played by the flute.

DEVELOPMENT

The cor anglais starts a series of simple tunes from different woodwind instruments.

A huge storm. Trumpets blare the previously mournful theme above the gales from the rest of the orchestra.

The storm is complete with thunder from the timpani.

RECAPITULATION

23

The movement ends triumphantly with enthusiasm and sunshine.

CODA

II. Adagio The instrumentation in the second movement is economical and intentionally sparse. This movement alternates between a variety of moods and characters. At different points, it can either sound like a chorale, a funeral march, or an argument.

Flutes and clarinets engage in a conversation with soft accompaniment. The music constantly fluctuates between C major and C minor, creating a funeral march that sounds oddly light-hearted.

The movement opens with a solemn chorale from the strings.

INTRO

An abrupt transition.

Flutes and oboes sing a folk theme in the new section. The other woodwinds and strings accompany, with cellos and bass playing pizzicato (plucking).

The timpani leads the music into an outburst of the initial chorale theme. Winds and strings call and respond. The motif starts in C minor this time, and the music takes on a restless quality.

A

The concertmaster takes over the folk theme, and all the woodwinds accompany instead.

B

24

After a majestic iteration of the folk theme complete with timpani rolls and brass fanfare, the music settles down and the A section returns.

Peace is restored. The orchestra starts a more elaborate version of the B section, with the woodwinds accompanying all the strings this time.

Led by the horns, the music based on the chorale theme once again enters into turbulence. The insistent calls in the orchestra, sounding like an argument, finally melts away.

A’

B’

25

The movement ends with a joyful spirit as the solemn chorale brightens and sparkles.

CODA

III. Allegretto grazioso — Molto vivace Graceful and melancholic waltzes sandwich a dancey trio section. This movement looks like a traditional scherzo at first, but functions more as an energetic intermezzo.

After a brief moment of the waltz melody in the woodwinds, the strings take over once more. The waltz ends quietly with a delicate sequence across the orchestra.

Violins open the movement with a waltz built on descending G minor scales. A complex accompaniment cushions the dancing melody.

The strings joyfully reply to the flute and oboe. Trumpets and timpani are tasked with the accompaniment.

The flute and oboe lead the music into a dancey trio section with a lilting, syncopated accompaniment.

MINUET/WALTZ

This different instrument families take their turns to participate in this musical dialogue.

TRIO

26

The coda is a lively revision of the trio theme. Woodwinds honk, strings chatter, and brasses call to the dance. Just like the previous movements, the movement started in the minor mode and ends in the major mode marking the journey from melancholy to jubilation.

After a light transition passage, the waltz section is repeated once more.

MINUET/WALTZ

CODA

27

IV. Allegro ma non troppo Dvořák writes a beautiful set of theme and variations for the last movement of this symphony. Despite moments of introspection and emotional weight, the symphony ends on a high note.

The music gains some muscle, with the violins adding a new voice on top of the existing theme.

Trumpets start the movement alone, with a bright fanfare.

The cellos introduce the theme, with simple countermelody support from bassoon and lower strings.

INTRO

THEME

Dvořák turns up the volume and speed. The orchestra plays loudly, complete with “wah” effects from the horns.

VAR. 1

28

The flutes play an intricate melody, softly accompanied. The music then speeds up once again.

VAR. 2

This variation contains the most elaborate harmonic writing across the movement, with many turbulent key changes.

The theme is passed around the orchestra as tensions increase.

VAR. 3

As the music hurtles forward, the trumpets return with their fanfare alongside the horns, brightening the huge sound and ending the series of key changes with majesty.

The calm continues with a warm string hymn.

The cellos restore calm after the tumult of the previous variation, and everything settles back down.

VAR. 4

A solo clarinet starts the theme gently, resting on a cloud of subtle accompaniment below.

VAR. 5

VAR. 6

29

Winds and strings bring out fragments of the theme and the music arrives at a momentary pause.

The energy of Variation 2 makes a comeback, and the symphony ends on wonderfully high spirits.

VAR. 7

CODA

Programme notes written by SNYO cellist and intern Eda Chua.

Singapore Symphony Group Management CHIEF EXECUTIVE OFFICER Chng Hak-Peng ARTISTIC PLANNING Hans Sørensen (Head)

COMMUNITY IMPACT Kok Tse Wei (Head)

Artistic Administration Teo Chew Yen Jodie Chiang Lynnette Chng

Community Engagement Kua Li Leng (Head) Erin Tan Ong Jun Shu Samantha Lim Terrence Wong

OPERATIONS Ernest Khoo (Head) Library Lim Lip Hua Avik Chari Wong Yi Wen Orchestra Management Chia Jit Min (Head) Karis Ong Peck Xin Hui Production Management Fenella Ng Nurul Ainnie bte Md Sidek Mazlan bin Ali Ramayah Elango

Choral Programmes Kua Li Leng (Head) Regina Lee Whitney Tan Mimi Syaahira Bte Ruslaine Singapore National Youth Orchestra Pang Siu Yuin (Head) Lai Jun Wei Tang Ya Yun Tan Sing Yee ABRSM Patricia Yee Lai Li-Yng Joong Siow Chong Freddie Loh May Looi William Teo

PATRONS Development Chelsea Zhao (Ag Head) Anderlin Yeo Nikki Chuang Charmaine Fong Elliot Lim Marketing Communications Cindy Lim (Head) Chia Han-Leon (Content Lead) Calista Lee (Digital Projects) Sean Tan Hong Shu Hui Jana Loh Myrtle Lee Sherilyn Lim Customer Experience Randy Teo Dacia Cheang Joy Tagore CORPORATE SERVICES Lillian Yin (Head)

CEO OFFICE Shirin Foo Musriah bte Md Salleh

Finance, IT & Facilities Rick Ong (Head) Alan Ong Goh Hoey Fen Loh Chin Huat Md Zailani bin Md Said

COVID-19 RESPONSE COORDINATION Lillian Yin (Lead) Rick Ong (Asst Lead)

Human Resources Valeria Tan (Head) Janice Yeo Evelyn Siew Legal Edward Loh

30

Acknowledgements SNYO COMMITTEE Ms Liew Wei Li (Chair) Prof Qin Li-Wei Mr Benjamin Goh Ms Vivien Goh Dr Kee Kirk Chin Mrs Clara Lim-Tan 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 Chow Pei Yan Arts Education Officer, Music THE SINGAPORE NATIONAL YOUTH ORCHESTRA WISHES TO THANK National Arts Council Temasek Foundation for support of SNYO outreach activities Tutors of the Singapore National Youth Orchestra Parents of the Singapore National Youth Orchestra members Principals of the participating schools

31

Open Auditions SSYC warmly invites young choristers to join our community.

Hone your voice and grow as a musician through rehearsals, sectionals & masterclasses, and unique choral opportunities with the national orchestra!

Audition today: www.sso.org.sg/ssyc

Managed by:

Inspiring Choral Passion sgsymphonyyouthchoir

MEMBER OF SINGAPORE SYMPHONY GROUP

PATRON SPONSOR

@SNYO.sg

SUPPORTED BY

RECOGNISED BY